School of Art 2017–2018
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Artist's Voice Since 1981 Bombsite
THE ARTIST’S VOICE SINCE 1981 BOMBSITE Peter Campus by John Hanhardt BOMB 68/Summer 1999, ART Peter Campus. Shadow Projection, 1974, video installation. Courtesy Paula Cooper Gallery. My visit with Peter Campus was partially motivated by my desire to see his new work, a set of videotapes entitled Video Ergo Sum that includes Dreams, Steps and Karneval und Jude. These new works proved to be an extraordinary extension of Peter’s earlier engagement with video and marked his renewed commitment to the medium. Along with Vito Acconci, Dara Birnbaum, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Steina and Woody Vasulka, and Bill Viola, Peter is one of the central artists in the history of the transformation of video into an art form. He holds a distinctive place in contemporary American art through a body of work distinguished by its articulation of a sophisticated poetics of image making dialectically linked to an incisive and subtle exploration of the properties of different media—videotape, video installations, photography, photographic slide installations and digital photography. The video installations and videotapes he created between 1971 and 1978 considered the fashioning of the self through the artist’s and spectator’s relationship to image making. Campus’s investigations into the apparatus of the video system and the relationship of the 1 of 16 camera to the space it occupied were elaborated in a series of installations. In mem [1975], the artist turned the camera onto the body of the specator and then projected the resulting image at an angle onto the gallery wall. -
The Role of Art in Enterprise
Report from the EU H2020 Research and Innovation Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation The Role of Art in Enterprise Tom O’Dea, Ana Alacovska, and Christian Fieseler This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870726. Report of the EU H2020 Research Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation State-of-the-art literature review on the role of Art in enterprise Tom O’Dea1, Ana Alacovska2, and Christian Fieseler3 1 Trinity College, Dublin 2 Copenhagen Business School 3 BI Norwegian Business School This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 870726 Suggested citation: O’Dea, T., Alacovska, A., and Fieseler, C. (2020). The Role of Art in Enterprise. Artsformation Report Series, available at: (SSRN) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3716274 About Artsformation: Artsformation is a Horizon 2020 Research and Innovation project that explores the intersection between arts, society and technology Arts- formation aims to understand, analyse, and promote the ways in which the arts can reinforce the social, cultural, economic, and political benefits of the digital transformation. Artsformation strives to support and be part of the process of making our communities resilient and adaptive in the 4th Industrial Revolution through research, innovation and applied artistic practice. To this end, the project organizes arts exhibitions, host artist assemblies, creates new artistic methods to impact the digital transformation positively and reviews the scholarly and practi- cal state of the arts. -
FOR IMMEDIATE RELEASE Transparent Studio: Chitra Ganesh
