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Liz Magor I Have Wasted My Life
Andrew Kreps 22 Cortlandt Alley, Tue–Sat, 10 am–6 pm Tel. (212)741-8849 Gallery New York, NY 10013 andrewkreps.com Fax. (212)741-8163 Liz Magor I Have Wasted My Life May 21 - July 3 Opening Reception: Friday, May 21, 4 - 7 pm Andrew Kreps Gallery is pleased to announce I Have Wasted My Life, an exhibition of new works by Liz Magor at 22 Cortlandt Alley. On the wall, a new sculpture titled Perennial is formed from a duffle coat, which in the 1960s and 1970s had become a de-facto uniform for student protestors, including those part of the nascent environmental movement in Vancouver, where Greenpeace was founded in 1971. A near artifact from this time, the coat carries with it the accumulated wear from these actions. The artist’s own interventions seek to repair the garment, though in lieu of erasure, Magor marks the damage using paint, ink, and sculptural material. Simultaneously, Magor adds vestiges of the coat’s past activity, such as two cookies cast in gypsum placed in its pocket to resuscitate it to its prior use. Magor often positions humble objects at the center of her sculptures, the stuff that plays fleeting roles in our lives as repositories for memories and affection before being replaced. Three found workbenches, positioned throughout the galleries, become stages for these objects, suggesting sites for their rehabilitation. On each, a meticulously molded and cast toy animal rests between an array of accumulated items that range from the deeply personal, such as small collections of rocks, shells, and dried flowers, to those that are ubiquitous, such as Ikea Lack furniture, which is produced in a way that it is no longer contained to one place, or time. -
Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Social18 Sponsor
PRESENTING SOCIAL18 SPONSOR THURSDAY SEPTEMBER 27 Fundraising Dinner and Auction SETTING TIME THURSDAY SEPTEMBER 27 2018 VENUE EVERGREEN BRICK WORKS 550 BAYVIEW AVENUE SCHEDULE 6PM COCKTAIL RECEPTION+ SILENT AUCTION 7PM DINNER 9PM LIVE AUCTION CONDUCTED BY STEPHEN RANGER of WADDINGTON’S Canadian Art is the preeminent platform for journalism and criticism about art and culture in Canada. Our print, digital, educational and programming initiatives deliver smart, accessible ideas, stories and opinions. A national non-profit foundation, Canadian Art develops and supports art writers, and engages with the work of artists, established and new. Most important, we empower diverse audiences to understand, debate and be inspired by art. Now in its 23rd year, Social 2018 offers one of the largest live and silent contemporary art auctions in Canada, and is an essential source of funding for Canadian Art. The great selections in this year’s auction reflect a discerning, mindful and generous art advisory committee, co-chaired by Jessica Bradley and Stefan Hancherow. These are people commit- ted to reflecting the values of our publication—in other words, to assembling artworks you can talk about, debate, and that alter and enrich in meaning as you think about and look at them. Many thanks to all of the artists and gallerists who have donated works this year. You keep our conversations on art interesting, and ongoing. David Balzer Canadian Art Editor-in-Chief and Co-Publisher 3 LETTER FROM THE PRESENTING SPONSOR Art inspires important conversations. It can also be a catalyst for change, driving us to evolve, examine and shape our communities. -
University of Toronto Artists
2010 2010 www.art.utoronto.ca UNIVERSITY OF ARTISTS ESSAYS TORONTO Kathleen Boetto Michelle Jacques MVS Programme Rebecca Diederichs Vladimir Spicanovic Graduating Exhibition Bogdan Luca Alison Syme MEDIA (RE)VISION: HOW TO GET THERE FROM HERE The 2010 Graduating Exhibition of: Rebecca Diederichs Kathleen Boetto Bogdan Luca MEDIA (RE)VISION: UNIVERSITY OF TORONTO MVS (Masters of Visual Studies) Programme in Studio Art HOW TO GET THERE FROM HERE relevant to contemporary artists and curators Associate Curator Contemporary Art at the Art in discussing his recent work in the production Gallery of Ontario, who considers the work of of “Knossos as a memory object”. Independent Rebecca Diederichs; Vladimir Spicanovic, Dean, curator Nancy Campbell revealed her long- Faculty of Art, Ontario College of Art & Design, LISA STEELE standing involvement with artists working in who elucidates the form and the content Canada’s far North. Jean Baptiste Joly, Director of Bogdan Luca’s painting practice; and our of the Akademie Schloss Solitude in Stuttgart own Art History colleague Alison Syme who spoke about the origins of contemporary art decodes the mediaized imagery of Kathleen “So, with his word “researches” Herodotus mobilizing desire and response as easily as cool as it has developed amongst young visual Boetto’s work in video and photography. announced one of the great shifts in human appraisal and analysis. Kathleen Boetto strikes artists working at the Akademie since the mid And thanks also to Linseed Projects for their consciousness not often -
Kenneth Noland
