Hans Haacke Biography
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Omer Fast: Nostalgia
Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Stephen Soba New York, NY 10021 Molly Gross whitney.org/press Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] NOSTALGIA, BY BUCKSBAUM AWARD-WINNER OMER FAST, RECEIVES NEW YORK DEBUT AT THE WHITNEY Nostalgia III (production still), 2009 Super 16mm film transferred to high-definition video, color, sound; 32:48 minutes Photograph by Thierry Bal; courtesy gb agency, Paris; Postmasters, New York; and Arratia, Beer, Berlin. NEW YORK, November 18, 2009 – Omer Fast: Nostalgia is a new three-part film and video installation that continues Fast's fascination with exploring configurations of fact and fiction through narrative and filmic constructions, intertwining modes of documentary and dramatization. In this exhibition, organized by Tina Kukielski, senior curatorial assistant, the work receives its New York debut at the Whitney Museum of American Art, where it will be seen from December 10, 2009, through February 14, 2010. It is presented as part of the 2008 Bucksbaum Award, conferred on Fast for significant contributions to the visual arts in the United States. Endowed by Whitney Trustee Melva Bucksbaum and her family, the Bucksbaum Award is given every two years to an artist chosen from the Museum’s Biennial exhibition. (The next recipient will be selected from among the artists in the 2010 Whitney Biennial, which opens to the public on February 25.) Nostalgia (2009) begins with a fragment from an interview between the artist and an African refugee seeking asylum in London, during which the artist/interviewer is told how the refugee built a trap for catching a partridge back home in his native Nigeria. -
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 -
Documenta 8 (Küssende Fernseher) Von Ralph Hammerthaler
documenta 8 (Küssende Fernseher) von Ralph Hammerthaler Ende Oktober 1981 war das proT erstmals in einer großen Ausstellung zu sehen. Für ein Theater mag das ungewöhnlich erscheinen, nicht so aber für das proT, denn Sagerer fühlte sich bildenden Künstlern oft enger verbunden als Theatermachern. Schon sein früher Komplize von Hündeberg war Maler. Nikolai Nothof und Karl Aichinger, beide als Schauspieler im Ensemble, fingen in den 1970er Jahren an zu malen und stellten ihre Bilder im Kellertheater aus. Bei Aktionsabenden des proT lösten sich die Grenzen der Genres ohnehin auf. Dafür, dass sich die Kontakte zur Kunstszene vertieften, sorgte nun Brigitte Niklas. In der Künstlerwerkstatt Lothringer Straße 13 zeigten zwölf Münchner Künstler Videoinstallationen, darunter auch Barbara Hamann und Wolfgang Flatz. Die Installation des proT erwies sich als aufwändig, denn sie konnten nicht anders, als mit dem ganzen Theater anzurücken. Ihr Kunst-Video hing an der Produktion Münchner Volkstheater oder umgekehrt: Das Theater hing am Kunst-Video, umso mehr, als es davon seine Einsätze bezog. Wie oben erwähnt, führte bei diesem Stück das Video Regie. Im Gespräch mit dem Magazin Videokontakt antwortete Sagerer auf die Frage nach der Grenze zwischen den Genres: „Alles, was ich mache, fällt unter den Begriff ‚Theater‘. Das Theater ist die einzige unbegrenzte Kunst, vom Material her eigentlich überhaupt nicht definierbar. Alles, was unter dem Namen ‚Theater‘ passiert, wird Theater. Wenn man Film im Theater einsetzt, ist es kein Film mehr, sondern Theater. Wenn man Theater filmt, wird es immer ein Film. Die Erfahrung ‚Theater‘ kann der Film nicht vermitteln, während Film, Fernsehen und Musik Bestandteile der Erfahrung ‚Theater‘ sein können.“ Und befragt nach seinen Plänen mit Video im Theater, sagte er: „Wir wollen in Zukunft mehr Monitore einsetzen, die von jedem Punkt des Raums aus sichtbar sind. -
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. -
The Bauhaus and Weimar Modernism
