Gallery 181 Presented in Penthouse 69B
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(The Avoidance of Everything) Bill Beckley—1968-1978 On
FOR IMMEDIATE RELEASE Albertz Benda Opens with the Inaugural Exhibition The Accidental Poet (The Avoidance of Everything) Bill Beckley—1968-1978 On view September 10 – October 3, 2015 Graphic for Myself as De Kooning’s Stove, 1974 Washington, 1969 Cibachrome and black and white Black and white photograph on photographs 30 x 60 inches (76.2 x paperboard 14 x 28 inches 152.4 cm) Edition of 3 (35.5 x 71 cm) When I did the piece crossing the Delaware River on foot, dripping paint as I went, the current took me under, and I lost not only the paint but also the camera I was using to document the work. I realized then that all I had left was the story. – Bill Beckley, 2007 New York, NY, June 11, 2015 – For its inaugural exhibition, Albertz Benda is pleased to present a solo show of rare, early works by Bill Beckley from 1968-1978, many of which have not been on view in four decades. A fundamental member of the ‘70s SoHo art community, Beckley’s work provides a crucial glimpse into one of the key New York art movements of the 20th century. The Accidental Poet (The Avoidance of Everything) features materials drawn from Beckley’s archives, shuttered since the 1970s, unveiling never before seen performance documentation, watercolors, and studies for his best-known work, among other materials. The exhibition will also feature the artist’s conceptual narrative work of typed fictions and framed photographs, previously shown at landmark exhibitions including the Whitney Biennial, Documenta and the Venice Biennale, which have not been on view in the United States since the 1970s. -
Since 2017 Bezalel Academy for Art and Design, MFA
Hadas Maor Curiculum Vitae Professional Experience: Since 2017 Bezalel Academy for Art and Design, MFA Program, lecturer 2017 Bait LeOmanut Israelit, lecturer 2017 French Institute Focus Program 2016 Sculpture Quadrennial Riga 2016 Invited guest Lecture: Conservatism and Liberalism, appearances in contemporary culture 2015 Curator of the Israeli Pavilion, the 56th International Art Exhibition – la Biennale di Venezia 2014 Artist Mentor Artport, Tel Aviv 2012 The 2nd Ural Industrial Biennial of Contemporary Art Intellectual platform, invited guest Lecture: Contemplating the possibility of criticality within the field of visual art 2012 Lecturer of curatorial studies, School of Arts, Kibbutzim College of Education, Tel Aviv 2011 ARCOmadrid 2011, Professional Meetings, invited guest 2010 Professional visit to LA, organized by the LA-TLV partnership and The Jewish Federation of Los Angeles 2009 Study visit to Poland, organized by Adam Mickiewicz Institute, Warsaw 2007 Art Basel 2007, 7db platform for art professionals, invited guest Since 2006 Consultant to Bank Hapoalim Collection of Israeli Art 2006-2009 Consultant to the Angel Collection of Contemporary Art Since 2001 Curator of the Geny and Hanina Brandes Art Collection, Tel Aviv Since 1998 Independent contemporary art curator (The Tel Aviv Museum of Art, The Haifa Museum of Art, The Herzliya Museum of Contemporary Art, The Petach Tikva Museum of Art, The Ramat Gan Museum of Israeli Art, The Ein Harod Museum of Art, The Tel Aviv University Gallery and more) 1997 - 2005 Senior Lecturer -
It's Customary for Galleries to Display Their Artists' Newest Works. That Is
