Richard Serra David Zwirner

Total Page:16

File Type:pdf, Size:1020Kb

Richard Serra David Zwirner David Zwirner This document was updated September 28, 2019. For reference only and not for purposes of publication. For more information, please contact the gallery. Richard Serra Born 1938 in San Francisco, California. Lives and works in New York and Nova Scotia, Canada. EDUCATION 1961 B.A., University of California, San Diego 1962 B.F.A., Yale University, New Haven 1964 M.F.A., Yale Univesity, New Haven SOLO EXHIBITIONS 2019 Richard Serra: Forged Rounds, Gagosian Gallery (24th Street), New York (September 17, 2019- December 7, 2019) Richard Serra: Reverse Curve, Gagosian Gallery (21st Street), New York (September 17, 2019- February 1, 2020) Richard Serra: Triptychs and Diptychs, Gagosian Gallery (Madison Avenue), New York (September 16-November 2, 2019) 2018 Richard Serra Drawings, David Zwirner, Hong Kong (May 23-June 30, 2019) Richard Serra: Rifts, Gagosian Gallery (Grosvenor Hill), London (April 6-May 25, 2018) Richard Serra: Black and White, Alan Cristea Gallery, London (February 14-March 17, 2018) 2017 Richard Serra: Sculpture and Drawings, David Zwirner, New York (November 4-December 16, 2017) Richard Serra: Drawings 2015-2017, Museum Boijmans van Beuningen, Rotterdam, The Netherlands (June 24-September 24, 2017) Richard Serra: Films and Videotapes, Kunstmuseum Basel (May 20-October 15, 2017) Richard Serra: Props, Films, Early Works, Museum Wiesbaden, Germany (March 17-June 18, 2017) Richard Serra - Drawings, Peder Lund, Oslo (February 18-April 22, 2017) Richard Serra: Prints, Nasher Sculpture Center, Dallas (January 28-April 30, 2017) 2016 Richard Serra: Reversal, Galerie Lelong, Paris (October 12-November 19, 2016) Richard Serra: NJ-2, Rounds: Equal Weight, Unequal Measure, Rotate, Gagosian Gallery (Britannia Street), London (October 1, 2016-February 25, 2017) Richard Serra: Drawings, Gagosian Gallery (Davies Street), London (September 1-December 17, 2016) Richard Serra: NJ-1, Gagosian Gallery (21st Street), New York (May 7-July 29, 2016) Richard Serra: Above Below Betwixt Between, Every Which Way, Silence (For John Cage), Through), Gagosian Gallery (24th Street), New York (May 7-July 29, 2016) Richard Serra: Prints, The Fralin Museum of Art, University of Virginia, Charlottesville, Virginia (January 29-May 8, 2016) Richard Serra: Ramble Drawings, Gagosian Gallery, Paris (January 28-April 16, 2016) 2015 Richard Serra: Ramble Drawings, Gagosian Gallery (Madison Avenue), New York (September 26-October 24, 2015) Richard Serra: Equal, David Zwirner (20th Street), New York (May 1-July 24, 2015) 2014 Richard Serra: Vertical and Horizontal Reversals, David Zwirner (20th Street), New York (November 8-December 20, 2014) Richard Serra: Backdoor Pipeline, Ramble, Dead Loan, London Cross, Gagosian Gallery (Britannia Street), London (October 11, 2014-February 28, 2015) Richard Serra: Drawing, Gagosian Gallery (Davies Street), London (October 11-November 22, 1 2014) Richard Serra: desenhos na casa da Gávea, Instituto Moreira Salles, Rio de Janeiro (May 29- September 28, 2014) Richard Serra Retrospective, QMA Gallery, Katara and Al Riwaq, Doha (April 10-July 6, 2014) Sight Lines: Richard Serra’s Drawings for Twain, Saint Louis Art Museum, Missouri (March 28- September 7, 2014) 2013 Richard Serra: New Sculpture, Gagosian Gallery (24th and 21st Street), New York (October 26, 2013-January 11, 2014) Richard Serra: Levels, Weights & Rifts 2008-2013, Gemini G.E.L. at Joni Moisant Weyl, New York (October 24-December 11, 2013) Richard Serra: Black is the Drawing, Axel