Drago Catalog 2018
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Luisa Rabbia
GALLERY PETER BLUM LUISA RABBIA PETER BLUM GALLERY LUISA RABBIA Born 1970 in Pinerolo (Torino, Italy) Lives and works in Brooklyn, New York SELECTED SOLO EXHIBITIONS 2020 From Mitosis to Rainbow, Peter Blum Gallery, New York, NY 2018 Death&Birth, Peter Blum Gallery, New York, NY 2017 Love, Collezione Maramotti, Reggio Emilia, Italy (catalogue) 2016 Territories, Frieze Art Fair, Peter Blum Gallery, New York, NY A Matter of Life, RLWindow, Ryan Lee Gallery, New York, NY 2014-15 Drawing, Peter Blum Gallery, New York, NY Waterfall, installation for the façade of the Isabella Stewart Gardner Museum, Boston, MA Everyone, Studio Eos, Rome, Italy 2012 Coming and Going, Peter Blum Chelsea, New York, NY 2010 Luisa Rabbia, Fundación PROA, Buenos Aires, Argentina, curated by Beatrice Merz (catalogue) You Were Here. You Were There, Galerie Charlotte Moser, Genève, Switzerland 2009 Luisa Rabbia: Travels with Isabella. Travel Scrapbooks 1883/2008, Fondazione Querini Stampalia, Venezia, Italy In viaggio sotto lo stesso cielo, Fondazione Merz, Torino, Italy, curated by Beatrice Merz 2008 Travels with Isabella. Travel Scrapbooks 1883/2008, Isabella Stewart Gardner Museum, Boston, MA, curated by Pieranna Cavalchini (catalogue) 2007 Yesterdaytodaytomorrow, Mario Diacono Gallery, Boston, MA Together, Galleria Rossana Ciocca, Milano, Italy Luisa Rabbia, Massimo Audiello Gallery, New York, NY 2006 Luisa Rabbia, Marta Cervera Gallery, Madrid, Spain 2005 ISLANDS, GAMeC Galleria d'Arte Moderna e Contemporanea Raffaele de Grada, San Gimignano, Italy, curated by -
A Critical Analysis of 34Th Street Murals, Gainesville, Florida
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures .................................................................. -
How the Commercialization of American Street Art Marks the End of a Subcultural Movement
SAMO© IS REALLY DEAD1: How the Commercialization of American Street Art Marks the End of a Subcultural Movement Sharing a canvas with an entire city of vandals, a young man dressed in a knit cap and windbreaker balances atop a subway handrail, claiming the small blank space on the ceiling for himself. Arms outstretched, he scrawls his name in loops of black spray paint, leaving behind his distinct tag that reads, “FlipOne.”2 Taking hold in the mid ‘70s, graffiti in New York City ran rampant; young artists like FlipOne tagged every inch of the city’s subway system, turning the cars into scratchpads and the platforms into galleries.3 In broad daylight, aerosolcanyeilding graffiti artists thoroughly painted the Lower East Side, igniting what would become a massive American subculture movement known as street art. Led by the nation’s most economically depressed communities, the movement flourished in the early ‘80s, becoming an outlet of expression for the underprivileged youth of America. Under state law, uncommissioned street art in the United States is an act of vandalism and thereby, a criminal offense.4 As a result of the form’s illegal status, it became an artistic manifestation of rebellion, granting street art an even greater power on account of its uncensored, defiant nature. Demonized for its association with gang violence, poverty, and crime, local governments began cracking down on inner city street art, ultimately waging war upon the movement itself. As American cities worked to reclaim their streets and rid them of graffiti, the movement eventually came to a standstill, giving way to cleaner, more prosperous inner city communities. -
Impa Gendel Publish 01 21-03-2008 12:54 Pagina 1