FOR IMMEDIATE RELEASE Chitra Ganesh, A Magician and Her Muse, 2011, 9.5 x 36 feet, site-specific installation created for Samtidigt Tennis Palace Museum, Helsinki Transparent Studio: Chitra Ganesh Residency dates: 18 June – 16 July 2013 Open Studio & Artist Talk: Thursday, 11th July 6-9pm Brooklyn, NY --- Transparent Studio at Bose Pacia is pleased to announce the current artist-in- residence, Chitra Ganesh. Her drawing, installation, text-based work, and collaborations seek to excavate and rewrite hidden narratives typically excluded from official canons of history, literature, and art. Her work is inspired by mythology, folklore, sci-fi, Bollywood, comic books and graffiti. During the month long residency, Ganesh will use the space to develop her wall drawings by exploring the use of sculptural elements, printmaking technique and collage ephemera. The public is invited to an Open Studio and Artist Talk on 11th July from 6-9pm. Please contact the gallery to arrange for a visit to the studio between June 18th and July 16th. Born in Brooklyn, New York, Chitra Ganesh received her BA in Comparative Literature and Art Semiotics in 1996 and her MFA from Columbia University in 2002. Ganesh’s work has been exhibited widely at venues including PS 1/MOMA, Brooklyn Museum, the Asia Society, and the Andy Warhol Museum, Fondazione Sandretto in Italy, Nature Morte Berlin, ZKM in Germany, and the Gothenburg Kunsthalle. She is the recipient of numerous awards including the Joan Mitchell Awards for Painting and Sculpture, and a John Simon Guggenheim Creative Arts Fellowship. Ganesh will be the 2012-2013 artist-in-residence at New York University’s A/P/A Institute with Mariam Ghani for their work, Index of the Disappeared. -
Roysdon Cv Tranzit
Emily Roysdon Education University of California Los Angeles, MFA, Interdisciplinary Studio, 2006 Whitney Museum Independent Study Program, New York, NY 2001 Hampshire College, BA, Amherst, MA 1999 Solo Projects 2012 not yet titled, Tate Live Performance Room, Tate Modern (London) not yet titled, Tramway (Glasgow) not yet titled, Visual Art Center, University of Texas (Austin) 2011 POSITIONS, New Commissions, Art in General (New York) (catalog forthcoming) A Gay Bar Called Everywhere (with costumes and No Practice), The Kitchen (New York) 2010 If Donʼt Move Can You Hear Me?, Matrix 235, Berkeley Art Museum Sense and Sense, Konsthall C (Stockholm) 2008 Work, Why, Why not, Weld (Stockholm) Select Exhibitions 2012 Abstract Possible; The Stockholm Synergies, Tensta Konsthall (Stockholm) Coming After, The Power Plant (Toronto) Photography Is, Higher Pictures (New York) Nothing is forgotten, some things considered, UKS (Oslo) Social Choreography, Gallery TPW (Toronto) In Numbers: Serial Publications by Artists Since 1955, ICA London Read, Look, We promise itʼs not dangerous, Emily Harvey Foundation (New York) Millennium Magazines, Museum of Modern Art Library (New York) 2011 Abstract Possible, Museo Tamayo (Mexico City) (catalog) Time Again, Sculpture Center (New York) (catalog) Dance/ Draw, ICA Boston (catalog) Untold Stories, Kunsthalle Talinn NY Temporary, Center for Photography and the Moving Image (New York) Always The Young Stranger, Higher Pictures (New York) Through Symbolic Worlds, International Project Space (Birmingham, UK) Symposion, -
The MIT Press Spring 2021 Dear Friends and Readers, Contents
The MIT Press Spring 2021 Dear Friends and Readers, Contents Books are carriers of civilization. Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill. They are engines of change, windows to the world, “lighthouses” (as a poet said) Trade 1-32 “erected in the sea of time.” Paperback Reprints 33-36 —Barbara W. Tuchman, American historian Distributed by the MIT Press University presses are critical to the academy’s core purpose to create and share knowledge. In these extraordinary times, scholars and scientists are racing to overcome a pandemic, Boston Review 37 combat climate change, and protect civil liberties even as Goldsmiths Press 38-39 they are forced to engage in escalating information warfare. With expanding misinformation and shrinking public trust in Semiotext(e) 40-43 news media, in science and academia, and in expertise more Sternberg Press 44-58 broadly, it falls to universities and mission-driven publishers to uphold sense-making and the spreading of facts—to share Strange Attractor Press 59-61 and translate credible, research-based information in ways that