Independent Curators International Fall/Winter 2011/12 Program Cura Tors Intl
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Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor
NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark -
Okwui Enwezor
Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 Okwui Enwezor. Okwui Enwezor (1963 –2019) Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 PAMELA M. LEE In 2019, mention of the “global art world” and its thematic cognates—glob - alism and “global contemporary” art among them—is likely to inspire more cyni - cism than excitement. Critics have their reasons. The phenomenon of global contemporary art seems a foregone conclusion at this late date, the ubiquity of its biennials and fairs inversely proportional to the size of the art world’s most privileged demographic. That such art may be du jour among the collecting class—the stuff of oligarchic portfolios, vanity museums, and private founda - tions—is wholly consistent with the lengthening itineraries of finance capital. If the “global art world” was ideally premised on the rejection of Euro-American parochialisms, an expansion of hemispheric perspectives, and the rewriting of art-historical canons, the hegemony of such markets effectively reproduces the most entrenched relations of power. The passing of Okwui Enwezor (1963–2019), the most influential curator of the past quarter-century, challenges us to revisit these conventions and nuance their historiography in turn, for Enwezor repeatedly identified the contradictory prospects of this emergent global art world. Over the course of a pathbreaking career, the rhetoric of antinomies structured his critical and curatorial engage - ments, whether addressing the afterlives of African independence movements, the transnational biennial as an exhibition model, or the rise of global networks and postcolonial constellations, necessarily uneven in their distribution among diverse populations and actors. -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
Jack Whitten
HAUSER & WIRTH Press Release Jack Whitten Hauser & Wirth New York, 22nd Street 26 January – 8 April 2017 Opening reception: Thursday 26 January, 6 – 8 pm New York… Beginning 26 January 2017, Hauser & Wirth is pleased to present its first exhibition devoted to the work of American abstractionist Jack Whitten. The show will feature selections from the artist’s newest bodies of work from 2015 – 2017, including tessellated paintings from the series Quantum Walls, and Portals; a piece from Whitten’s ongoing Black Monolith project honoring African-American visionaries; and assorted lenticular works on evolon. Lushly material explorations of space and its apertures, these works celebrate the distinctive painterly language that Whitten has developed over the course of a five-decade career. ‘Jack Whitten’ will remain on view at Hauser & Wirth’s West 22nd Street space through 8 April 2017. Moving to New York City to study art at Cooper Union in the early 1960s, Whitten was exposed to a range of influences, from the vigorous paintings of fellow artists Willem de Kooning and Norman Lewis, to the rich complexity HAUSER & WIRTH of bebop. Within this cultural milieu he developed an experimental style that combined the expressive physicality of gestural abstraction with the conceptual rigor of systems art. A radical breakthrough in 1970 provided the basis for his mode of working today: lifting a thick slab of acrylic paint off its support, Whitten realized that paint could be coaxed into the form of an independent object, challenging preexisting ideas about dimensionality in visual art. He began to lay sliced acrylic ribbons in wet, uneven fields of paint, mimicking the setting of mosaic tessarae into wet masonry. -
Janine Antoni Anna Halprin Stephen Petronio
JANINE ANTONI ANNA HALPRIN STEPHEN PETRONIO Ally EDITED BY ADRIAN HEATHFIELD PUBLISHED BY THE FABRIC WORKSHOP AND MUSEUM & HIRMER PUBLISHERS JANINE ANTONI INGESTING THE WISDOM BODY Carol Becker Such concerns and their manifestations in form bring to mind D. W. Winnicott’s seminal text Playing and Reality. Winnicott observes that children often adopt a “transitional object” — a creative solution to the originary anxiety of dependence and separation.4 In the earliest stages of development, children often create their own transitional object. It is not usually an articulated “toy” as representational as a velveteen rabbit, for example, but rather a unique condition that infants find around them and imagine into being — comforting textures such as a fuzzy bit of flannel blanket kneaded into a ball, a cord of rubber binding along the edge of a pillow, a frayed spot on the crib’s sheet. The found object is something that appeals to the child sensorially and that he or she experiences as an extension of the self, even before the child is aware of the self. As the object gains familiarity, it acquires the magical property of assuaging anxiety. Thus the child is able to sleep and play without worry, having found a creative solution to a challenging, developmental need to experience safety when apart from the mother (or the primary caregiver) and even when completely alone. Artists often are chasing after something that sometimes is also chasing after them. At As a result, the object garners the child’s total devotion. To misplace, lose, or in any way alter those moments when “the creation stands between the observer and the artist’s creativity,” it before the child is ready to permit such a transition — even by washing it and changing its it might be best, as D. -