Vervoordt Gallery, Antwerp, Belgium (October 24- December 1, 2013) Richard Serra: Drawings for the Courtauld, The Courtauld Gallery, London (September 19, 2013-January 12, 2014) Richard Serra: Double Rifts, Gagosian Gallery, Beverly Hills (April 17-June 1, 2013) Richard Serra: Early Work, David Zwirner (20th Street), New York (April 12-June 15, 2013) 2012 Transparencies: Richard Serra Recent Drawings, Craig F. Starr Gallery, New York (October 26- December 15, 2012, extended to December 22) Richard Serra: Echoic Drawing, Galeria Carreras Mugica, Bilbao, Spain (February 7-March 16, 2012) 2011 Richard Serra: Drawings, Gagosian Gallery, Paris (November 23, 2011-January 7, 2012) Richard Serra: Junction/Cycle, Gagosian Gallery (24th Street), New York (September 14- November 26, 2011) Richard Serra Drawing: A Retrospective, The Metropolitan Museum of Art, New York (April 13- August 28, 2011) [itinerary: San Francisco Museum of Modern Art, San Francisco (October 15, 2011-January 16, 2012); The Menil Collection, Houston (March 2-June 10, 2012)] Richard Serra: Paperworks, mpk-Museum Pfalzgalerie Kaiserslautern, Germany (February 12- May 1, 2001) [itinerary: Kunsthalle Rostock, Germany (March 3-August 21, 2011)] 2010 Richard Serra: Greenpoint Rounds, Gagosian Gallery, Rome (April 9-May 15, 2010) Richard Serra: Weight and Level: Grandes Estampes, Galerie Lelong, Paris (April 1-May 15, 2010) 2009 Richard Serra: Blind Spot Open Ended, Gagosian Gallery (24th Street), New York (October 27- December 23, 2009) Richard Serra: Fernando Pessao, Gagosian Gallery, London (May 21-July 31, 2009) Richard Serra: Tracks, Galerías Carreras Mugica, Bilbao, Spain (April 28-May 29, 2009) 2008 Richard Serra: Solids, Gagosian Gallery (Madison Avenue), New York (November 4-December 20, 2008) Richard Serra: Drawings: Work Comes Out of Work, Kunsthaus Bregenz, Austria (June 14- September 14, 2008) Monumenta 2008: Richard Serra: Promenade, Galeries nationales du Grand Palais, Paris (May 7- June 15, 2008) Richard Serra. Druckgrafik, Zeichnung/Prints, Drawings, Museum für Gegenwartskunst, Siegen, Germany (February 17-May 18, 2008) 2007 Richard Serra Sculpture: Forty Years, The Museum of Modern Art, New York (June 3- September 10, 2007) Richard Serra: Escultura, Dibujo, Galeria Guillermo de Osma, Madrid (May 3-June 8, 2007) 2006 Richard Serra: Rolled and Forged, Gagosian Gallery (24th Street), New York (May 5-September 23, 2006) 2005 Richard Serra: The Matter of Time, Museo Guggenheim Bilbao, Spain (opened June 6, 2005, ongoing for twenty-five years) Richard Serra: Arc of the Curve, William Shearburn Gallery, St. Louis, Missouri (May 6-August 31, 2005) 2 2004 Richard Serra: Sculpture from 1967-1968, Peter Freeman Inc., New York (January 15-February 28, 2004) 2003 Richard Serra. Naples, Piazza Plebiscito, Naples, Italy (December 20, 2003-May 10, 2004) Richard Serra: Large-Scale Prints, Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts (November 25, 2003-March 29, 2004) [itinerary: Snite Museum of Art, University of Notre Dame, Indiana (September 5-November 14, 2004); Colby College Museum of Art, Waterville, Maine (February 24-April 24, 2005)] Richard Serra: Wake, Blindspot, Catwalk, Vice-Versa, Gagosian Gallery (24th Street), New York (September 20-October 25, 2003) Richard Serra: Round, The Sheldon Art Gallery, St. Louis, Missouri (May 7-July 26, 2003) Richard Serra. Drawings/Zeichnungen 2001/2002, Galerie m, Bochum, Germany (April 27-July 23, 2003) Sculpture and Drawings by Richard Serra, The Pulitzer Foundation for the Arts, St Louis, Missouri (March 1, 2003-July 24, 2004) 2002 Richard Serra: