WFU Art Collections: the Student Union Collection of Contemporary Art

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WFU Art Collections: The Student Union Collection of Contemporary Art Wake Forest’s world-class contemporary art collection is on display throughout campus. Since the first New York buying trip in 1963, a small group of students, under the direction of an art department faculty member, have researched contemporary art and purchased artworks for the collection. Mission of the Collection: The University Art Collection provides students with opportunities for direct engagement with original works of art, while cultivating an environment that creates dialogue, fosters creativity, and promotes interdisciplinary thinking. Selected Works on View: Fall 2020- Spring 2021 Stanley Hayter, Unstable Woman, 1947. Elaine de Kooning, Portrait of Eddie #2, 1961. Julie Moos, Friends and Enemies Series (Bleeker and Wrisley), 2000. Ellsworth Kelly, Colored Paper Images XVI (Blue Yellow Red), 1976. Shahzia Sikander, Maligned Monster #2 Robert Colescott, Famous Last Words: The Death of a (Double Standing Figures), 2000. Poet, 1988. Fred Tomaselli, Escalante Warm Up, 1996. Mona Hatoum, Over My Dead Body, 2005. Jennifer Bartlett, Untitled (Graceland Woodcut-State II), 1979. Do-Ho Suh, Who Am We?, 1999. Images Included on first page: Upper Right: Keith Haring, Untitled, 1983. Lower Right: Glenn Ligon, Untitled: Four Etchings, 1992. Jonas Wood, Walton, 2008. Lower Left: Richard Mosse, Man Size, 2011. All artwork courtesy of and copyright @ the artists of their estates. Websites and Contact: artcollections.wfu.edu wakethearts.wfu.edu Email: [email protected] Artists Included in the Collection: Faig Ahmed Roy Lichtenstein Nathan Cabot Francis Speight Harold Altman William R. Lidh Hale Nancy Spero Garo Zareh Glenn Ligon Keith Haring Thomas Struth Antreasian Robert Longo John Hartell Hiroshi Sugimoto Richard Whitfield Lovell Mona Hatoum Do-Ho Suh Anuszkiewicz Luis Mallo Stanley William Kathlyn Fender Ida Applebrog Robert Mangold Hayter Sullivan Milton Avery Christian Marclay Julie Heffernan James Surls Jennifer Bartlett Reginald Marsh Joseph Heil Walter Thrift Leonard Baskin Rita McBride Corin Hewitt Bob Timberlake Jack Beal George McNeil Claude Howell Fred Tomaselli Margit Beck Beatriz Milhazes Emily Jacir Robert Vickrey Isabel Bishop John Monti A.B. Jackson John Waddill Robert Broderson Andrew Moore Bill Jacobson Meg Webster Paul Cadmus Julie Moos Amy Jenkins William T. Wiley Charles Cajori Richard Mosse Paul Jenkins Jonas Wood James Casebere Robert Yun-Fei Ji Paul Wunderlich Vija Celmins Motherwell Jasper Johns Sun Xun Christopher Odd Nerdrum Alex Katz Chiappa Shirin Neshat Ellsworth Kelly Ruth Clarke Louise Nevelson Ron Kleemann Robert Colescott Gladys Nilsson Darell Koons Ron Davis Hugh O'Donnell Gitte Kroncke Elaine de Jules Olitske Carter Kustera Kooning Ed Paschke Joe Lasker Jane Dickson Philip Pearlsetein Robert Lazzarini Richard Pablo Picasso Alfred Leslie Diebenkorn Jodi Pinto Jim Dine Lari Pitman Carroll Dunham Fairfield Porter J.W. Edwards Dennis Potter Allan Erdmann Ray Prohaska Hans Erni Joseph Raffael Howard Finster Robert Helen Rauschenberg Frankenthaler Milton Resnick Antonio Frasconi Miriam Schapiro Grace Cranford Collier Schorr Freund Ben Shahn Phil Frost Anne Kesler Sydney Shields Goodman Yinka Shonibare Adolph Gottlieb Shahzia Sikander Red Grooms Herbert Robert Singleton Gwathmey Sandy Skoglund Kiki Smith .

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Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett.
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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.
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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.
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Kiki Smith : Natural Etchings [Text Byjudith B
Kiki Smith : natural etchings [text byJudith B. Hecker] Author Smith, Kiki, 1954- Date 2003 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/133 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Kiki Smith Natura I Etchings In the second half of the 1990s the focus of Kiki Smith's Smith's first etchings of animals were based on printmaking shifted from the human body to the bodies museum specimens and are characterized by simple of birds and animals, and to exploring humanity's rela linearity and powerful morbidity, as in the multipart tionship with other earthly creatures. She often sketched etchings Destruction of Birds (1997, dated 1998) and directly from dead and stuffed specimens (some deli White Mammals (1998), where the bodies seem to berately sought out in natural history museums, some dangle in the space of each sheet. She then moved on encountered in ordinary life), depicting them isolated on to more richly described representations. To achieve blank backgrounds that directed attention to their form the detail and realism of Fawn (2001), Smith built up and symbolic resonance rather than to their environ the image slowly on the metal etching plate, gradually ment. Her regard for the life of animals was matched developing the varying textures of the animal's fur, the by an appreciation of the aesthetic qualities of their tufts on its chest, and the position of its limbs.