My Life Has Been an Epic Adventure. —Jack Whitten Odyssey Tells The
My life has been an epic adventure. —Jack Whitten Odyssey tells the incredible story of Jack Whitten’s life. room features early works that Whitten made in New York He traveled across the world, from Alabama to Crete; and kept in his studio there. In the following galleries, we he traveled through time, from the present to the ancient see the works he made in Crete in the decades after 1969, past and into the future. Whitten’s sculptures describe when he began spending summers on the island. He found this journey, and although he is widely recognized for his inspiration and common ground in objects from diverse achievements as an experimental painter, the sculptures African traditions and those of ancient Aegean cultures; are shared for the first time here. Odyssey includes examples of these objects, chosen by At the height of the Civil Rights movement the artist Whitten. In the final room of the exhibition, a series of came to New York, where he visited museums exhibiting paintings unfolds the relation between his sculpture and African art. He began carving wood to understand what he his painting practice, in technique and in spirit. saw: aesthetically, to feed his paintings, and culturally, in Jack Whitten’s legacy is his specific worldview: a cosmic terms of his identity as a Black American. He wrote, “The vision seen from the intersection of the African diaspora, African pieces speak to me directly. I feel their presence + I New York painting, the American South, European art can see their use value for me today.” The exhibition’s first history, and the global technological present. -
FOR IMMEDIATE RELEASE Wednesday, October 14, 2020
FOR IMMEDIATE RELEASE Wednesday, October 14, 2020 MOCA FORMS ENVIRONMENTAL COUNCIL A FIRST FOR A MAJOR U.S. ART MUSEUM The Aileen Getty Plaza at The Geffen Contemporary at MOCA. LOS ANGELES—The Museum of Contemporary Art (MOCA) announces the creation of an Environmental Council, the first for a major art museum in the United States. The Council is focused on climate, conservation, and environmental justice in furtherance of the museum’s mission. In development since Klaus Biesenbach became the Director of MOCA in 2018, the museum will unfold important initiatives made possible by the Council within the first year, including financial commitments and expertise to work toward institution-wide carbon negativity, carbon- free energy, environmentally-focused museum quality exhibitions, educational programming, related artist support, and reductions in emissions and consumption. MOCA plans to publicly share the Council’s efforts and progress as a platform for public dialogue and engagement on this urgent topic. MOCA Environmental Council Founders and Co-Chairs are David Johnson and Haley Mellin. Founding Council members are Njideka Akunyili Crosby, Aileen Getty, Agnes Gund, Sheikha Al Mayassa Bint Hamad bin Khalifa Al Thani and Brian Sheth. Expert advisors to the Council include Illina Frankiv, Dan Hammer, Lisa P. Jackson, Lucas Joppa, Jen Morris, Calla Rose Ostrander and Enrique Ortiz. MOCA Executive Director, Klaus Biesenbach, and MOCA Deputy Director, Advancement, Samuel Vasquez will be ex-officio members of the Council and assure continuity and communication between the Council’s priorities and the museum’s activities and operations. The Council will support artists working on critical environmental issues by financially supporting meaningful exhibition and educational programming. -
Cartographic Perspectives Information Society 1
Number 53, Winterjournal 2006 of the Northcartographic American Cartographic perspectives Information Society 1 cartographic perspectives Number 53, Winter 2006 in this issue Letter from the Editor INTRODUCTION Art and Mapping: An Introduction 4 Denis Cosgrove Dear Members of NACIS, FEATURED ARTICLES Welcome to CP53, the first issue of Map Art 5 Cartographic Perspectives in 2006. I Denis Wood plan to be brief with my column as there is plenty to read on the fol- Interpreting Map Art with a Perspective Learned from 15 lowing pages. This is an important J.M. Blaut issue on Art and Cartography that Dalia Varanka was spearheaded about a year ago by Denis Wood and John Krygier. Art-Machines, Body-Ovens and Map-Recipes: Entries for a 24 It’s importance lies in the fact that Psychogeographic Dictionary nothing like this has ever been kanarinka published in an academic journal. Ever. To punctuate it’s importance, Jake Barton’s Performance Maps: An Essay 41 let me share a view of one of the John Krygier reviewers of this volume: CARTOGRAPHIC TECHNIQUES …publish these articles. Nothing Cartographic Design on Maine’s Appalachian Trail 51 more, nothing less. Publish them. Michael Hermann and Eugene Carpentier III They are exciting. They are interest- ing: they stimulate thought! …They CARTOGRAPHIC COLLECTIONS are the first essays I’ve read (other Illinois Historical Aerial Photography Digital Archive Keeps 56 than exhibition catalogs) that actu- Growing ally try — and succeed — to come to Arlyn Booth and Tom Huber terms with the intersections of maps and art, that replace the old formula REVIEWS of maps in/as art, art in/as maps by Historical Atlas of Central America 58 Reviewed by Mary L. -