Venice Notebook: New Etchings, Mira Goddard Gallery, Toronto, Ontario (February 1-15, 2003) Richard Serra: Paintstik on Linen, Akira Ikeda Gallery, Taura, Yokosuka, Japan (October 3- December 21, 2002, extended to March 15, 2003) Richard Serra: Line Drawings, Gagosian Gallery (24th Street), New York (September 14-October 19, 2002) Richard Serra: Venice Notebook 2001: New Prints, Danese, New York (June 28-August 30, 2002) Richard Serra Prints, Jim Kempner Fine Art, New York (April 13-June 1, 2002) Prop Sculptures 1969-1987, Van de Weghe Fine Art, New York (February 22-May 25, 2002) 2001 Richard Serra: Torqued Spirals, Toruses and Spheres, Gagosian Gallery (24th Street), New York (October 18-December 15, 2001) Richard Serra: New Prints, Danese, New York (July 20-September 7, 2000) An Empty Space: Richard Serra, Akira Ikeda Gallery, New York (July 1-December 31, 2000) 1999 Richard Serra. Weight and Measure Drawings, American Academy in Rome, Italy (December 7, 1999-February 20, 2000) Richard Serra, Trajan’s Market, Rome (December 6, 1999-March 5, 2000) Richard Serra: Selected Prints 1981-1996, Danese, New York (December 3, 1999-January 8, 2000) Richard Serra: Torqued Ellipses and Rounds: 9 New Etchings, Timothy Taylor Gallery, London (November 15-December 18, 1999) Richard Serra: Switch, Gagosian Gallery (24th Street), New York (November 13, 1999-February 26, 2000) Richard Serra: Out-of-Round Drawings, Gagosian Gallery (980 Madison Avenue), New York (November 13, 1999-January 14, 2000) Richard Serra: Torqued Ellipses and Rounds: 15 New Etchings, Gemini G.E.L. at Joni Moisant Weyl, New York (November 3, 1999-January 7, 2000) Richard Serra: Torqued Ellipses and Rounds, Gemini G.E.L., Los Angeles (October 21-December 31, 1999) Richard Serra: Works on Paper 1981-1993, Grant Selwyn Fine Art, New York (June 21- September 1, 1999) Richard Serra. Druckgrafik 1972-1999, Museum Kurthaus Kleve, Germany (March 28-June 20, 1990) [itinerary: Künstlerhaus, Vienna (August 11-September 26, 1999); Graphische Sammlung der Staatsgalerie Stuttgart, Germany (October 8, 1999-January 16, 2000); Kunstsammlungen Chemnitz, Germany (March 16-May 14, 2000); Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, June 23-August 27, 2000)] Richard Serra, The Solomon R. Guggenheim Museum, Bilbao, Spain (March 27-October 17, 1999) 1998 Richard Serra: Rounds, Eleven New Drawings, Galerie m, Bochum, Germany (November 13, 1998-March
Recommended publications
  • Bauhaus Utopia in Crisis
    BAUHAUS: UTOPIA IN CRISIS SYMPOSIUM Image: Keeping Up with Kraze, Phoebe Ackers, Camberwell College of Arts, UAL. Photo by David Poultney THURSDAY, 24 OCTOBER 2019 CAMBERWELL COLLEGE OF ARTS This one-day symposium will explore and debate the Bauhaus’ legacy for contemporary artists and designers. Convened by UAL Professor in Painting Daniel Sturgis, and coinciding with the Bauhaus: Utopia in Crisis exhibition at Camberwell Space, the conference looks at how contemporary artists and academics have found inspiration through interrogating the social and political histories associated with the original design school. The symposium brings together speakers from across Europe and the USA and is structured around three panels that explore: how contemporary artists have responded and inhabited the Bauhaus’ historical archive; how artists and curators have sought to reengage with the political context of the Bauhaus to decolonise its history; and how Bauhaus performance is being reassessed as a pedagogical tool. #UALOurHaus #OurHaus SCHEDULE: 09.30-10.00 Registration 10.00-10.30 Welcome and introduction Daniel Sturgis 1: RESPONDING TO THE BAUHAUS ARCHIVES 10.30-11.15 Judith Raum Zombie fabrics Lecture-performance 11.15-11.40 Eva Sajovic The role of the artist in a world of imminent climate breakdown 11.40-12.05 Helen Robertson Pleasure in suspense 12.05-12.30 Panel discussion Chaired by Ben Luke (The Art Newspaper) 12.30-13.30 Lunch 2: DECOLONISING & POLITICISING THE BAUHAUS 13.30-13.55 Grant Watson bauhaus imaginista 13.55-14.20 Sebastian Helm
