Biography Chris Burden
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Press Release
Contact: Mark Linga 617.452.3586 [email protected] N E W S R E L E A S E The Media Test Wall Presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection featuring works by Bruce Nauman, Dara Birnbaum, Bill Viola, Nam June Paik and Gary Hill Viewing Hours: Daily 24 Hours Cambridge, MA – September 2008. The MIT List Visual Arts Center’s Media Test Wall presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection. This five-part exhibition series features selections from the List Center’s exhibition Video Trajectories (October 12-December 30, 2007) which was originally organized by MIT Professor Caroline A. Jones. The five selections in Video Trajectories (Redux), considered masterworks from video art history were acquired to become part of the MIT List Center’s New Media Collection. This exhibition re-introduces these works to a broader public: September 12-October 10 Bruce Nauman Slow Angle Walk (Beckett Walk), 1968 Video, black-and-white, sound, 60 minutes © 2008 Bruce Nauman/Artists Rights Society (ARS), New York, NY For Bruce Nauman, the video camera is an indispensable studio tool and witness. Barely edited, a characteristic Nauman tape from the late '60s shows the artist laconically following some absurd set of directions for an extended amount of time within the vague purview of a video camera mounted at a seemingly random angle in relation to the action. Slow Angle Walk is a classic of the genre, reflecting the artist's interest in Irish playwright Samuel Beckett, whose characters announce, "Let's go!" while the stage directions read, "No one moves." October 13-November 14 Dara Birnbaum Technology/Transformation: Wonder Woman, 1978-79 Video, color, sound, 5 minutes 50 seconds Courtesy of Electronic Arts Intermix Trained in architecture and painting, Birnbaum early on understood the estranging power of repetition. -
Bruce Nauman
BRUCE NAUMAN “The true artist helps the world by revealing mystic truths.” -Bruce Nauman Biography BRUCE NAUMAN Video > Make Me Think Me Nauman studied mathematics and physics at the University of Wisconsin-Madison, and art with William T. Wiley and Robert Arneson at the University of California in Davis. He worked as an assistant to Wayne Thiebaud and in 1966 he became a teacher at the San Francisco Art Institute. In 1968 he met the singer and performance artist Meredith Monk and signed with the dealer Leo Castelli. In the 1980s he moved to New Mexico. Much of his work is characterised by an interest in language which often manifests itself in a playful, mischievous manner. For example, the neon Run From Fear- Fun From Rear, or the photograph Bound To Fail which literalises the title phrase and shows the artist's arms tied behind his back. There are however, very serious concerns at the heart of the work. Nauman seems to be interested in the nature of communication and the inherent problems of language, as well as the role of the artist as supposed communicator and manipulator of visual language. In 1999 he received the Golden Lion of the Venice Biennale. In 2004 he created his work Raw Materials at Tate Modern. Nauman cites Samuel Beckett, Ludwig Wittgenstein, John Cage, Philip Glass, La Monte Young and Meredith Monk as major influences on his work. Biography Born Fort Wayne, Indiana, 1941 EDUCATION 1964 B.S. University of Wisconsin, Madison (mathmatics & physics) 1966 M.F.A. University of California, Davis 1966-68 Taught at San Francisco Art Institute, San Francisco 1970 Taught at University of California, Irvine HONORS/AWARDS 1968 NEA Grant, Artistic Fellowship Award, Washington, D. -
Bruce Nauman:Make Me Think Me Educators’ Pack
Bruce Nauman:Make Me Think Me Educators’ Pack Make Me Think Me Central to Nauman’s work is his exploration of art’s potential as a means to investigate the human condition. Make Me Think Me focuses on this aspect of Nauman’s work, and is divided into two parts. Part One examines the artist’s preoccupation with language. It includes photographs, neon works, sound pieces, sculptures and works on paper that incorporate wordplay. Nauman tests language to the point where it breaks down as a means of communication and becomes a mere pattern or sound. Raw-War, 1971 Part Two explores his engagement with the body and its use as a symbol. The subject shifts from the artist’s own body