impa gendel publish 01 21-03-2008 12:54 Pagina 1 MILTON GENDEL PHOTOGRAPHS impa gendel publish 01 21-03-2008 12:54 Pagina 2 Cover: 70. Triple Public Exposure, New York, 1942 impa gendel publish 01 21-03-2008 12:54 Pagina 3 MILTON GENDEL PHOTOGRAPHS AT TRINITY FINE ART LTD 29 BRUTON STREET LONDON W1J 6QP TELEPHONE 0044 (0) 20 7493 4916 FAX 0044 (0) 020 7355 3454 E-MAIL: [email protected] WEBSITE: www.trinityfineart.com Wednesday 17 November – Friday 26 November 10 AM - 6 PM DAILY (CLOSED SUNDAY 21 NOVEMBER) impa gendel publish 01 21-03-2008 12:54 Pagina 4 John Winter Jonathan Mennell TRINITY FINE ART LTD 29 Bruton Street - London w1j 6qp Telephone: 0044 (0) 20 7493 4916 Telefax: 0044 (0) 20 7355 3454 e-mail: [email protected] website: www.trinityfineart.com In association with: Edoardo Testori via Olmetto, 17 - 20123 Milan (Italy) Telephone and telefax: 0039 02 804073 e-mail: [email protected] and Carlo Orsi Carlo Orsi Antichità Via Bagutta, 14 - 20121 Milan (Italy) Telephone: 0039 02 76002214 Telefax: 0039 02 76004019 e-mail: [email protected] impa gendel publish 01 21-03-2008 12:54 Pagina 5 We would like to express our gratitude to all those who have helped in the preparation of this catalogue and in the organisation of the exhibition. Many scholars and colleagues have given useful advice and in particular we would like to thank: Gabriele Borghini, Museo Archivio di Fotografia Storica, Istituto Centrale per il Catalogo e la Documentazione, Rome; Luigi Ficacci, Istituto Nazionale per la Grafica, Rome; Achille Bonito Oliva, art critic; Gianni Mercurio, curator, and Claudio Strinati, Polo Museale, Rome. -
Simon Hantaï
press release SIMON HANTAÏ 12 February - 11 May 2014 Villa Medici - Grandes Galeries Tuesday 11 February press preview 11.30. vernissage 18.30-20.30 curated by Éric de Chassey “Reaching, arriving, concluding are to be put into parentheses, if possible. Mastering what you do means that you won’t be able to even begin. It is merely the illustration of what is already known.” Simon Hantaï From 12 February to 11 May 2014 the French Academy in Rome – Villa Medici is presenting the first important Italian retrospective dedicated to Simon Hantaï, curated by Éric de Chassey. This exhibition has been devised and realized six years after the artist’s death in cooperation with the Centre Georges Pompidou, following the exhibition presented there from 22 May to 2 September 2013, which was curated by Dominique Fourcade, Isabelle Monod Fontaine and Alfred Pacquement, former director of the Musée National d’Art Moderne – Centre de Création Industrielle. It is now Villa Medici’s turn to give the public a chance to explore the works of this late twentieth century protagonist of abstractionism, who chose to live in Paris after a one-year sojourn in Italy. Éric de Chassey explains: “After visiting Hantaï’s first important posthumous retrospective I decided to bring about its Roman extension. […] First of all because very few artists succeed in combining art and thought, secondly because showing Hantaï’s work in Italy means returning him to one of the places which contributed to his birth as an artist following his 1948 sojourn, after having lived between Hungary, his homeland, and France, his adopted country. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Bizhan Bassiri Solo Exhibitions
BIZHAN BASSIRI Born in Tehran (Iran) in 1954. He lives in Rome, Chiusi (Siena) and Tehran. SOLO EXHIBITIONS 2019 Raad, curated by Bruno Corà, Dastan Gallery, Tehran, Iran. Meteotite Narvalo, curated by Gabriella Belli and Elisabetta Barisoni, Ca’ Pesaro Galleria Internazionale d’Arte Moderna, Venice. Nottambulo, curated by Bruno Corà, National Museum of Iran, Tehran. 2018 Veglia, curated by Bruno Corà, Museo Riso, Palermo. Veglia, curated by Bruno Corà, Fondazione Volume, Rome 2017 Tapesh. The Golden Reserve of Maghmatic Thougut, curated by Majid Mollanoruzi, Biennale Arte 2017, Iranian Pavilion, Palazzo Donà delle Rose, Venice.* Corpo Celeste, curated by Bruno Corà, Tempio di San Martino a Petroro, Todi (Perugia). Girone della Sorte, curated by Bruno Corà, Museo Nazionale Etrusco, Chiusi (Siena). The Temple of Destiny, curated by Bruno Corà, Abadan Museum of Contemporary Art, Tehran Museum of Contemporary Art, Abadan, Iran.* 2016 La Riserva Aurea del Pensiero Magmatico, curated by Bruno Corà and Costantino Dorazio, Museo Macro Testaccio, Rome.* Specchio Solare [Noor], curated by Bruno Corà, Museo Carlo Bilotti – Aranciera di Villa Borghese, Rome. 2015 Motlaq, curated by Bruno Corà and Fabio De Chirico, Tehran Museum of Contemporary Art, Tehran, Iran.* Noor, curated by Bruno Corà, Aun Gallery, Tehran, Iran. 2014 La Meteorite, curated by Fabio De Chirico, Piazza Solferino, Terni. La Battaglia, curated by Bruno Corà and Fabio De Chirico, Salone dei Cinquecento, Museo di Palazzo Vecchio, Florence. 2013 Evaporazioni Notturne, curated by Bruno Corà, Gallerja, Rome. Riserva Aurea, curated by Bruno Corà and Fabio De Chirico, Galleria Nazionale dell’Umbria, Perugia. 2011 La Caduta delle Meteoriti, curated by Bruno Corà, Museo Archeologico Nazionale di Venezia, Venice.* Impatto, curated by Bruno Corà, La Nuova Pesa, Centro per l’Arte Contemporanea, Rome. -