    [Show full text]
  • The German Pavilion Team Welcomes You at the 52Nd International Art Exhibition La Biennale Di Venezia 2007
    Welcome! The German Pavilion team welcomes you at the 52nd International Art Exhibition La Biennale di Venezia 2007. Our press kit comprises following information: • Press information • Information in brief • Isa Genzken´s work “Oil” for the German Pavilion • Conversation between Isa Genzken and Nicolaus Schafhausen • Biography of the artist Isa Genzken • Biography of the curator Nicolaus Schafhausen • Background information of the German Pavilion • Press information of the commissioner Federal Foreign Office (Auswärtiges Amt) • Press information of the collaborator Institute of Foreign Cultural Relations (ifa) • Press information of the main sponsor Deutsche Bank • Press information of the sponsor AXA Art Kunstversicherung • Press information of the media partner DW-TV – Deutsche Welle • Press information of the catalogue partner DuMont Literatur und Kunst Verlag • “Vogue Special German Pavilion” of the media partner Vogue Germany Thank you for your interest in the German Pavilion. We wish you a pleasant and in- spiring stay at Venice! Press Information Isa Genzken Oil German Pavilion La Biennale di Venezia 2007 Isa Genzken is the artist of the German contribution to the 52nd International Art Exhi- bition of the Biennale in Venice. The curator is Nicolaus Schafhausen, director of the Witte de With, Center for Contemporary Art in Rotterdam. For more than thirty years, Genzken (born in 1948) has been producing a diverse oeuvre that is continually being refined with new twists. Her extensive body of work includes sculpture and installations as well as photographs, collages and films. Genzken is creating an exhibition for the German Pavilion in Venice that envelops the architecture of the building, which is steeped in history, and presents it in a mise-en- scène that also comments that history.
    [Show full text]
  • Aims and Characteristics
    UNIT 2: Postmodern architecture evolved from the modernist movement, yet contradicts many of the modernist ideas. Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse. Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer. The key ideas of Postmodernism are set forth in two important books by Robert Venturi:Complexity and Contradiction in Architecture and Learning from Las Vegas. Postmodern architecture began as an international style the first examples of which are generally cited as being from the 1950s, but did not become a movement until the late 1970s[1] and continues to influence present- day architecture. Postmodernity in architecture is said to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of Postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of themodernist style are replaced by diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of building which had been abandoned by the modern style. Influential early large-scale examples of postmodern architecture are Michael Graves' Portland Building in Portland, Oregon and Philip Johnson's Sony Building (originally AT&T Building) in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture.