Buchenwald Memorial, Ettersburg Castle Sömmerda (B7 / B85) 100 m weimar UNESCO World Heritage 500 m Culture City of Europe The Bauhaus and its sites in Weimar and Dessau have been on the UNESCO list of World Heritage since 1996. There are three objects in Weimar: the main building of the Bauhaus University Weimar, the former School of Applied Arts and the Haus Am Horn. Tiefurt Mansion deutschEnglish Harry-Graf-Kessler-Str. 10 5 Tiefurt Mansion Bauhaus-Universität Weimar Nietzsche Archive B Jorge-Semprùn-Platz a Oskar-Schlemmer-Str. d The building ensemble by Henry van de Velde was Friedrich Nietzsche spent the last years of his life at H e Stèphane- r 1 s revolutionary in terms of architecture at the turn of the “Villa Silberblick”. His sister established the Nietzsche Archive f Hessel-Platz e l d century. These Art School buildings became the venue here after his death and had the interior and furnishings e r S where the State Bauhaus was founded in 1919, making designed by Henry van de Velde. The current exhibition is t r a ß “Weimar” and the “Bauhaus” landmarks in the history of entitled “Kampf um Nietzsche” (“Dispute about Nietzsche”). e modern architecture. Humboldtstrasse 36 13 Mon, Wed to Sun 2pm – 5pm Geschwister-Scholl-Strasse 2 Mon to Fri 10am – 6pm | Sat & Sun 10am – 4pm Über dem Kegeltor C o u d r a y s t Erfurt (B7) r a ß e Berkaer Bahnhof 8 CRADLE, DESIGN: PETER KELER, 1922 © KLASSIK STIFTUNG WEIMAR 17 Jena (B7) 3 Tourist Information Office Weimar Haus Hohe Pappeln Weimar Municipal Museum 20 16 Markt 10, 99423 Weimar The Belgian architect Henry van de Velde, the artistic The permanent exhibition of the Municipal Museum presents Tel + 49 (0) 3643 745 0 advisor of the grand duchy, built this house for his family of “Democracy from Weimar. -
CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three
CHAPTER 2 BERLIN DURING THE WEIMAR REPUBLIC The period of the Weimar Republic is divided into three periods, 1918 to 1923, 1924 to 1929, and 1930 to 1933, but we usually associate Weimar culture with the middle period when the post WWI revolutionary chaos had settled down and before the Nazis made their aggressive claim for power. This second period of the Weimar Republic after 1924 is considered Berlin’s most prosperous period, and is often referred to as the “Golden Twenties”. They were exciting and extremely vibrant years in the history of Berlin, as a sophisticated and innovative culture developed including architecture and design, literature, film, painting, music, criticism, philosophy, psychology, and fashion. For a short time Berlin seemed to be the center of European creativity where cinema was making huge technical and artistic strides. Like a firework display, Berlin was burning off all its energy in those five short years. A literary walk through Berlin during the Weimar period begins at the Kurfürstendamm, Berlin’s new part that came into its prime during the Weimar period. Large new movie theaters were built across from the Kaiser Wilhelm Memorial church, the Capitol und Ufa-Palast, and many new cafés made the Kurfürstendamm into Berlin’s avant-garde boulevard. Max Reinhardt’s theater became a major attraction along with bars, nightclubs, wine restaurants, Russian tearooms and dance halls, providing a hangout for Weimar’s young writers. But Berlin’s Kurfürstendamm is mostly famous for its revered literary cafés, Kranzler, Schwanecke and the most renowned, the Romanische Café in the impressive looking Romanische Haus across from the Memorial church. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E
