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Dana Hoey, Miss Tessa 1, 2015, Archival Inkjet Print, 17 X 22', Ed. 3
Dana Hoey, Miss Tessa 1, 2015, archival inkjet print, 17 x 22’, ed. 3. Repeat Pressure Until Curated by Sheilah Wilson OpeninG Saturday, May 21 6-9pm May 21-June 19 Catherine Cartwright, Moyra Davey, Stacy Fisher, Hilary Harnischfeger, Pati Hill, Dana Hoey, Vera Iliatova, Hein Koh, Dani Leventhal, Carolyn Salas, Kim Waldron, Carmen Winant OrteGa y Gasset Projects is pleased to present Repeat Pressure Until, a material investigation into the spaces between the recognizable and the unknown. Artists in the show use inhaBitation and over-inhaBitation of both material and societal norms to transform perception and offer new proposals. We cannot avoid the material, social, and cultural worlds we live in. Utilizing understood reference points becomes radical because it implies that all knowns have the potential to be made strange. There is a space opened up when testing limits of ideas or materials. Insistence both strengthens through emphasis and falls apart through over-repetition. The gendered female Body is presented as Benignly understandable and simultaneously profane. The object is holding or is held. Dominant can Be overthrown. (Although unnerving, it is made palatable because it is beautiful and the chaos is momentary.) Artists in the show suggest ways for us to live inside the known world, while suBverting these knowns through the act of placing pressure. This exertion of energy can create new forms and functions out of recognizable tropes and materials. Artists use photography, painting, drawing, video, and sculpture as tactics towards newly imagined versions of that which we know. They shoot arrows of violence, oBsession, re-imagined sexuality, kinship, and motherhood into anything in the world around us to which the arrow can cling. -
Papers of Surrealism, Issue 8, Spring 2010 1
© Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination. -
Book XVIII Prizes and Organizations Editor: Ramon F
8 88 8 88 Organizations 8888on.com 8888 Basic Photography in 180 Days Book XVIII Prizes and Organizations Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Group f/64 ............................................... 1 1.1.1 Background .......................................... 2 1.1.2 Formation and participants .................................. 2 1.1.3 Name and purpose ...................................... 4 1.1.4 Manifesto ........................................... 4 1.1.5 Aesthetics ........................................... 5 1.1.6 History ............................................ 5 1.1.7 Notes ............................................. 5 1.1.8 Sources ............................................ 6 1.2 Magnum Photos ............................................ 6 1.2.1 Founding of agency ...................................... 6 1.2.2 Elections of new members .................................. 6 1.2.3 Photographic collection .................................... 8 1.2.4 Graduate Photographers Award ................................ 8 1.2.5 Member list .......................................... 8 1.2.6 Books ............................................. 8 1.2.7 See also ............................................ 9 1.2.8 References .......................................... 9 1.2.9 External links ......................................... 12 1.3 International Center of Photography ................................. 12 1.3.1 History ............................................ 12 1.3.2 School at ICP ........................................ -
School of Art 2012–2013
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2012–2013 School of Art 2012–2013 BULLETIN OF YALE UNIVERSITY Series 108 Number 1 May 10, 2012 BULLETIN OF YALE UNIVERSITY Series 108 Number 1 May 10, 2012 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, or PO Box 208227, New Haven CT 06520-8227 national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Linda Koch Lorimer University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and covered veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to the Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 203.432.0849 (voice), 203.432.9388 The closing date for material in this bulletin was April 20, 2012. -
The Photograph As Contemporary Art Author: Charlotte Cotton ISBN: 9780500204184 Publication Date: 2014 Publisher: Thames Hudson