Art Review the Art of Shepard Fairey: Questioning Everything
Vol. 10, No. 2 International Journal of Multicultural Education 2008 Art Review The Art of Shepard Fairey: Questioning Everything Hwa Young Caruso, Ed. D. Art Review Editor Selected Artworks of Shepard Fairey Exhibitions Acknowledgment Reference Given the recent erosion of the United States’ moral reputation and economic status as a super power, the social and political criticism of Shepard Fairey’s street art becomes more poignant. Fairey is a street artist who speaks out against the abuse of power and militarism while supporting people of color and women who seek equity. Abandoned buildings, empty wall spaces, and streets have become his blank canvas and target to raise his voice and pose questions. During the summer of 2007, the Jonathan Levine Gallery introduced Shepard Fairey in his first New York City solo exhibition. Thousands of viewers saw his works at the gallery in Chelsea and the D.U.M.B.O. Installation Space in Brooklyn, New York. The title of the exhibition, “E Pluribus Venom” (out of many, poison), parodied the Great Seal of “E Pluribus Unum” (out of many, one) which appears on US currency. Public interest in Fairey’s works and the magnetic power of his persuasive visual rhetoric created great interest in the younger generation of art enthusiasts, critical reviewers, and collectors. Fairey’s first New York City solo exhibition was sold out. Shepard Fairey was born in Charleston, South Carolina, in 1970. He studied illustration art at the Rhode Island School of Design in 1991 and is currently living and working in Los Angeles. He began his street art project in Rhode Island and spent time in the neighborhood on his skateboard. -
GOLDSCHMIED & CHIARI Sara Goldschmied
GOLDSCHMIED & CHIARI Sara Goldschmied (b. 1975, Vicenza, Italy) and Eleonora Chiari (b. 1971, Rome, Italy) Live and work in Milan, Italy SOLO EXHIBITIONS 2017 Vice Versa, Kristen Lorello, New York, NY Untitled Views, Renata Fabbri Arte Contemporanea, Milan, Italy 2014 Goldschmied & Chiari: Untitled Portraits, Kristen Lorello, New York La democrazia è illusione, curated by Ilaria Bonacossa, Villa Croce, Museum of Contemporary Art, Genova (IT) La démocratie est illusion, curated by Etienne Bernard, Centre d’Art Contemporaine Passerelle, Brest (FR) 2013 Hiding the Elephant, Edicola Notte, Rome, (IT) 2011 Nympheas, curated by Paola Ugolini and Camilla Grimaldi, Icario Arte, Montepulciano, (IT) 2010 Fumo negli occhi, Gonzalez y Gonzalez Gallery, Santiago, Chile Genealogy of Damnatio Memoriae, Atelier House, Museion Museum of contemporary art, Bolzano, (IT) 2009 Roommates, curated by Cecilia Canziani, Macro Museum of contemporary art, Rome, (IT) 2008 Dump Queen, Galerie Elaine Levy Project, Bruxelles, (BE) Dump Queen, curated by Ludovico Pratesi and Paola Ugolini, Centro Arti Visive Pescheria, Pesaro, (IT) Cosmic Love, Galleria VM21 Arte contemporanea, Rome, (IT) 2007 Polly Apfelbaum, goldiechiari, Ann Veronica Janssens, curated by Etienne Ficheroulle, Galerie Blancpain, Geneva, (CH) 2006 Welcome, Spencer Brownstone Gallery, New York, (USA) Enjoy, Galerie Elaine Levy Project, Bruxelles, (BE) 2005 Nympheas , Galleria VM21 Arte contemporanea, Rome, (IT) Bu Colics, Galerie M3, Antwerpen, (BE) 2002 Blind Date, curated by Alessandra Galletta, Viafarini, -
The Political Cost of Being Soft on Crime: Evidence from a Natural Experiment