CRITICAL REALISM IN CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of Essex, 2007 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 FfdoesPieszak Pieszak UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Alexandra Oliver It was defended on April 1, 2014 and approved by Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art & Architecture Barbara McCloskey, Associate Professor, History of Art & Architecture Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Josh Ellenbogen, Associate Professor, History of Art & Architecture ii Copyright © by Alexandra Oliver 2014 iii CRITICAL REALISM IN CONTEMPORARY ART Alexandra Oliver, Ph.D. University of Pittsburgh, 2014 This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a “critical realism” that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as “fit” or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. -
Note to the Secretary-General Tonight You and Mrs. Annan Have
Note to the Secretary-General Tonight you and Mrs. Annan have agreed to drop by (from 6:35-6:45 p.m.) the reception in the West Terrace hosted by Yoko Ono wherein she will present grants to an Israeli and a Palestinian artist in her own Middle East humanitarian arts initiative. When Mrs. Annan and you arrive David Finn, Philippa Polskin and Holly Peppe of Ruder-Finn, will greet you. You will then be accompanied into the center of the room where two easels will display the work of the two artist recipients of the LennonOno Grants, Khalil Rabah and Zvi Goldstein. The following people will greet you and stand with you for a brief photo-op: > Yoko Ono > Zvi Goldstein, Israeli artist, grant recipient > Khalil Rabah, Palestinian artist, grant recipient > Jack Persekian, Founder & Director, Anadiel Gallery, Jerusalem > Suzanne Landau, Chief Curator, The Israel Museum, Jerusalem > Shlomit Shaked, Independent Curator, Israel. At 6:45 p.m. you will proceed to the Macalester Reception and dinner, in Private Dining Room #8. Kevin S.: 9 October 2002 Copy to: Ms. S. Burnheim ROUTING SLIP FICHE DE TRANSMISSION TO: A A: OJ *Mt* FROM: / /" DE: /64< ^*^/^^~^ Room No. — No de bureau Extension — Poste Date / G&W aiLbfo^ FOR ACTION POUR SUITE A DONNER FOR APPROVAL POUR APPROBATION FOR SIGNATURE POUR SIGNATURE FOR COMMENTS POUR OBSERVATIONS MAY WE DISCUSS? POURRIONS-NOUS EN PARLER ? YOUR ATTENTION VOTRE ATTENTION AS DISCUSSED COMME CONVENU AS REQUESTED SUITE A VOTRE DEMANDS NOTE AND RETURN NOTER ET RETOURNER FOR INFORMATION POUR INFORMATION COM.6 12-78) ZVI GOLDSTEIN Artist Recipient of the LennonOno Grant for Peace Born in Transylvania, Romania in 1947, artist Zvi Goldstein immigrated to Israel in 1958. -
Fiona Tan Coming Home
Fiona Tan Sherman Art Foundation Contemporary Coming Home Fiona Tan Coming Home Sherman Contemporary Art Foundation Contents in association with the National Art School 12 Preface Anita Taylor Fiona Tan 14 Introduction Gene Sherman Coming Home 19 Colour Plates A Lapse of Memory 47 Disorient 74 Essay Infinite Crossroads Juliana Engberg 82 Production Credits 84 Artist Biography 88 Artist Bibliography 92 Contributors 94 Acknowledgements 13 It is with enormous pleasure that the National The extension of the project to include the Preface Art School (NAS) joins with Sherman NAS Gallery is a direct outcome of discussions Contemporary Art Foundation (SCAF) to involving the Deans/Directors of the three present ‘Fiona Tan: Coming Home’. The major art schools in Sydney in May 2009, held proposal to extend the project – commissioned at the invitation of Dr Gene Sherman, in which Anita Taylor by SCAF – across our two venues represents a Gene and her team at SCAF proposed an Director significant new partnership for NAS. I believe ongoing dialogue to explore opportunities to National Art School the opportunity afforded by this collaboration engage more extensively with the art students establishes an exciting new direction for both of Sydney. Most importantly, SCAF and NAS our organisations. share a commitment to supporting outstanding The two Sydney venues are each hosting a exhibitions that underscore the value of art and separate body of work: Disorient, 2009, first culture in our society. shown to great acclaim in the Dutch Pavilion at The hard work, commitment and dedication the 53rd Venice Biennale, is screening at SCAF in of a number of individuals are required to Paddington, and A Lapse of Memory, 2007, is deliver an exhibition of this scope. -