Installation view, “The Accidental Poet: Bill Beckley—1968-1978,” 2015, at Albertz Benda. It’s customary for galleries to display their artists’ newest works. That is understandable, for we want to see how these figures are developing; we usually leave it to museums to offer a broader historical perspective. But it can be very instructive, also, to study the origins of a now-celebrated artist. Bill Beckley started showing art in 1968, at the moment when change was in the air in New York. He was one of a group of now- Carrier, David. “Accidentally on Purpose: Bill Beckley at Albertz Benda, Artcritical, October 3, 2015. legendary artists associated with the pioneering Soho Gallery at 112 Greene Street — they included Louise Bourgeois, Suzanne Harris, Gordon Matta-Clark and Dennis Oppenheim. This densely packed exhibition provides a good overview of his first decade of artmaking. “The Accidental Poet” included Myself as Washington (1969), a photograph that anticipates Cindy Sherman’s playful studies of personal identity; and the text with photograph Joke About Elephants (1974), a precursor of Richard Prince’s joke paintings. There is Rooster, Bed, Lying (1971), a bed underneath a chicken wire cage housing the live rooster who was present at the opening. In Photo Document for Song for a Chin-up (1971), which was performed by a tenor at the opening, a tenor sings while doing a chin- up. Artists of the previous generation, the Pop painters and Minimalists, who came of age in the 1960s, defined the unity of their concerns by creating distinctive visual styles — a Warhol, like a Lichtenstein or a Donald Judd, is unmistakably their personal product. -
Press Release
ROGER WELCH: EXHIBITION DATES: Expressions of Memory March 2 – April 24, 2021 WESTWOOD GALLERY NYC presents a solo exhibition by New York artist, Roger Welch, entitled Expressions of Memory. This is his first solo show with the gallery and the first solo show of Welch’s work in fifteen years. The exhibition will be on view March 2 - April 24, 2021. Expressions of Memory highlights twenty works from Roger Welch’s narrative art movement founded in the 1970s, along with artists John Baldessari, William Wegman, and Bill Beckley. The aim of narrative art is to tell a sequential story, often based on personal memories. Welch works in a variety of media including sculpture, photography, video, painting, and performance. This exhibition features four main bodies of work produced from the 1970s through the 1990s: the autobiographic ‘Welch Family’ series, ‘Woven Narratives’ series, ‘Photo Perception’ series, and ‘Austin, Texas Children’ series. Included in the exhibition is a video installation, “Welch”, 16mm motion picture with sound, 1:27:00, first exhibited in 1972 at the Ileana Sonnabend Gallery in SoHo. The film was edited from family home movies dating back to 1927, to show the cyclical nature of a middle-class family in the suburbs, overlaid with Welch’s own recollections of his family’s life through his relatives’ stories. Coupled with the video are photo diptychs and triptychs utilizing vintage photographs sourced from his family’s archive with participatory hand scripted memories of events by his father, mother, grandfather, and grandmother. The shared memories exemplify the quest of a middle-class family in pursuit of the American Dream in the 1970s as they operated their paint and wallpaper shop in Westfield, New Jersey, family-owned for over three generations. -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions. -
B. 1951, Kibbutz Ein Shemer, Israel. Lives and Works in Tel Aviv and NY
TSIBI GEVA B. 1951, Kibbutz Ein Shemer, Israel. Lives and works in Tel Aviv and NY. Solo Exhibitions: 2017 Jolt, Albertz Benda Gallery, New York Mishkan, Har-El Printers & Publishers, Tel Aviv 2016 If you want a horrible place say so, Hezi Cohen Gallery, Tel Aviv Archeology of the Present- Work in Progress, Hamidrasha Gallery, Tel Aviv Tsibi Geva: The Gestural Brush, Conduit Gallery, Dallas 2015 Archeology of the Present, the Israeli Pavilion at the 56th International Art Exhibition- La Biennale di Venezia, Venice. (catalogue: Hadas Maor). Tsibi Geva: Paintings 2010- 2015, Mönchehaus Museum of Modern Art, Goslar. (catalogue: Barry Schwabsky) 2014 Tsibi Geva: Recent and Early Works, MACRO Testaccio- Museo d’Arte Contemporanea, Roma. (catalogue: Barry Schwabsky and Giorgia Caló) 2013 Tsibi Geva: 2011-2013 Paintings, American University Museum at the Katzen Arts Center, Washington DC. (Catalogue: Barry Schwabsky). 