Terra Nova Press 62 maximize its impact on decisions that will shape the future of humanity. University presses have a central role to play in this Urbanomic 63 cause, and the MIT Press continues to be a guiding light. As Director, I am reminded daily of the power of books for posi- Academic Trade 64-68 tive change—to create more beauty, knowing, understanding, Professional 69-91 justice, and human connection in our vast and complex world. www.dianalevine.com Amy Brand All of us at the MIT Press feel a profound responsibility to use Journals 92-94 our privileged perch for good wherever we can. -
Fy21 Proposed Budget
CITY OF PHILADELPHIA ORGANIZATION CHART (ALL FUNDS) BY PROGRAM FISCAL 2021 OPERATING BUDGET Department No. Mural Arts Program 50 Managing Directors Office Mural Arts Program Director 12 Jane Golden-Heriza 10 01 SECTION 7 Mural Arts Program 12 10 FY21 PROPOSED BUDGET ORGANIZATION FY20 FY21 FILLED BUDGETED 1 POS. 11/19 POSITIONS 71-53A (Program Based Budgeting Version) CITY OF PHILADELPHIA DEPARTMENTAL SUMMARY BY FUND FISCAL 2021 OPERATING BUDGET Department No. Mural Arts Program 50 Fiscal 2019 Fiscal 2020 Fiscal 2020 Fiscal 2021 Increase Actual Original Estimated Proposed or No. Fund Class Description Obligations Appropriation Obligations Budget (Decrease) (1) (2) (3) (4) (5) (6) (7) (8) (9) 01 100 Employee Compensation a) Personal Services 587,931 638,987 649,569 578,952 (70,617) b) Employee Benefits 200 Purchase of Services 1,779,296 1,860,615 1,895,615 1,425,610 (470,005) General 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 2,367,227 2,499,602 2,545,184 2,004,562 (540,622) 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. -
Look to the Governors— Federalism Still Lives by Karlyn H
Chapter 4 Table 1: House Vote, By Income Group 1994 1996 1998 D R D R D R Less than $15,000 60% 37% 61% 36% 57% 39% $15,000-$30,000 50 48 54 43 53 44 $30,000-$50,000 44 54 49 49 48 49 $50,000-$75,000 45 54 47 52 44 54 $75,000+ 38 61 39 59 45 52 Source: Surveys by Voter News Service. tion, health care, Social Security. The effect was predictable: or more is growing rapidly and can’t be taken for granted a significant shift in support from Republican candidates to anymore. The GOP must decide what issues will allow it to Democratic ones. That result creates a dilemma for the GOP hold onto the gains made among non-affluent voters while not as it looks ahead to the next House elections. On the one hand, losing any more ground with the affluent. whatever the causes for the GOP’s loss of support among the affluent, those same causes apparently helped Republicans The extent to which the Republicans are successful, and gain enough ground with non-affluent voters to hold onto a the extent to which the Democrats can thwart their strategy, House majority. But the voter bloc of those making $75,000 could determine who controls the House in 2000. Look to the Governors— Federalism Still Lives By Karlyn H. Bowman In his 1988 book, Laboratories of Democracy, political Eight of the country’s ten most populous states have Republi- writer David Osborne urged readers to look beyond Washing- can governors. -
Making Exact Change
Making Exact Change How U.S. arts-based programs have made a significant and sustained impact on their communities A Research Project of the Community Arts Network By William Cleveland, the Center for the Study of Art and Community Published by Art in the Public Interest November 2005 Making Exact Change How U.S. arts-based programs have made a significant and sustained positive impact on their communities © 2005 Art in the Public Interest ART IN THE PUBLIC INTEREST promotes information exchange, research and critical dialogue within the field of community-based arts. Its primary program is the Community Arts Network (CAN). http://www.communityarts.net Art in the Public Interest Linda Frye Burnham & Steven Durland, co-directors P.O. Box 68, Saxapahaw, NC 27340 This report is also available on the Web at: http://www.makingexactchange.org On the cover: Detail of a Village of Arts and Humanities mural project. Photo courtesy the Village of Arts and Humanities 4 Making Exact Change Making Exact Change Table of Contents Part One: Introduction . 