    [Show full text]
  • Ausstellungskalender
    Ausstellungskalender Objekttyp: Group Zeitschrift: Werk, Bauen + Wohnen Band (Jahr): 78 (1991) Heft 5: Katalonien = Catalogne = Catalonia PDF erstellt am: 05.10.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Chronik Ausstellungskalender Basel, Kunsthalle Brühl, Max-Ernst-Kabinett Eduardo Chillida Max Ernst - «Frühwerke» bis 7.7. bis 30.6. (Ohne Verantwortung der Redaktion) Ernst Wilhelm Nay (1902-1968) Cindy Sherman New Yorker Budapest, Mücsarnok Aarau, Kunsthaus - Fotokünstlerin Marta Pan Plastiken und Installationen Aus der Sammlung: Von Johann - bis 20.5. Heinrich Füssli bis Ferdinand bis 16.6. Hodler Basel, Kunstmuseum Cuno Amiet: Die Hoffnung Sammeln in der Renaissance Rätisches Museum bis 16.6.
    [Show full text]
  • RICHARD SERRA (B
    RICHARD SERRA (b. 1938) Richard Serra is an American sculptor best-known for his massive steel sculptures. He was born in San Francisco in 1938 and was largely influenced by his father’s work in shipyards and steel mills. Serra himself worked in steel mills after graduating from the University of California, Santa Barbara in 1961 with a B.A. in English Literature. He then studied painting at the Yale School of Art until 1964 before traveling to Paris and Florence. He now lives and works in New York. At the beginning of his career, Serra’s work consisted mainly of smaller sculptures made out of unconventional materials such as lead, neon, timber, rubber, and steel. His work was heavily process-based and the artist sometimes produced films, such as Hand Catching Lead (1968) of his creative process. Throughout the 1970s and 80s, Serra’s sculptures shifted towards large, self-supporting steel structures that tower over the viewer. His pieces often begin as smaller lead models, which are then actualized into forms of weathered steel. His constructions are minimalist in their yet material yet maximalist in their size, reaching heights of as much as 80 feet. Serra’s steel works are popular for site-specific commissions due to their ability to manipulate a large space and the public’s perception of it. He continues to produce these structures for locations all over the world. Serra has been featured in countless solo and group exhibitions both in the US and internationally, and his work is included in numerous collections of notable institutions such as the Solomon R.
    [Show full text]
  • I'll Get Through
    1 Major press reports/Längere Presseartikel dpa, 17.08.98 Tagesanzeiger, Zurich, 8.06.98 Koelnische Rundschau, 18.08.98 1 Tagesanzeiger, Zurich, 8.06.98 Mannheimer Morgen, 18.08.98 2 Neue Zürcher Zeitung, 8.06.98 Fraenkischer Tag, 18.08.98 6 Neue Zürcher Zeitung, 8.06.98 Westfaelischer Anzeiger, 18.08.98 7 Basler Zeitung, 8.06.98 Die Welt, Berlin, 18.08.98 8 Berliner Zeitung, 9.06.98 Winsener Anzeiger, 11.09.98 13 Basellandschaftliche Zeitung, 9.06.98 dpa Landesdienst, 30.98.98 15 Frankfurter Rundschau, 9.06.98 Rhein-Zeitung, 1.10.98 17 Kölner Stadtanzeiger, 9.06.98 Schwarzwaelder Bote, 1.10.98 18 Erkelener Nachrichten, 9.06.98 Reutlinger General-Anzeiger, 1.10.98 19 Süddeutsche Zeitung, 9.06.98 Video Text, 1.10.98 20 Neue Zürcher Zeitung, 9.06.98 Hellweger Anzeiger, 1.10.98 21 In Memoriam Dieter Roth ???### NZZ??? Frankfurter Allgemeine Zeitung, 2.10.98 24 Tagesspiegel (Berlin), 9.06.98 Sueddeutsche Zeitung, 23.10.98 25 Rheinische Post, 9.06.98 ???#### 110 27 Stuttgarter Zeitung, 9.06.98 ????#### 110 29 Die Welt (Hamburg), 9.06.98 Laudatio for Dieter Roth on the award of 3th1e art Die Presse (Vienna), 9.06.98 multiple prize 1998 in Düsseld3o2rf Berliner Morgenpost, 9.06.98 34 Frankfurter Allgemeine Zeitung, 9.06.98 ###Mentions/Kurze Erwähnungen 37 Berner Zeitung, 9.06.98 39 Langenthaler Tagblatt, 9.06.98 Süddeutscher Zeitung, 12.06.98 42 Neue Nidwaldner Zeitung, 9.06.98 Frankfurter Allgemeine, 12.06.98 44 Westdeutsche Zeitung, 9.06.98 Frankfurter Rundschau, 19.06.98 46 Stuttgarter Nachrichten, 9.06.98 Blick, 25.06.98 47 HNA Hessische Allgemeine, 9.06.98 Nürnberger Nachrichten, 30.06.98 49 Mannheimer Morgen, 9.06.98 Sonntags Zeitung, 5.07.98 51 Appenzeller Zeitung, 9.06.98 Schweizer Monatshefte, 10.07.98 53 Alles für Wien, Vienna, 10.06.98 Der Standard, Vienna, 14.08.98 54 Neue Zürcher Zeitung, 10.06.98 Sonntags Zeitung, 23.08.98 55 Die Zeit, 10.06.98 dpa Landesdiest, Hamburg, 24.08.98 58 Tageszeitung, 10.06.98 Zürichsee-Zeitung, 26.08.98 59 SonntagsZeitung, 14.06.98 Aargauer Zeitung, 29.08.98 67 Jungle World, No.