Title: The Photograph as Contemporary Art Author: Charlotte Cotton ISBN: 9780500204184 Publication Date: 2014 Publisher: Thames Hudson Introduction: • Technology was invented in the 1830’s • Since then, photography has become a contemporary art form, and in the 21st century it is embraced as a legitimate medium (like painting and sculpture) • This book intends to provide an intro and overview of photograpy as contemporary art by others defining it as a subjecy, while also indentifying its characteristic themes and features • All of the photographers in the book convey a sense of the ‘broad and intelligent scope of contemporary photography’ • Every photographer mentioned in the book shares a commitment to maing their own contribution to the culture of art photography • The photos presented in this book were originally made for galleries and in the pages of art books, so bare that in mind, as well as that each photographer is in a way being defined by one photo • The majority of art photographers have some sort of degree and craft their art for art viewers • Now that art photography is being taken more seriously, it also brings in crticial discussion which ‘tends to centre on the consolidation and qualification of the field, rather than on rethinking it conceptually’ • We have image based communication on a daily basis with the use of social media and other photo sharing platforms • amateurs are able to self-publish their own photobooks due to digital printing • Citizens are also able to get involved in documentary photography used in journalism -
Bulletin 2003 Art/Pages.2
bulletin of yale university bulletin of yale bulletin of yale university Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2003–2004 May 10, 2003 School of Art bulletin of yale university Series 99 Number 1 May 10, 2003 Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and affirmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven ct 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual on PO Box 208230, New Haven ct 06520-8230 account of that individual’s sex, race, color, religion, age, disability, status as a special disabled Periodicals postage paid at New Haven, Connecticut veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation. Issued sixteen times a year: one time a year in May, November, and December; two times University policy is committed to affirmative action under law in employment of women, a year in June and September; three times a year in July; six times a year in August minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. Managing Editor: Linda Koch Lorimer Inquiries concerning these policies may be referred to the Director of the Office for Editor: David J. -
Graham, New American Film and Video Series”, Whitney Museum of American Art, New York
Dan Graham b. 1942 Urbana, Illinois Awards 1992 Coutts Contemporary Art Foundation Award Skowgenen Award 1993 City of Nantes Solo Exhibitions 1969 John Daniels Gallery, New York City 1970-71 Anna Leonowens Gallery, Nova Scotia College of Art, Halifax The Mezzanine, Nova Scotia College of Art, Halifax 1972 Fourth Floor Gallery, Halifax, Nova Scotia Lisson Gallery, London (exh cat) Protech-Rivkin Gallery, Washington DC Galleria Toselli, Milan Project Inc, Cambridge, Massachusetts Gallery A 402, California Institute of the Arts, Valencia, California 1973 Galerie MTL, Brussels Galerie Zwirner, Cologne Galleria Schema, Florence Gallery A 402, Institute of Arts, Valencia 1974 Galleria Marilena Bonomo, Bari, Italy Galerie 17, Paris Royal College of Art, London Lisson Gallery, London Galerie MTL, Brussels Epson School of Art, ‘Performance and Films’, Surrey 1975 Modern Art Agency, Naples John Gibson Gallery, New York Palais des Beaux-Arts, Brussels Internationaal Cultureel Centrum, Antwerp Griffiths Art Centre, St Lawrence University, Canton, New York Otis Institute Gallery (with Mowry Baden), Los Angeles 1976 Sperone Westwater Fischer, New York Salle Patino, Geneva, Switzerland (exh cat) Samangallery, Genoa Galerie Vega, Liege, Belgium New Gallery, ICA, London Anne-Marie Verna, Zürich Galleria Banco, Brescia Kunsthalle Basel, Switzerland (exh cat) 1977 "Video Piece for two Glass Buildings", Leeds Polytechnic Gallery Rene Block Galerie, Berlin "Articles", Van Abbemuseum, Eindhoven (exh cat) Studio Terelli, Ferrara Museum van Hedendaagse Kunst, -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
Repeat Pressure Until
Dana Hoey, Miss Tessa 1, 2015, archival inkjet print, 17 x 22’, ed. 3. Repeat Pressure Until Curated by Sheilah Wilson OpeninG Saturday, May 21 6-9pm May 21-June 19 Catherine Cartwright, Moyra Davey, Stacy Fisher, Hilary Harnischfeger, Dana Hoey, Vera Iliatova, Dani Leventhal, Carolyn Salas, Kim Waldron OrteGa y Gasset Projects is pleased to present Repeat Pressure Until, a material investigation into the spaces between the recognizable and the unknown. Artists in the show use inhabitation and over-inhabitation of both material and societal norms to transform perception and offer new proposals. We cannot avoid the material, social, and cultural worlds we live in. Utilizing understood reference points becomes radical because it implies that all knowns have the potential to be made strange. There is a space opened up when testing limits of ideas or materials. Insistence both strengthens through emphasis and falls apart through