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Drago, Francesco; Galbiati, Roberto; Sobbrio, Francesco Working Paper The Political Cost of Being Soft on Crime: Evidence from a Natural Experiment IZA Discussion Papers, No. 10858 Provided in Cooperation with: IZA – Institute of Labor Economics Suggested Citation: Drago, Francesco; Galbiati, Roberto; Sobbrio, Francesco (2017) : The Political Cost of Being Soft on Crime: Evidence from a Natural Experiment, IZA Discussion Papers, No. 10858, Institute of Labor Economics (IZA), Bonn This Version is available at: http://hdl.handle.net/10419/170842 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu DISCUSSION PAPER SERIES IZA DP No. 10858 The Political Cost of Being Soft on Crime: Evidence from a Natural Experiment Francesco Drago Roberto Galbiati Francesco Sobbrio JUNE 2017 DISCUSSION PAPER SERIES IZA DP No. -
Shepard Fairey V1 USD.Pdf
V1 GALLERY PROUDLY PRESENTS YOUR AD HERE – A SOLO EXHIBITION BY SHEPARD FAIREY OPENING: FRIDAY AUGUST 5. 2011. TIME: 17.00 - 22.00 EXHIBITION PERIOD: AUGUST 6. – SEPTEMBER 3. 2011 It is a great pleasure to welcome Shepard Fairey back to Copenhagen for his second solo exhibition at V1 Gallery. Since Fairey’s first exhibition at the Gallery in 2004, he has aided the change of American history with his iconic Hope poster for Barack Obama’s presidential campaign, contributed to the countinous debate about art in public space with numerous exhibitions in public and private arenas. Most recently with his participation in the Oscar nominated Banksy documentary “Exit Through The Gift Shop” and the current “Art In The Streets” exhibition at MOCA in Los Angeles. “Your Ad Here”, recent works by Shepard Fairey, comprises a broad array of mixed media works on canvas and paper, as well as screen prints, retired stencils, and Rubylith cuts. Building upon Fairey’s history of questioning the control of public space and public discourse, much of the art in “Your Ad Here” examines advertising and salesmanship as tools of propaganda and influence. One series in “Your Ad Here” portrays politicians like Reagan and Nixon as insincere salesmen wielding simple slogans that represent their true agendas when stripped of verbose demagoguery. Another series of works are paintings of Fairey’s “Obey” icon face in various urban settings usually reserved for advertising as the primary visual. These works showcase the power of images in the public space, and encourage the viewer to think of public space as more than a one-way dialogue with advertising, but as a venue for creative response. -
For the Love of Spraying – Graffiti, Urban Art and Street Art in Munich
Page 1 For the love of spraying – Graffiti, urban art and street art in Munich (21 January 2018) Believe it or not, Munich was a pioneer of the German graffiti scene. As the graffiti wave arrived from New York and swept through Europe during the early ‘80s, it was Munich that rode that wave even before Berlin. Some of today’s leading figures in the international graffiti scene were immortalised by their legally-painted murals in what was, at the time, the largest Hall of Fame in Europe on the flea market grounds on Dachauer Straße – though the thrill of illegal spraying was also of course a driving force behind the Munich scene. By the late 1990s, Munich was considered a mecca for graffiti artists, alongside New York. Today, there are several sites in Munich displaying a wide variety of urban art, and they have long been considered a boon to the city. Over the years, legends of the street art scene such as BLU, ESCIF, Shepard Fairey and Mark Jenkins have discovered Munich for themselves and, in collaboration with the Positive Propaganda e.V. art association, have used art to breathe new life into public spaces in the city. The first German museum of urban art, MUCA (Museum of Urban and Contemporary Art), doesn't just showcase celebrated artists, but also offers a stage for experimental formats. A whole range of forums, events and guided tours bring these contemporary, quirky, energy-charged art forms to life in Munich. Contact: Department of Labor and Economic Development München Tourismus, Trade & Media Relations Herzog-Wilhelm-Str.