    [Show full text]
  • Barbara Pfenningstorff Goldsmiths, University of London Phd Art
    Aesthetics of Immanence Barbara Pfenningstorff Goldsmiths, University of London PhD Art 1 © Barbara Pfenningstorff 2014 2 ABSTRACT This thesis is concerned with the spatial contingencies which affect the production and reception of art. The initial argument is premised on 19th century museum architecture and its role in the aesthetic judgement and containment of art. As an idealist formation, the art museum has survived to this day. However, the thesis claims that art is an immanent space which makes sense of the contingencies it contains, and not the other way round. Since the late 1960s, then, artists such as Robert Smithson and Donald Judd have recovered what they term 'architectural afterthought' and 'space as a main aspect of art'. Building on Miwon Kwon's and James Meyer's theories on site-specificity, it is shown that today, the force of this impulse has given way to spatial dispersal, institutional immersion and corporate assimilation. Museums, in turn, have changed with these developments and have incorporated them accordingly. After a short discussion of relevant philosophical spatial concepts, it is further assessed how contemporary art practices make sense of their own space today. It is found, that artists as diverse as Gerhard Richter, James Turrell and Andrea Zittel have set up architectural sites which imbue their constructions with affective contingencies such as analogy, atmosphere and relation. The agency of these works thus furthers the impulse of Smithson and Judd and embodies an immanence of ideal and contingent space. The practice section, finally, stands on its own. It explores experimental sites which exemplify their process, economy of labour and the site-specific or -responsive nature of their display.
    [Show full text]
  • Diplomarbeit
    DIPLOMARBEIT Titel der Diplomarbeit Elmgreen & Dragset. Ästhetik der Institution. Institutionskritische Aspekte in den Werken von Elmgreen & Dragset Verfasserin Fina Esslinger angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin / Betreuer: Univ.-Prof. Mag. Dr. Sabeth Buchmann Ehrenwörtliche Erklärung 2 Ehrenwörtliche Erklärung Ich erkläre hiermit an Eides statt, die vorliegende Arbeit selbständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt zu haben. Die aus fremden Quellen direkt oder indirekt übernommenen Gedanken sind als solche kenntlich gemacht und in der üblichen Weise in den Fußnoten angeführt. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht. Vorwort 3 Vorwort Als ich im Jahr 2010 an der Ausstellung von Michael Elmgreen und Ingar Dragset Celebrity. The One and the Many mitwirkte, entschloss ich mich dazu, ermutigt von Michael Elmgreen und Ingar Dragset, meine Diplomarbeit über die Arbeiten dieser beiden Künstler zu schreiben. Ich habe die Entscheidung in keinem Moment bereut und möchte mich dafür herzlich bei Michael Elmgreen und Ingar Dragset bedanken. Aber nicht nur dafür, sondern auch für die Erlebnisse und Gespräche, die ich mit ihnen hatte und habe. Bei Frau Prof. Sabeth Buchmann möchte ich mich bedanken, da sie mir sehr geholfen hat, meine Themenstellung zu präzisieren, und das Ergebnis mit scharf analysierten Hinweisen zu einem besseren Resultat geführt hat. Meiner Mutter danke ich, da sie mir immer geduldig unter die Arme gegriffen hat. Auch möchte ich mich sehr bei Ursula Hentschläger bedanken, die mir von Anfang an mit hilfreichen formalen Tipps und Gesprächen zur Seite gestanden ist.