2012 Transition, Object, Ashdod Art Museum, Ashdod. (catalogue: Yona Fisher) New Works, The Studio on Alfasi, Tel Aviv 2011 Keffyieh, mural at the Peres Center for Peace, Tel Aviv 2010 Other Works, Ferrate Art Gallery, Tel Aviv Songs of the Earth, San Gallo Art Station, Florence. (catalogue: Martina Corgnati) New Works, Annina Nosei Gallery, New York 2009 Biladi Biladi: Works 1983- 1985, Warehouse 2, Tel Aviv NoHow On, Herzliya Museum of Contemporary Art, Herzliya 2008 Mount of Things, Tel-Aviv Museum of Art, Tel Aviv. (catalogue: Hadas Maor) 2007 Natura morte, Ermmano Tedeschi Gallery, Turin. (catalogue: Sarah Breitberg Semel) 2006 Mount Analogue, Hamidrasha Gallery, Tel Aviv Other flowers, The New Gallery, Kineret, Israel 2005 After, Annina Nosei Gallery, New York 2003 Master Plan, Haifa Museum of Art, Haifa Local Birds, Kav 16 Gallery, Tel Aviv. -
Tsibi Geva Selected to Represent Israeli Pavilion at the 56Th International Art Exhibition – La Biennale Di Venezia Ends
Tsibi Geva selected to represent Israeli Pavilion at the 56th International Art Exhibition – la Biennale di Venezia 5 February 2015 – Tsibi Geva has been selected to present Archeology of the Present for the Israeli Pavilion at the 56th International Art Exhibition – la Biennale di Venezia. Geva, who lives and works in Tel Aviv, is one of Israel’s most prominent and influential artists, and has exhibited extensively in major exhibitions across Israel, America, and Europe. Geva works in diverse media, his work often pushing beyond its physical limits into unique large-scale site- specific installations. Archeology of the Present will cover both the exterior and interior of the Pavilion, and will encompass the formal and thematic characteristics of Geva’s work as it has evolved throughout his career. In a year when curator Okuwi Enwezor, proposes to focus on All the World’s Futures, Geva’s site-specific, all-encompassing installation may also be read with regard to the current state of humanity and the world. Geva’s work contains numerous layers of significance shaped by processes of figuration and abstraction, revelation and concealment. The question of painting in particular, and of the art object in general, is present in his work alongside political and cultural questions, which simultaneously camouflage and enhance one another. Employing disruption and displacement, repetition and accumulation, Geva makes hybrid works that open up new discursive channels. Archeology of the Present will present paintings alongside sculptural installations and abandoned and manipulated objects, while abolishing the hierarchical distinctions between artistic mediums and structure. In doing so, it will give expression to Geva’s ongoing concern with elements related to the notion of ‘home’ – including terrazzo tiles, windows, shutters, lattices, cement blocks; elements which exist as fragments of what once was or could in principle constitute a home. -
Albertz Benda Opens with the Inaugural Exhibition the Accidental Poet (The Avoidance of Everything) Bill Beckley—1968-1978