over-repetition. The gendered female body is presented as benignly understandable and simultaneously profane. The object is holding or is held. Dominant can be overthrown. (Although unnerving, it is made palatable because it is beautiful and the chaos is momentary.) Artists in the show suggest ways for us to live inside the known world, while subverting these knowns through the act of placing pressure. This exertion of energy can create new forms and functions out of recognizable tropes and materials. Artists use photography, painting, drawing, video, and sculpture as tactics towards newly imagined versions of that which we know. They shoot arrows of violence, obsession, re-imagined sexuality, kinship, and motherhood into anything in the world around us to which the arrow can cling. -
Performances of Adolescence in Contemporary Photographic Portraits
Different Girls: performances of adolescence in contemporary photographic portraits Catherine Mary Grant PhD Thesis Courtauld Institute of Art, London June 2006 1 Abstract This study considers five contemporary women artists whose work focuses on the adolescent model. Framed by the trend for large-scale colour photography, the depiction of adolescence was a recurring theme in the mid- to late-1990s. The artists – Sarah Jones, Anna Gaskell, Collier Schorr, Hellen van Meene and Amy Adler – are examined through their engagement with the history of the photographic portrait, with the room-sized space in front of the camera theorised as a performance space in which the identifications of the photographer, model and viewer are staged. Adolescence as a cultural and psychic identity is explored through psychoanalytic concepts of hysteria, sibling relations and narcissism, examining the performances of adolescence as disrupting heteronormative presentations of female identity and sexuality. The ‘queerness’ of adolescence and the potential this allows in the construction of alternative viewing positions and identifications is a concern that runs throughout the study. In each chapter the contemporary work is considered alongside examples from the history of the photographic portrait. The conventions of studio portraiture developed in the mid- to late-nineteenth century through the commercial carte-de-visite photograph, experimental amateur photography and scientific applications of photography form key points of dialogue with these contemporary stagings. The figure of the adolescent girl focuses attention on narratives of anxiety around uncontrollable sexuality, one that can be seen in the work of artists, writers, psychoanalysts and filmmakers, from the favourite hysteric at the Salpêtrière, Augustine, to Vladimir Nabokov’s Lolita. -
Re·Bus: Issue 4 (Winter 2009) Edited by Matthew Bowman and Stephen Moonie
re·bus: Issue 4 (Winter 2009) edited by Matthew Bowman and Stephen Moonie Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo), 1975, ICA, 2 London, Natasha Adamou Ideological Conceptualism and Latin America: Politics, Neoprimitivism and 22 Consumption, Zanna Gilbert Shadows of Femininity: Women, Surrealism and the Gothic, 37 Kimberley Marwood Strategies of Ambiguity in Rembrandt’s Naked Woman Seated on a Mound, 54 c. 1631, Michelle Moseley-Christian Dada, MAVO and the Japanese Avant-Garde: A prologue to the introduction of 80 Surrealism to Japan, Majella Munro Cy Twombly: Writing after Writing, 94 Abigail Susik On Becoming and Sites of Encounter in the work of Daniel Shoshan, 121 Merav Yerushalmy Review: Charles Harrison, Since 1950: Art and its Criticism, 133 Stephen Moonie Review: Art of Two Germanys/Cold War Cultures, 139 Alexandra Oliver Review: Renée Green. Ongoing Becomings. Retrospective 1989-2009, 146 Katherine Whitebread Contact details School of Philosophy and Art History University of Essex, Wivenhoe Park, Colchester, Essex CO4 3SQ, UK [email protected] © Natasha Adamou, 2009 Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo), 1975, ICA, London Natasha Adamou Abstract This essay seeks to examine Marcel Broodthaers’ last exhibition Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo) 1975, ICA, London, in the light of two seminal essays in the field of aesthetics and political theory. It starts by looking at Walter Benjamin’s ‘The Author as Producer’, which introduces issues of artistic intentionality, political commitment and its relation to the aesthetic quality of an artwork. It then goes on to address ‘The Politics of Aesthetics’ by Jacques Rancière, which incorporates the notion of the ‘distribution (or partition) of the sensible’ as its main analytical tool. -
School of Art 2019–2020
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2019–2020 School of Art 2019–2020 BULLETIN OF YALE UNIVERSITY Series 115 Number 1 May 25, 2019 BULLETIN OF YALE UNIVERSITY Series 115 Number 1 May 25, 2019 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 4th Floor, 203.432.0849.