Administration of Barack Obama, 2011 Nominations Submitted to The
Administration of Barack Obama, 2011 Nominations Submitted to the Senate December 16, 2011 The following list does not include promotions of members of the Uniformed Services, nominations to the Service Academies, or nominations of Foreign Service Officers. Submitted January 5 Arenda L. Wright Allen, of Virginia, to be U.S. District Judge for the Eastern District of Virginia, vice Jerome B. Friedman, retired. Anthony J. Battaglia, of California, to be U.S. District Judge for the Southern District of California, vice M. James Lorenz, retired. Cathy Bissoon, of Pennsylvania, to be U.S. District Judge for the Western District of Pennsylvania, vice Thomas M. Hardiman, elevated. James Emanuel Boasberg, of the District of Columbia, to be U.S. District Judge for the District of Columbia, vice Thomas F. Hogan, retired. Vincent L. Briccetti, of New York, to be U.S. District Judge for the Southern District of New York, vice Kimba M. Wood, retired. Louis B. Butler, Jr., of Wisconsin, to be U.S. District Judge for the Western District of Wisconsin, vice John C. Shabaz, retired. Susan L. Carney, of Connecticut, to be U.S. Circuit Judge for the Second Circuit, vice Barrington D. Parker, retired. Claire C. Cecchi, of New Jersey, to be U.S. District Judge for the District of New Jersey, vice Joseph A. Greenaway, elevated. Edward Milton Chen, of California, to be U.S. District Judge for the Northern District of California, vice Martin J. Jenkins, resigned. Max Oliver Cogburn, Jr., of North Carolina, to be U.S. District Judge for the Western District of North Carolina, vice Lacy H. -
Nathalie Djurberg & Hans Berg
NATHALIE DJURBERG & HANS BERG 25 JANUARY – 26 APRIL 2020 Nathalie Djurberg & Hans Berg, It Will End in Stars, 2018, virtual reality. Courtesy of the artist and Acute Art. It Will End in Stars (2018) is an immersive virtual reality experience combining Nathalie Djurberg’s distinctive sculpted figures with black and white charcoal drawings, text, and an un- settling soundtrack by Hans Berg. The work is a continuation of Djurberg’s interest in archetypal landscapes, evoking fairy tales first encountered in childhood. Viewers begin their journey deep in a forest, entering a clearing to discover a wooden cabin. Inside, a wolf sits in front of a glowing fire – the building’s chintz interior undercut by a creeping sense of unease. Hand-written text, which appears hanging in mid-air, conveys the wolf’s thoughts, merging digital technology with an aesthetic closer to silent cinema. He describes the virtual environment as the ‘shadowside’, delivering a confession that merges themes common in Djurberg’s practice; fear, guilt and animalistic impulse. Leipziger Strasse 60 T +49 30 921 062 460 [email protected] D 10117 Berlin www.jsc.art Painstakingly scanned and animated, Djurberg’s creature is responsive, meeting the viewer’s gaze and responding to their movements. The effect is disconcerting; we are uncomfortably aware of our status as watched intruder. Around the room, objects become portals into alternate dimen- sions: a skull becomes a route into a kaleidoscopic environment, while a shadowy enclave of the cabin opens out into a cavernous animated temple. This dream-like vision ends in a sprawling star-scape, removing any sense of time and space through a suggestion of infinity. -
Art in the Twenty-First Century Screening Guide: Season
art:21 ART IN2 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON TWO SEASON TWO GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Two of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities. -
Senate the Senate Met at 10 A.M
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 116 CONGRESS, FIRST SESSION Vol. 165 WASHINGTON, TUESDAY, JUNE 4, 2019 No. 93 Senate The Senate met at 10 a.m. and was EXECUTIVE SESSION Medicare for All is a catchy slogan. called to order by the President pro When you hear it on the campaign tempore (Mr. GRASSLEY). trail, remember it really boils down to The PRESIDENT pro tempore. To- EXECUTIVE CALENDAR government-run healthcare. day’s opening prayer will be offered by The PRESIDING OFFICER. Under I yield the floor. the Reverend Pat Conroy, S.J., Chap- the previous order, the Senate will pro- I suggest the absence of a quorum. lain of the House of Representatives. ceed to executive session to resume The PRESIDING OFFICER. The consideration of the following nomina- clerk will call the roll. f tion, which the clerk will report. The senior assistant legislative clerk PRAYER The senior assistant legislative clerk proceeded to call the roll. read the nomination of Andrew M. Mr. MCCONNELL. Madam President, The guest Chaplain offered the fol- Saul, of New York, to be Commissioner I ask unanimous consent that the order lowing prayer: of Social Security for the term expir- for the quorum call be rescinded. Let us pray. ing January 19, 2025. (Reappointment) The PRESIDING OFFICER. Without Divine Potter, take the misshapen The PRESIDING OFFICER. The objection, it is so ordered. clay that we are and fashion us into President pro tempore. RECOGNITION OF THE MAJORITY LEADER vessels of Your honor.