FOR IMMEDIATE RELEASE Albertz Benda Opens with the Inaugural Exhibition The Accidental Poet (The Avoidance of Everything) Bill Beckley—1968-1978 On View September 10 – October 3, 2015 De Kooning’s Stove, 1974 Graphic for Myself as Washington, 1969 Cibachrome and black and white photographs Black and white photograph on paperboard 30 x 60 inches (76.2 x 152.4 cm) 14 x 28 inches (35.5 x 71 cm) Edition of 3 When I did the piece crossing the Delaware River on foot, dripping paint as I went, the current took me under, and I lost not only the paint but also the camera I was using to document the work. I realized then that all I had left was the story. – Bill Beckley, 2007 New York, NY – For its inaugural exhibition, Albertz Benda is pleased to present a solo show of rare, early works by Bill Beckley from 1968-1978, many of which have not been on view in four decades. A fundamental member of the ‘70s SoHo art community, Beckley’s work provides a crucial glimpse into one of the key New York art movements of the 20th century. The Accidental Poet (The Avoidance of Everything) features materials drawn from Beckley’s archives, shuttered since the 1970s, unveiling never before seen performance documentation, watercolors, and studies for his best-known work, among other materials. The exhibition will also feature the artist’s conceptual narrative work of typed fictions and framed photographs, previously shown at landmark exhibitions including the Whitney Biennial, Documenta and the Venice Biennale, which have not been on view in the United States since the 1970s. -
Scarica Artribune Israel In
ISSN 2280-8817 ISRAEL year i number 0 summer 2015 trilingual BIMESTRALE - POSTE ITALIANE S.P.A. SPED. IN A.P. 70% - ROMA - COPIA EURO 0,001 - COPIA 70% - ROMA A.P. SPED. IN S.P.A. BIMESTRALE - POSTE ITALIANE INSIDE VENICE BIENNALE: DESIGN MUSEUM EXPO2015 INTERVIEW WITH TSIBI GEVA HOLON ISRAEL ALL ISRAEL: COLORFOOD THE ART MAP OVER THE WORLD Ucio culturale Ambasciata di Israele - Roma pagina artribune MARGUTTA Arcimboldo copia.pdf 1 16/04/15 08:54 “Our bodies “I nostri corpi Libera interpretazione di "Flora" Giuseppe ARCIMBOLDO Libera interpretazione are our gardens” sono i nostri giardini” William Shakespeare C M Y CM The MY natural CY CMY K choice Open your vegetarian art restaurant franchise i l a v M e t 9 g t 7 et u 19 a a g r r ia ce n food & art sin ilmargutta.com pagina artribune MARGUTTA Arcimboldo copia.pdf 1 16/04/15 08:54 “Our bodies “I nostri corpi Libera interpretazione di "Flora" Giuseppe ARCIMBOLDO Libera interpretazione are our gardens” sono i nostri giardini” William Shakespeare C M Y CM The MY natural CY CMY K choice Open your vegetarian art restaurant franchise i l a v M e t 9 g t 7 et u 19 a a g r r ia ce n food & art sin ilmargutta.com zero issue www.artribune.com director Massimiliano Tonelli vice-director Architecture, eco-sustainability, the fields of Marco Enrico Giacomelli tomorrow. The focus dedicated to Expo 2015 and to the Israeli Pavilion begins with the editor in chief Giorgia Calò words of the journalist Daniel Reichel… news editing & project management Santa Nastro contributors Christian Caliandro Elazar Cohen 10 Raphael Gamzou Hadas Maor Santa Nastro Daniel Reichel Ronit Sorek Aldo Spinelli Carlo Spinelli Art to eat. -
Harry Anderson Audio Transcript Invisible City Sid: So We're at Harry
Harry Anderson Audio Transcript Invisible City Sid: So we’re at Harry Anderson's house on West Oak Lane on July 1... Harry: …East Oak Lane. S: We are doing an interview for the project Invisible City Philadelphia and the Vernacular Avant-Garde, funded by Pew Center for the Arts and Heritage. So I've known Harry for a long time, going back to 1970. Where were you born? H: Highland Park, Illinois. S: What your parents do? H: My father was a painting contractor and my mother was a housewife. S: Is Highland Park where the Frank Lloyd Wright's are? H: There some there but that's Oak Park. There was, but I don’t want to get into that too much but there were a lot of people that did Frank Lloyd Wright type houses, his disciples. What was that called? S: Prairie Schools. H: So there were a lot of really nice houses in Highland Park that were from that era but I don't know if any were definitely Frank Lloyd Wright houses. S: Did your home have any inkling of culture or art in it? H: No, no. My parents were both immigrants. S: Oh where were they from? H: My father was born in Sweden in 1900 and my mother was born in Oslo about five, six years later. S: So what was your first art experience? H: Oh boy, well I don't know if you want to get too personal. When I was in school like third, fourth grade I started doing these drawings of houses and buildings more mechanical stuff and the teachers just loved them. -