    [Show full text]
  • Computer Scientists As Early Digital Artists
    Solvita Zariņa Computer Scientists as Early Digital Artists SCIENTIFIC PAPERS, UNIVERSITY OF Latvia, 2011. Vol. 770 COMPUTER SCIENCE AND INFOrmatiON TECHNOLOGIES 112–123 P. Computer Scientists as Early Digital Artists Solvita Zariņa Institute of Mathematics and Computer Science, University of Latvia 29 Raina blvd., Riga, LV-1459, Latvia [email protected] Computer graphics and early computer art are practically of the same age as computers. Since the moment when graphical output devices became available people started to use them for experiments in art. This paper attempts to analyze the early computer art in context of its authors’ opinions. There are outstanding examples of collaboration between computer scientists, software programmers and 20th century artists. Some recent media art events in Latvia are mentioned from this viewpoint. Keywords: computer graphics, computer art, digital art. 1 Introduction The first visual examples created by using an analogue computer appeared in the mid-1950s in the United States and Germany. We can find some experiments with oscilloscope images even before the stage of electronic graphics. The point of interest is why anybody dares to call these pieces the art. We can prove it from the viewpoint of the history of art of the 20th century. Art forms, such as cubism, Dada, futurism, naïve art, primitivism, constructivism, suprematism and kinetic art, had already emerged before and were widely considered to be the art forms in the middle of the century. Abstract expressionism was one of the major stylistic approaches in the US at that time. Therefore, three things characterising the first examples of computer art are: art as a process not only as a result (Dada), non-professional artists (naïve and primitive art) and abstract, non-representative art forms (suprematism, constructivism, abstractionism) have been already accepted by art theoreticians, gallery and museum curators, as well as by general public in the Western world.
    [Show full text]
  • Voti Union of the Imaginary
    VOTI UNION OF THE IMAGINARY SALT008-VOTI-001 VOTI UNION OF THE IMAGINARY VOTI Union of the Imaginary A Curators Forum Edited by Susan Hapgood, Vasıf Kortun and November Paynter Published online by SALT, Istanbul, 2013 Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License SALT008-VOTI-02 VOTI UNION OF THE IMAGINARY Postcard sent from Hans Ulrich Obrist to Susan Hapgood, 1998 SALT008-VOTI-03 VOTI UNION OF THE IMAGINARY Contents Introduction 5 Appendix 443 VOTI Timeline 9 TNCS Networkers - Civil Society - Transnational Members of VOTI, 1998 - 2000 12 Corporations - Democratic Governance, Brian Holmes 444 Vita VOTI 13 In Conversation 17 The Artist’s Reserved Rights Transfer and Sale Agreement, Seth Siegelaub and Robert Projansky 453 Research document: The Trial of Pol Pot 463 Of Course, Intensity and Art Can Change the World. VOTI FORUM 37 Harald Szeemann and Rosa Martínez 466 Chapter I The Museum of the XXI Century 48 Chapter II The Economy of the Art World 101 Chapter III The Whitney Letter and FRACS 140 Biographies 487 Chapter IV The Trial of Pol Pot 211 Thanks and Acknowledgements 497 Chapter V Frieze and Artforum 245 Endnotes 498 Chapter VI Cultural Practice and War 261 Chapter VII Sensation 409 Chapter VIII ARCO 2000 420 SALT008-VOTI-04 VOTI UNION OF THE IMAGINARY Introduction Susan Hapgood and Vasıf Kortun For only a few years, just before the turn of the millenium, VOTI (Union of the Imaginary) flourished. It was an international forum that existed online, a digital place for discussion among contemporary art curators, many of whom are among today’s most prominent museum professionals.