CCA Wattis Institute for Contemporary Arts Presents: Abbas Akhavan: Cast for a Folly May 9 Through July 27, 2019 Curated by CCA Wattis Institute Curator Kim Nguyen
CCA Wattis Institute for Contemporary Arts presents: Abbas Akhavan: cast for a folly May 9 through July 27, 2019 Curated by CCA Wattis Institute curator Kim Nguyen Akosua Adoma Owusu: Welcome to the Jungle May 9 through July 27, 2019 Curated by CCA Wattis Institute curator Kim Nguyen Above: Abbas Akhavan, Study for a Garden: Fountain (installation view, Delfina Foundation, London), 2012. Oscillating water sprinkler, pump, hose, pvc pond liner, water, dimensions variable. Courtesy of Catriona Jeffries, Vancouver. Photo: Christa Holka. Below: Akosua Adoma Owusu, Split Ends, I Feel Wonderful, 2012 (still). 16mm film transfer to video, 4 mins. Courtesy of the artist. San Francisco, CA—March 12, 2019—CCA Wattis Institute for Contemporary Arts proudly presents two new solo exhibitions, Abbas Akhavan: cast for a folly and Akosua Adoma Owusu: Welcome to the Jungle. For multi- disciplinary artist Abbas Akhavan, this exhibition is his first U.S. solo show and the culmination of his year as the 2018–2019 Capp Street Artist-in- Residence. Ghanaian-American filmmaker Akosua Adoma Owusu will present a medley of her films in an installation format—new territory for Owusu—in which two of her films will have their institutional premiere at CCA Wattis. Although these are two independent shows, both artists navigate histories, identities, politics, and materiality through distinct international lenses. “We are thrilled to present the newest works by each of these incredible artists,” says Kim Nguyen, CCA Wattis Institute curator and head of programs. “Abbas Akhavan’s time and attention to place made him a perfect fit for the Capp Street residency, where he can really delve into the ethos of San Francisco and its communities. -
Ingram 2010 Squatting in 'Vancouverism'
designs for The Terminal City www.gordonbrentingram.ca/theterminalcity 21 March, 2010 Gordon Brent Ingram Re-casting The Terminal City [part 3] Squatting in 'Vancouverism': Public art & architecture after the Winter Olympics Public art was part of the 2010 Olympics in Vancouver; there was some funding, some media coverage, and a few sites were transformed. What were the new spaces created and modes of cultural production, in deed the use of 21 March, 2010 | Gordon Brent Ingram Squatting in 'Vancouverism': Public art & architecture after the Winter Olympics designs for The Terminal City www.gordonbrentingram.ca/theterminalcity page 2 culture in Vancouver, that have emerged in this winter of the Olympics? What lessons can be offered, if any, to other contemporary arts and design communities in Canada and elsewhere? And there was such celebration of Vancouver, that a fuzzy construct was articulated for 'Vancouverism' that today has an unresolved and sometimes pernicious relationship between cultural production and the dynamics between public and privatizing art. In this essay, I explore when, so far, 'Vancouverism'1 has become a cultural, design, 'planning', or ideological movement and when the term has been more of a foil for marketing over‐priced real estate.2 In particular, I am wondering what, in these supposedly new kinds of Vancouveristic urban designs, are the roles, 'the place' of public and other kinds of site‐based art. The new Woodward's towers and the restored Woodward's W sign from the historic centre of 19th Century Vancouver at Carrall and Water Street, January 2010, photograph by Gordon Brent Ingram 21 March, 2010 | Gordon Brent Ingram Squatting in 'Vancouverism': Public art & architecture after the Winter Olympics designs for The Terminal City www.gordonbrentingram.ca/theterminalcity page 3 January and February 2010 were the months to separate fact from fiction and ideas from hyperbole.