American Friends of the Tel Aviv Museum of Art Spring Gala! Thursday, April 25, 2013 the Pierre Hotel
American Friends of the Tel Aviv Museum of Art Spring Gala! Thursday, April 25, 2013 The Pierre Hotel American Friends of the Tel Aviv Museum of Art 36 West 44th Street, Suite 1209 New York, NY 10036 To Dave Genser for the years Congratulations of dedicated leadership Suzanne Landau of the Director and Chief Curator American Friends of the of the Tel Aviv Museum of Art. Tel Aviv Museum of Art. Best wishes for great success, Herta and Paul Amir With friendship and best wishes, Herta and Paul Amir American Friends of the Tel Aviv Museum of Art Spring Gala 2013 Honoring Patron of the Arts Martin Sanders Artist of the Year Tal R Leadership in Public Arts Tsipi Ben-Haim Thursday, April 25, 2013 6:30 pm Cocktails and Silent Auction 7:30 pm Dinner Dance and Live Auction The Pierre Hotel, New York Welcome David Genser AFTAM Chairman Motzi Adam Sanders Address Suzanne Landau Director and Chief Curator Tel Aviv Museum of Art Patron of the Arts Martin Sanders Presented by: Suzanne Landau Director and Chief Curator Tel Aviv Museum of Art Artist of the Year Tal R Introduction by: Anders Kold Curator & Head of Acquisitions Louisiana Museum of Modern Art Presented by: Joan Genser Leadership in Public Arts Tsipi Ben-Haim Presented by: Ambassador Ron Prosor Permanent Representative of Israel to the United Nations Dinner and Dance Performance Burr Johnson Live Auction DawnMarie Kotsonis Auctioneer Musical Program Passacaglia of Handel-Halvorsen 2013 Recipient of the Irving and Mollie Sanders Memorial Juilliard / Tel Aviv Museum of Art Prize Dane Johansen, Cellist 2012 Recipient of the Irving and Mollie Sanders Memorial Juilliard / Tel Aviv Museum of Art Prize Sean Lee, Violinist Honorary Committee Paul and Herta Amir Mayor and Mrs. -
On the Subject of the Ready-Made Or Using a Rembrandt As an Ironing Board
On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Daimler Art Collection On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Max Ackermann John McLaughlin Josef Albers Albert Mertz Ian Anüll Gerold Miller John M. Armleder Olivier Mosset Hans/Jean Arp Horst Münch Richard Artschwager John Nixon Willi Baumeister Blinky Palermo Bill Beckley Patrick Fabian Panetta Max Bill Esteban Pastorino Julius Heinrich Bissier Lothar Quinte Dieter Blum Timm Rautert Hartmut Böhm Joseph Francis Charles Rock Greg Bogin Peter Roehr Monika Brandmeier Ulrike Rosenbach Andreas Brandt Tom Sachs Sarah Browne Kiyoshi Sakamoto Max Burchartz Pietro Sanguineti Daniel Buren Viviane Sassen André Cadere Jürgen Schadeberg Siegfried Cremer Andreas Schmid Gia Edzgveradze Leonhard Schmidt Sergio Fermariello Jan J. Schoonhoven Roland Fischer Dayanita Singh Adolf Richard Fleischmann Anton Stankowski Günter Fruhtrunk Elaine Sturtevant Poul Gernes Guy Tillim Hermann Glöckner Hayley Tompkins David Goldblatt Rosemarie Trockel Camille Graeser Timm Ulrichs Konstantin Grcic Dieter Villinger George Grosz Andy Warhol Isabell Heimerdinger Franz West Jan Henderikse Christa Winter Adolf Hölzel Zheng Guogu Johannes Itten Heimo Zobernig Donald Judd Franklin Prince Knott Tadaaki Kuwayama Liu Zheng Robert Mapplethorpe FOREWORD The exhibition On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board – featuring 130 works from the Daimler Art Collection selected by Welsh conceptual artist Bethan Huws – strad- dles the years 2016 and 2017, thus referencing the ‘double’ birthday of the ready-made as a concept and as an artistic praxis.