6 Part Two: Case Studies . .11 CityKids . .12 GRACE (Grass Roots Art and Community Effort) . .21 Isangmahal Arts Kollective . .29 Manchester Craftsmen’s Guild . .36 Mural Arts Program . .47 Northern Lakes Center for the Arts . .55 Swamp Gravy . .64 Village of Arts and Humanities . .73 Wing Luke Asian Museum . .83 Zuni-Appalachian Exchange and Collaboration . .93 Part Three: Findings . .102 Part Four: Recommendations . .122 End Notes . .132 Appendices Appendix A: Request for Study Subjects . .134 Appendix B: Questions for Study Sites . .136 Project Personnel . .139 Making Exact Change 5 Introduction Part One Introduction In 1976, U.S. -
Roe Ethridge Biography
G A G O S I A N Roe Ethridge Biography Born in 1969, Miami, FL. Lives and works in New York, NY. Education: 1995 BFA in Photography, The College of Art, Atlanta, GA. Solo Exhibitions: 2021 Roe Ethridge: Beach Umbrella. Gagosian, Park & 75, New York, NY. 2020 Roe Ethridge: Orange Grove. Andrew Kreps, online. Roe Ethridge: Old Fruit. Gagosian, 976 Madison, New York, NY. 2019 Roe Ethridge: Sanctuary 2. Andrew Kreps, New York, NY. Roe Ethridge: Sanctuary. Gagosian, Hong Kong. 2017 Roe Ethridge: Innocence II. Gagosian Beverly Hills, Los Angeles, CA. Roe Ethridge: American Spirit. Andrew Kreps, New York, NY. 2016 Roe Ethridge: Nearest Neighbor. FotoFocus Biennial, Contemporary Arts Center, Cincinnati, OH. Shelter Island. Gladstone Gallery, Brussels, Belgium 2015 Double Bill (with Andy Harman and special guest Louise Parker). greengrassi, London, England. 2014 Roe Ethridge: Sacrifice Your Body. Andrew Kreps Gallery, New York, NY. Roe Ethridge: Sacrifice Your Body. Capitain Petzel, Berlin, Germany. 2013 Roe Ethridge. Gagosian Gallery, Beverly Hills, CA. A Moveable Feast. Campo Presti, Paris, France. 2012 Studio Street. Mai 36 Galerie, Zurich, Switzerland. The Ceremony and the Spirit (in collaboration with Zin Taylor). La Loge, Brussels, Belgium. Interiors. Gladstone Gallery, Brussels, Belgium. Roe Ethridge (curated by Anne Pontégnie). Le Consortium, Dijon, France. Traveled to Museum Leuven, Leuven, Belgium. Roe Ethridge – Selected Works. Charles Riva Collection, Brussels, Belgium. 2011 Le Luxe II BHGG. Gagosian Gallery, Beverly Hills, CA. Le Luxe. Andrew Kreps Gallery, New York, NY. 2010 4th Floor. greengrassi, London, England. 2009 Sunset Studio. Gladstone Gallery, Brussels, Belgium. Goodnight Flowers. Rat Hole Gallery, Tokyo, Japan. 2008 Roe Ethridge: Rockaway Redux. -
Hito Steyerl
In Defense of the Poor Image Hito Steyerl The poor image is a copy in motion. Its Poor images are the contemporary quality is bad, its resolution substandard. Wretched of the Screen, the debris of As it accelerates, it deteriorates. It is a ghost audiovisual production, the trash that wash- of an image, a preview, a thumbnail, an es up on the digital economies’ shores. errant idea, an itinerant image distributed They testify to the violent dislocation, trans- for free, squeezed through slow digital ferrals, and displacement of images – their connections, compressed, reproduced, acceleration and circulation within the ripped, remixed, as well as copied and vicious cycles of audiovisual capitalism. pasted into other channels of distribution. Poor images are dragged around the globe as commodities or their effigies, as gifts The poor image is a rag or a rip; an AVI or or as bounty. They spread pleasure or death a JPEG, a lumpen proletarian in the class threats, conspiracy theories or bootlegs, society of appearances, ranked and valued resistance or stultification. Poor images according to its resolution. The poor image show the rare, the