to that of clowns, actors and also to the viewer. Confronted with “What to do”, alone in his studio following graduation, Nauman came to the conclusion that if he is an artist then everything he does in his studio is art. He recorded himself performing simple, mundane tasks such as applying make-up, pulling faces, bouncing a ball and walking around a square in order to investigate human behaviour, the actions being emblematic of the wider human condition. Works such as Corridor Installation (Nick Wilder Installation) 1971 and Double Steel Cage Piece 1974 allow him to examine audience reaction and response. The viewer unwittingly becomes performer on entering these works, but movement is always predetermined and controlled by the artist. The exhibition culminates with a selection of Nauman’s animal and head casts. The interchanging of body parts in these sculptures can be read symbolically or metonymically, recalling the chopping and changing of words and phrases at the beginning of the exhibition. -
FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13
805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com FOR IMMEDIATE RELEASE Barbara T. Smith The 21st Century Odyssey April 13 – May 25, 2019 Opening Reception: Saturday April 13, 6PM – 8PM Screenings: Saturday, April 20 & Saturday, May 18 Panel with the artist: Saturday, May 11 For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.” As part of this work, Smith traveled extensively internationally and domestically and considered every aspect of her life in this two year period, from the exotic to the banal, as part of the performance. In Homer’s The Odyssey, Odysseus struggles for ten years to get home to Ithaca after his battles in the Trojan War. Between 1992 and 1993, Smith traveled to India, Nepal, Thailand, Australia, United Kingdom, Germany, and Norway; within the U.S., she went to Northern California, Hawaii and Seattle. -
Crossing Into Eighties Overview 2012
Crown Point Press Newsletter June 2012 The waterfall on Ponape, clockwise from front: Dorothy Wiley, Marina Abramovic, Joan Jonas, Daniel Buren, Chris Burden, and Mary Corse, 1980. Tom Marioni had named the conference “Word of Mouth” VISION #4. Twelve artists each gave a twelve-minute talk. Since LP records lasted twenty-four minutes, he had specified twelve-minute talks so we could put two on a side. Later we presented three records in a box. The records are white—“because it felt like we were landing from a flying saucer when we got off the plane in Ponape,” Tom remembers. The plane circled over what looked like a green dot in a blue sea, and we landed abruptly on a short white runway made of crushed coral with a great green rocky cliff at one end and the sea at the other. Against the cliff was a new low building. Shirtless workers in jeans hustled our bags from the plane into a big square hole in the building’s side, visibly pushing them onto a moving carousel. A man in a grass skirt and an inspector’s cap hustled us inside to claim them. The airport building was full of people, many in grass skirts, some (men and women) topless. CrOSSINg INTO THE EIgHTIES They clapped and whistled as we filed past. We learned later Escape Now and Again that word had circulated that we were an American rock group. In front of the airport was a flatbed truck with fourteen An excerpt from a memoir in progress by Kathan Brown white wicker chairs from the hotel dining room strapped On January 15, 1980, thirty-five artists and other art people, on the bed in two facing rows. -
Oh Chris, My Hero !... L'expérimentation Du Corps Par Chris Burden
Oh Chris, my hero !... L’expérimentation du corps par Chris Burden Jérôme Maigret Chris Burden, You’ll Never See my Face Cécile Perchet in Kansas-City, 1971 « Les religions jadis demandaient le sacrifice du corps humain ; le savoir appelle aujourd’hui à faire des expériences sur nous-mêmes, au sacrifice du sujet de connaissance.»1 1 – Michel Foucault, « Nietzsche, la généalogie, l’histoire », in Hommage à Jean Hyppolyte, Paris, Presses Universitaires partir des années soixante et essentiellement pendant les de France, 1971, p. 170. années soixante-dix, la tendance artistique aux États-Unis À comme en Europe prend des orientations différentes du schéma classique atelier-galerie-musée, en réaction contre le sys- tème du marché de l’art, par une attitude anti-commerciale et anti- institutionnelle. Le