    [Show full text]
  • Jay Batlle Roza Azora Gallery Moscow
    JAY BATLLE ROZA AZORA GALLERY MOSCOW Press Release: JAY BATLLE NAKED RAVIOLI 17TH OF APRIL – ? 2014 ROZA AZORA GALLERY, MOSCOW 14 Nikitsky Blvd. 7 (495) 6958119 /www.rozaazora.com Opening: Thursday, 17th of April, 6-8pm Roza Azora Gallery is pleased to present Naked Ravioli, a solo exhibition of new paint- ings by New York artist and gourmet cook Jay Batlle, for whom this will be the first exhibition in Russia. The show will start with Batlle’s “Naked Ravioli Performance”, in which the artist himself will prepare ravioli nudi – a classic Italian dish - for all present in the gallery at the opening. For the exhibition Naked Ravioli, Batlle contrasts two new series of paintings on restau- rant stationery, one of nudes and the other of doodles. Both groups catch the artist daydream- ing, doing something automatically and without thinking. However Batlle’s characteristic non- chalance, his hit-or-miss doodling, his “let’s try this” and “how about that” are here contained by the formal style and content of an overall restaurant theme. The result is a series of simple, exuberant gestures that recall the drawings of artists like Ludwig Bemelmans, James Thurber, or Saul Steinberg. In these pieces and in his earlier “epicurean” paintings, drawings, videos and sculptures, Jay Batlle has consistently used his own gourmet habits as a source of inspiration and subject mat- ter. His work is at once a light-hearted celebration of food-related decadence, and a salute to the way food and drink are prepared and enjoyed by human beings everywhere. Works by Jay Batlle have been exhibited in galleries and museums all over the world, in- cluding Metro Pictures, Paul Kasmin, Casey Kaplan, the Chelsea Museum, Exit Art, The Dorsky Gallery in New York, the Ausstellungshalle Zeitgenössische Kunst in Münster, The Abteiberg Museum in Mönchengladbach, Germany, the National Museum of Fine Arts, Santiago de Chile, and the Museum of Liverpool, United Kingdom.
    [Show full text]
  • Galerie Schmela Records, 1923-2006, Bulk 1957-1992
    http://oac.cdlib.org/findaid/ark:/13030/kt6z09s3jn Online items available Finding aid for the Galerie Schmela records, 1923-2006, bulk 1957-1992 Isabella Zuralski Finding aid for the Galerie 2007.M.17 1 Schmela records, 1923-2006, bulk 1957-1992 Descriptive Summary Title: Galerie Schmela records Date (inclusive): 1923-2006, bulk 1957-1992 Number: 2007.M.17 Creator/Collector: Alfred Schmela Galerie Physical Description: 102.63 Linear Feet(175 boxes, 26 flatfile folders) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Galerie Schmela was one of the most important art galleries in Germany in the postwar period. Through a prescient program of exhibitions, founder Alfred Schmela introduced and promoted innovative European and American artists, such as Joseph Beuys, Arman, Gerhard Richter, the group ZERO (Otto Piene, Günther Uecker, Heinz Mack), Hans Haacke, Christo, Lucio Fontana, Robert Indiana, Yves Klein, Gordon Matta-Clark, Jean Tinguely, Richard Tuttle, and numerous others. Mainly concentrated on the 1950s through the 1970s, the Galerie Schmela records include: correspondence with artists and clients; gallery financial records; vintage photographic documentation of installations, gallery openings, and artworks; and extensive files of printed ephemera, posters, and press clippings. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is predominantly in German, with some material in English or French Biographical / Historical Note When German art dealer Alfred Schmela opened a gallery devoted to contemporary art in Düsseldorf in 1957, the moment was propitious.
    [Show full text]