obvious, and the unbe- has been uploaded, downloaded, shared, lievable – that is, if we can still manage reformatted, and re-edited. It transforms to decipher it. quality into accessibility, exhibition value into cult value, films into clips, contempla- tion into distraction. The image is liberated 1 from the vaults of cinemas and archives and Low Resolutions thrust into digital uncertainty, at the ex- pense of its own substance. The poor image In one of Woody Allen’s films the main tends towards abstraction: it is a visual idea character is out of focus.1 It’s not a techni- in its very becoming. -
To Jocassee Gorges Trust Fund
Jocassee Journal Information and News about the Jocassee Gorges Summer/Fall, 2000 Volume 1, Number 2 Developer donates $100,000 to Jocassee Gorges Trust Fund Upstate South Carolina developer Jim Anthony - whose things at Jocassee with the interest from development Cliffs at Keowee Vineyards is adjacent to the Jocassee the Trust Fund. Gorges - recently donated $100,000 to the Jocassee Gorges Trust “We are excited about Cliffs Fund. Communities becoming a partner with the “The job that the conservation community has done at Jocassee DNR on the Jocassee project,” Frampton Gorges has really inspired me,” said Anthony, president of Cliffs said. “Although there is a substantial Communities. “It’s a once-in-a-lifetime opportunity to be here at amount of acreage protected in the the right time and to be able to help like this. We’re delighted to Jocassee Gorges, some development play a small part in maintaining the Jocassee Gorges tract.” around it is going to occur. The citizens John Frampton, assistant director for development and national in this state are fortunate to have a affairs with the S.C. Department of Natural Resources, said developer like Jim Anthony whose Anthony’s donation will “jump-start the Trust Fund. This will be a conservation ethic is reflected in his living gift, because we will eventually be able to do many good properties. In the Cliffs Communities’ developments, a lot of the green space and key wildlife portions are preserved and enhanced. Jim Anthony has long been known as a conservationist, and this generous donation further illustrates his commitment to conservation and protection of these unique mountain habitats.” Approved in 1997 by the S.C. -
(212) 741-8849 Fax (212)741-8863
ANDREW KREPS GALLERY 22 CORTLANDT ALLEY NEW YORK, NY 10013 TEL (212) 741-8849 FAX (212)741-8863 WWW.ANDREWKREPS.COM ROE ETHRIDGE Born 1969, Miami, Florida Lives and works in New York Education 1995 BFA, The College of Art, Atlanta GA, Photography Solo Exhibitions 2019 Sanctuary 2, Andrew Kreps Gallery, New York, NY Sanctuary, Gagosian, Hong Kong, China 2018 Gladstone Gallery, Brussels, Belgium 2017 Innocence II, Gagosian Gallery, San Francisco, CA American Spirit, Andrew Kreps Gallery, New York 2016 Roe Ethridge: Nearest Neighbor, Contemporary Arts Center, Cincinnati Shelter Island, FOAM, Amsterdam, Netherlands Shelter Island, Gladstone Gallery, Brussels, Belgium 2015 Double Bill (with Andy Harman and special guest Louise Parker), Greengrassi, London 2014 Sacrifice Your Body, Andrew Kreps Gallery, New York Sacrifice Your Body, Capitain Petzel, Berlin 2013 Roe Ethridge, Gagosian Gallery, Beverly Hills, CA A Moveable Feast – Part 1, Campoli Presti, Paris The Money, Harper’s Books, East Hampton, NY 2012 Studio Street, Mai 36 Galerie, Zürich Interiors, Gladstone Gallery, Brussels Roe Ethridge, curated by Anne Pontégnie, Dijon, France, tour: Museum Leuven,Leuven, Belgium Roe Ethridge – Selected Works, Charles Riva Collection, Brussels 2011 Le Luxe II, Gagosian Gallery, Los Angeles Le Luxe, Andrew Kreps Gallery, New York Deutsche Börse Photography Prize, exhibition and nomination, The Photographer’s Gallery, London 2010 4th Floor, Greengrassi, London 2009 Sunset Studio, Gladstone Gallery, Brussels Goodnight Flowers, Rat Hole Gallery, Tokyo 2008