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Nancy Spero: Paper Mirror
Paseo de la Reforma #51 +52(55) 4122-8200 Bosque de Chapultepec, 11580 México, D.F. Nancy Spero: Paper Mirror • The Museo Tamayo is presenting the first solo exhibition of Nancy Spero in Mexico. • The exhibition will comprise nearly 100 works, spanning the whole of Spero’s career. • Nancy Spero: Paper Mirror will be open to the public from October 6, 2018—February 17, 2019. • Considered as one of the firs feminist and activist artist, her work deals with the representation of women and their inequality in the art world. A celebrated figure of the feminist art movement in the United States, Nancy Spero (1926–2009) consistently addressed oppression, inequality, and women’s social roles through both her art practice and activism. Born in Cleveland, Ohio, Spero graduated from the School of the Art Institute of Chicago in 1949. Before settling with their three sons in New York in 1964, she and her husband, the painter Leon Golub (1922–2004), lived in Paris, where she created her first mature works, the Black Paintings (1959–65). For Spero, choices of material, form, mode, and subject were always political. After many years of working in oil on canvas, in 1966, she concluded that the language of painting was “too conventional, too establishment,” and decided that from then on she would work exclusively on paper. Her first cycle of work on paper, the War Series (1966–1969), was motivated by her outrage over American atrocities in Vietnam—gouache-and-ink paintings that express “the museotamayo.org Paseo de la Reforma #51 +52(55) 4122-8200 Bosque de Chapultepec, 11580 México, D.F.
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August 4, 2017
June 17 – August 4, 2017 FOR IMMEDIATE RELEASE (New York—June 20, 2017) Michael Rosenfeld Gallery proudly presents The Time Is N♀w, a group exhibition fea- turing thirty-two artists whose work the gallery has con- sistently championed for three decades through the- matic group exhibitions as well as multiple solo shows. The exhibition, which takes its title from a protest sign captured by Bettmann on Fifth Avenue in Manhattan during the Women’s Libera- tion Parade in August 1971, is curated to complement and expand on Making Space: Women Artists & Postwar Abstractioncurrently on view at the Museum of Modern Art (MoMA, New York). The Time Is N♀w features artists who represent a variety of positions on the spec- trum from figural representation to abstraction, including: Magdale- na Abakanowicz, Ruth Asawa, Hannelore Baron, Mary Bauermeister, Lee Bontecou, Deborah Butterfield, Barbara Chase-Riboud, Elaine Photo by Bettmann - Getty Images - Getty Bettmann by Photo de Kooning, Jay DeFeo, Claire Falkenstein, Gertrude Greene, Nancy Women’s Liberation Parade on Fifth Avenue in Manhattan, August 1971. Grossman, Grace Hartigan, Lee Krasner, Yayoi Kusama, Lee Lozano, Al- ice Trumbull Mason, Joan Mitchell, Alice Neel, Louise Nevelson, Agnes Pelton, Florence Miller Pierce, Irene Rice Pereira, Anne Ryan, Betye Converge/Black. Treated as two different sculptures by the art histo- Saar, Kaye Sage, Janet Sobel, Nancy Spero, Dorothea Tanning, Lenore rian Peter Selz, The Albino (aka All That Rises Must Converge/Black) Tawney, Alma Thomas, Charmion von Wiegand, and Claire Zeisler. resists a singular reading and instead, opens itself up, quite literally, to multiple readings.
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Press Release Kiki Smith. Hearing You with My Eyes 9.10.2020 – 10.1.2021
Page 1 of 16 Press release Lausanne, 8 October 2020 Kiki Smith. Hearing You with My Eyes (9.10.2020 – 10.1.2021) Kiki Smith. Hearing You with My Eyes 9.10.2020 – 10.1.2021 Contents 1. Press release 2. Media photographs 3. Artist’s biography 4. Excerpts from the catalogue 5. Public engagement– Public outreach services 6. Museum services: Book and Giftshop, Le Nabi Café-restaurant 7. MCBA Partners and sponsors Contact: Aline Guberan Communication and marketing manager 079 179 91 03 [email protected] Florence Dizdari Press coordinator 079 232 40 06 [email protected] Page 2 of 16 Press release Lausanne, 8 October 2020 Kiki Smith. Hearing You with My Eyes (9.10.2020 – 10.1.2021) 1. Press release Exploring the body and the senses: a major Swiss show on the work of Kiki Smith The work of the American artist Kiki Smith is the featured subject of a major temporary show this fall at the MCBA Musée cantonal des Beaux- Arts of Lausanne. Boasting a selection of nearly one hundred works, some of which are on display for the very first time in Europe, this survey covers almost four decades of artmaking, focusing on a theme that is central to her output yet has been little explored until now, i.e., sensory perception. Devoted to the work of Kiki Smith (born 1954), the show Hearing You with My Eyes is a rare opportunity for the general public to get to know the major themes that run through the American artist’s output, themes that spring from her observation of the human body.