body art, art d’expérimentation corporelle, comme l’art conceptuel ou le land art qui apparaissent au même moment, a une activité créatrice de lien social et ne se préoccupe plus de produire un objet abouti et vendable. Pour la première fois dans l’histoire de l’art, l’artiste se risque à la blessure et à la mort. Des prouesses techniques sans précédent (armement nucléaire, industrialisation, conquête de la Lune…) font s’interroger l’homme à la fois sur sa grandeur et sa petitesse et confrontent sa propre iden- tité à une conscience cosmique nouvelle. Ainsi apparaît ce que l’on pourrait définir être une crise liée au sens du corps. Le body art, sous forme de performances ou d’actions ouvertes au public, apporte un renouvellement de l’imagerie du corps. -
Gender and the Collaborative Artist Couple
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Summer 8-12-2014 Gender and the Collaborative Artist Couple Candice M. Greathouse Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Greathouse, Candice M., "Gender and the Collaborative Artist Couple." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/168 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GENDER AND THE COLLABORATIVE ARTIST COUPLE by CANDICE GREATHOUSE Under the Direction of Dr. Susan Richmond ABSTRACT Through description and analysis of the balancing and intersection of gender in the col- laborative artist couples of Marina Abramović and Ulay, John Lennon and Yoko Ono, and Chris- to and Jeanne-Claude, I make evident the separation between their public lives and their pri- vate lives, an element that manifests itself in unique and contrasting ways for each couple. I study the link between gendered negotiations in these heterosexual artist couples and this divi- sion, and correlate this relationship to the evidence of problematic gender dynamics in the art- works and collaborations. INDEX WORDS: -
Art 381 Repeat Perform Record
Sculpture 381 Fall 2013 T/Th 1-4 Repeat, Perform, Record Billy Culiver E.A.T. 9 Evening in Art and Technology A Class Exploring the Intersection Between Theater, Dance and Visual Art The studio art course, Repeat, Perform, Record we will consider the dynamic of live bodies in physical spaces and read critical text and philosophical ideas about performance art. You will have 3 assignment: 1. Work Ethic-Duration/Record, 2. Work Ethic Labor and a collaborative work done with dancers, 3. Spaces Created by Action/Action Created by Spaces. Each assignment is directly aligned to a set of readings and visiting artists who will join the class. In this class, I attempt to honor the radical roots of Performance Art, with its history of expanding notions of how we make art, how we witness art, and what we understand the function of art to be. Performance art in the studio art context emerged from the visual and plastic arts rather than the traditional categories of dance and theater. From the beginning “Performance” was part of the modernist movements such as Futurism, Dada. With the emergence of Fluxus, Situationalism, Happenings, and Conceptualist practices the correspondence with the conscious use of space, time and process became central to Performance Art. With in the last decade, the concept of space, time and process have blended to expand Performance Art, making it a contemporary tool for expression with diverse directions of visual art, theater, dance, music and social practices. Contemporary live art now employs many different forms of experimentation diminishing the known or rehearsed dynamics of performance by opening it to improvisation and chance operations. -
Biography • Paul Mccarthy Paul Mccarthy • Biography
BIOGRAPHY • PAUL MCCARTHY PAUL MCCARTHY • BIOGRAPHY 1945 Born in Salt Lake City, UT 1973 University of Southern California, Los Angeles, CA 1969 San Francisco Art Institute, San Francisco, CA 1966-1968 University of Utah, Salt Lake City, UT Lives and works in Los Angeles, CA Solo exhibitions: 2017 Kukje Gallery, ‘Cut Up and Silicone, Female Idol, WS’, Seoul, South Korea Hauser & Wirth 'WS Spinoffs, Wood Statues, Brown Rothkos’ Los Angeles, CA Fundació Gaspar, 'WS & CSSC, Drawings and Paintings', Barcelona, Spain Fondazione Giorgio Cini, ‘Paul McCarthy and Christian Lemmerz: New Media (Vir- tual Reality Art)’, Venice, Italy Deitch Projects, ‘Paul McCarthy and Mike Kelley: Heidi, Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone 1992’, New York, NY 2016 Hauser & Wirth, 'Paul McCarthy. Raw Spinoffs Continuations', New York, NY Xavier Hufkens, 'Paul McCarthy. White Snow & Coach Stage Stage Coach Spin- offs', Brussels, Belgium Lokremise, 'Paul McCarthy', St. Gallen, Switzerland Henry Art Gallery, 'Paul McCarthy: White Snow, Wood Sculptures', Seattle, WA 2015 Nasher Museum of Art at Duke University, 'Full Exposure: Paul and Damon Mc- Carthy's Pirate Party', Durham, NC The Renaissance Society, 'Paul McCarthy. Drawings', Chicago, IL Volksbühne, 'Paul McCarthy and Damon McCarthy. Rebel Dabble Babble', Berlin, Germany Schinkel Pavillon, 'Paul McCarthy', Berlin, Germany Economou Collection, ‘Inbetween. Baselitz – McCarthy’, Athens, Greece Hauser & Wirth, ‘Paul McCarthy: Spin Offs: White Snow WS, Caribbean Pirates CP’, -
The Sculpted Voice an Exploration of Voice in Sound Art
The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional -
Magdalena Abakanowicz (Polish, 1930–2017) on the Occasion of Magdalena Abakanowicz, 1982 Jeff Koons (American, B
Excerpts from artist interviews produced by the Museum of Contemporary Art Chicago Total running time: 21 minutes, 12 seconds Featuring: Luc Tuymans (Belgian, b. 1958) on the occasion of Luc Tuymans, 2010 Amanda Ross-Ho (American, b. 1975) on the occasion of THE CHARACTER AND SHAPE OF ILLUMINATED THINGS Plaza Project, 2013 Amalia Pica (Argentinean, b. 1978) on the occasion of Amalia Pica, 2013 Richard Hunt (American, b. 1935) on the occasion of MCA DNA: Richard Hunt, 2014 Kerry James Marshall (American, b. 1955) on the occasion of Kerry James Marshall: Mastry, 2016 Public Service Announcements for the Museum of Contemporary Art Chicago, including: “Boogie Woogie,” 1985 “15th Anniversary,” 1982 “Animation,” 1982 Untitled, 1981 U-matic transferred to video (color, sound) Total running time: 3 minutes, 14 seconds Excerpts from artist interviews produced by the Museum of Contemporary Art Chicago Total running time: 33 minutes, 30 seconds Featuring: Vito Acconci (American, 1940–2017) on the occasion of Vito Acconci: A Retrospective 1969–1980, 1980 Ed Paschke (American, 1939–2004) on the occasion of 11 Chicago Artists, 1982 Nam June Paik (American, b. Korea, 1932–2006) and Charlotte Moorman (American, 1933–1991) on the occasion of Nam June Paik, 1982 Magdalena Abakanowicz (Polish, 1930–2017) on the occasion of Magdalena Abakanowicz, 1982 Jeff Koons (American, b. 1955) on the occasion of Jeff Koons: Works 1979–1988, 1988 Lorna Simpson (American, b. 1960) on the occasion of Lorna Simpson: For the Sake of the Viewer, 1992 Fred Wilson (American, b. 1954) on the occasion of OpEd: Fred Wilson, 1994 PB Excerpts from artist interviews produced by the Museum of Contemporary Art Chicago Total running time: 21 minutes, 12 seconds Featuring: Luc Tuymans (Belgian, b. -
Patrick Painter, Inc
PATRICK PAINTER, INC MAR NIE W EBE R Lives and works in Los Angeles, CA EDU CAT IO N 1981 B.A. University of California, Los Angeles, CA 1977-79 University of Southern California, Los Angeles, CA R ECE NT S EL EC TED SO LO EXH IBI TIO NS 2010 The Truth Speakers, Sea of Silence, Simon Lee Gallery, London, UK Magasin Centre National d’Art Contemporain de Grenoble, Grenoble, France 2009 The Bondage of Decay, Marc Jancou Contemporary, New York, NY The Truth Speakers, The Sea of Silence, Simon Lee Gallery, London Campfire Song, Sint-Lukasgalerie Brussels 2008 One Shot: 100x100: 100 Angelenos Take 100 Photographs of LA for a Ticketed Event to Support LA><ART Programs, LA><ART, Los Angeles, CA The Melancholy Circus, Praz-Delavallade, Paris, France Saving the Farm, Bernier/Eliades Gallery, Athens, Greece 2007 A Western Song, Utställningar Hösten 07, Vita Kuben, Umea, Sweden Sing Me A Western Song, Patrick Painter Inc., Los Angeles, CA From a Western Song, Emily Tsingou Gallery, London, England Variations on a Western Song, Fredericks & Freiser Gallery, New York, NY 2005 Fom the Dust Room, Luckman Gallery, California State University Los Angeles, CA (curated by Julie Joyce, catalogue) Ghost Love, The Spirit Girls, Rosamund Felsen Gallery, Los Angeles, CA Spirit Girls, Songs that Never Die, Galerie Praz-Delavallade, Paris, France 2004 Ten Year Survey of Collage, Emily Tsingou Gallery, London, England 2002 The Dollhouse, Fredericks & Freiser Gallery, New York, NY Collages and Videos, Marella Arte Contemporanea, Milan, Italy 2001 Forever More, Galerie