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Book of Tongues
BOOK OF TONGUES Mignon Nixon An extensive piece of writing of serious philosophical intent The Museum of Contemporary Art in Barce- lona, I am told, intends to present an exhibi- tion of Nancy Spero’s work as a kind of book. Contemplating this prospect in London, I pay a visit to the British Museum to study its display of papyri from the Egyptian Book of the Dead. It is a pilgrimage I often make when reflecting on Spero’s art, which, through frequent allusions to literary artefacts, from Egyptian scrolls to medieval manuscripts, dramatizes the vanishing of cultural memory, pointing insistently, through the invocation of past cultures, to art’s “lost resources in myth.”1 Today, however, my thoughts are con- centrated on the word book. The Egyptian Book of the Dead, to which Spero’s art has often referred, does not resemble a book in the modern sense of the term, being neither a bound volume nor a definitive edition of a text, but a compendium of diverse writings, often conjoined with graphic motifs, copied onto papyrus, linen, leather, even onto the walls of tombs. As Barry Kemp, Professor of Egyptology at the University of Cambridge, writes in his helpful primer, How to Read the Egyptian Book of the Dead: “‘Book’ is an English translation of a word in ancient Egyp- tian that in fact refers to an extensive piece of writing of serious philosophical intent.”2 This, I consider, might be an apt description of Nancy Spero’s art. By this definition, her 1. Benjamin H.D. Buchloh: “Spero’s Other Traditions”, work is indeed a book.
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ALLEGORIES of MODERNISM: CONTEMPORARY DRAWING February 16 - May 5, 1992
The Museum of Modern Art For Immediate Release January 1992 ALLEGORIES OF MODERNISM: CONTEMPORARY DRAWING February 16 - May 5, 1992 ALLEGORIES OF MODERNISM: CONTEMPORARY DRAWING, opening at The Museum of Modern Art on February 16, 1992, provocatively explores developments in drawing since the mid-1970s. Following DRAWING NOW, the Museum's pioneering exhibition of 1976 that documented the emergence of drawing as a major and independent means of expression, ALLEGORIES OF MODERNISM records the important and multifaceted role of drawing in art today. Organized by Bernice Rose, senior curator in the Museum's Department of Drawings, the exhibition includes some 200 works by more than forty artists from the United States and Europe. It is installed in the Rene d'Harnoncourt Galleries on the Museum's lower level, the third-floor Drawings Galleries, the Garden Hall and Projects Gallery, and throughout several of the Museum's "public" spaces. The exhibition is made possible by a generous grant from Mr. and Mrs. Ronald S. Lauder. Additional support has been provided by The International Council of The Museum of Modern Art, The Bohen Foundation, The Tobin Foundation, and The Solow Foundation. Many artists today are engaged in questioning the nature and the limits of drawing. Using a wide and often adventurous array of materials and techniques, they ask not only what drawing is, but what differentiates drawing from other activities. Indeed, as Bernice Rose writes in the publication -more- 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable; MODERNART Telex: 62370 MODART 2 accompanying the exhibition, "the formal purity of drawing is not an issue, nor is it of much concern to artists Although increasingly an independent mode, [drawing] has also become inextricably mixed with other mediums, with painting and painterly devices, with color, and with paint itself.
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Feminist Perspectives on Curating
Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism.
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Pop up 1 Montauk Final
FOR IMMEDIATE RELEASE Press Contact: Prentice Art Communications 212.228.4048 [email protected] Fabiola Beracasa and Art Production Fund In association with Gary Carrion-Murayari and Joyce Sitterly present Pop Up 1: Montauk August 1 – September 8, 2013 (Montauk, NY) – Fabiola Beracasa and Art Production Fund, in association with Gary Carrion-Murayari and Joyce Sitterly of the New Museum, are pleased to present Pop Up 1: Montauk, an outdoor pop-up exhibition featuring site- specific installations by artists Anya Kielar, Virginia Overton, and Olympia Scarry. On view from August 1 to September 8, 2013, the exhibition will be located on an undeveloped lot at 333 Old Montauk Highway. It will be open to the public Thursday-Sunday from 12-6 p.m. and by appointment on the remaining weekdays. A public opening reception for the artists will be held on August 1 from 6-8p.m. "By commissioning three emerging contemporary artists to engage with the site and local community, we aim to honor Montauk's artistic legacy and continue its fertile cultural dialogue," said gallerist Fabiola Beracasa. Anya Kielar will present a series of new fabric paintings made of gauze, tulle, and ripped canvas that will hang from clothing lines installed on the lot. Envisioned by the artist as a mise-en-scène, the transparent paintings feature stylized portraits of women and encourage viewer interaction. The outdoor site prompted Kielar to incorporate elements of nature in her production process, including a sun printing technique used to weather the fabric. Virginia Overton will produce a new sculptural piece conceived specifically for the Old Montauk Highway site.
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Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
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