! KENNETH NOLAND BIOGRAPHY Born in 1924 in Asheville, North Carolina US Died in 2010 in Port Clyde, Maine US EDUCATION & TEACHING 1985-90 Serves on the Board of Trustees, Bennington College, Bennington Vermont US 1985 Named Milton Avery Professor of the Arts, Bard College, Annandale-on-Hudson, New York US 1952-56 Taught at the Washington Workshop Center for the Arts US 1951-60 Taught at the Catholic University of America, Washington D.C. US 1949-51 Taught at the Institute of Contemporary Art, Washington D.C. US 1948-49 Studies with Ossip Zadkine in Paris FR 1946-48 Studies at Black Mountain College, North Carolina US SELECTED SOLO EXHIBITIONS 2019 Kenneth Noland, Almine Rech, Paris FR 2017 Kenneth Noland: Cicles - Early + Late, Yares Art, New York US Kenneth Noland, Pace Prints, New York US Kenneth Noland: Into the Cool, Pace Gallery, New York US 2016 Kenneth Noland: Unbalanced, Paul Kasmin Gallery, New York US 2015 Kenneth Noland: Color and Shape 1976–1980, Castelli, New York US Kenneth Noland: selected Works 1958-1980, Cardi Gallery, Milan IT ! ! ! 2014 Kenneth Noland: Handmade Paper and Monoprints 1978-1984, Meredith Long & Company, Houston US Kenneth Noland: Paintings 1975-2003, Pace Gallery, New York US 2012 Kenneth Noland: Mysteries, Full Circle, Yares Art Projects, Santa Fe US 2011 Kenneth Noland: Paintings 1958-1968, Mitchell-Innes & Nash, New York US 2010 Kenneth Noland, 1924-2010: A Tribute, Solomon R. Guggenheim Museum, New York US Kenneth Noland: A Tribute, Museum of Fine Arts, Houston US 2009 Kenneth Noland: Shaped Paintings -
26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University -
DARBY BANNARD Born New Haven, CT Education Princeton University
DARBY BANNARD Born New Haven, CT Education Princeton University Solo Exhibitions 2012 Lowe Art Museum, Coral Gables, FL 2011 Galerie Konzette, Vienna, Austria Taubman Museum, Roanoke, Virginia Loretta Howard Gallery, New York, NY 2010 Center for Visual Communication, Miami, FL Rijksmuseum, Amsterdam, Netherlands 2009 Center for Visual Communication, Miami, FL 2007 Jacobson/Howard Gallery, New York, NY 2006 Rauschenberg Gallery, Edison College, Fort Meyers, FL Western Michigan University, Kalamazoo, MI 2002 The 1912 Gallery, Emory and Henry College, Emory, VA 1999 Lowe Art Museum, Coral Gables, FL 1997 Lee Scarfone Gallery, University of Tampa, Tampa, FL 1996 Dorsch Gallery, Miami, FL 1993 Farah Damji Gallery, New York, NY 1992 Jaffe Baker Gallery, Boca Raton, FL Jaffe Baker Gallery, Boca Raton, FL 1991 Montclair Museum of Art, Montclair, NJ Knoedler Gallery, London 1990 Greenberg/Wilson Gallery, New York, NY Ann Jaffe Gallery, Miami, FL Miami-Dade Community College, Miami, FL 1989 Greenberg Wilson Gallery, New York, NY Rider College Art Gallery, Lawrenceville, NJ 1988 Richard Love Gallery, Chicago, IL 1987 Brush Art Gallery, St. Lawrence University, Canton, NY 1986 Princeton Country Day School, Princeton, NJ Salander-O’Reilly Gallery, New York, NY Solo Exhibitions (cont’d): 1984 Knoedler Gallery, London Watson/de Nagy, Houston, TX 1983 Mint Museum of Art, Charlotte, NC Martin Gerard Gallery, Edmonton, Alberta, BC Edmonton Art Gallery, Edmonton, Alberta, BC 1982 Martin Gerard Gallery, Edmonton, Alberta, BC Knoedler Gallery, London Watson/de -
The Montreal Museum of Fine Arts
Annual Report 05/06 The Montreal Museum of Fine Arts Conserving for All to Share The Montreal Museum of Fine Arts, true to its vocation of acquiring and promoting the work of Canadian and international artists past and present, has a mission to attract the broadest and most heterogeneous public possible, and to provide that public with first-hand access to a universal artistic heritage. Annual Report 05/06 Cover: The Montreal Museum Michael Snow of Fine Arts Four Grey Panels and Four Figures From the series “Walking Woman”, 1963 Purchase, The Montreal Museum of Fine Arts’ /03 President’s Report Volunteer Association Fund and /07 Director’s Report Horsley and Annie Townsend Bequest 2005.97.1-4 /12 Volunteers’ Reports /13 Officers and Board of Trustees /14 Committees /15 Exhibition Calendar /16 Acquisitions /36 Auditors’ Report and Financial Statements The Montreal Museum of Fine Arts Foundation /51 President’s Report /53 Officers, Trustees and Committees /54 Auditors’ Report and Financial Statements /60 Fund-raising /69 Sponsors /70 Museum Staff The Montreal Museum of Fine Arts 02/03 President’s Report As I study the results and projects such as the acquisition Museum could again become a the high quality of our services. performance of the Montreal of the Erskine and American flagship for the arts in Montreal. But the facts must be faced: Museum of Fine Arts in the Church and its conversion to a I am delighted to be able inventiveness has its limits, and year 2005-2006, the word that Pavilion of Canadian Art and the to report that, overall, the the financial constraints under comes to mind is “paradox.” It is eventual expansion southward Montreal Museum of Fine Arts which we labour constitute a truly paradoxical that, despite of the Jean-Noël Desmarais still stands in a class of its own; severe handicap on our ambi- the fact that we have had our Pavilion ought to be not only nevertheless, year after year tions for the future. -
1976-77-Annual-Report.Pdf
TheCanada Council Members Michelle Tisseyre Elizabeth Yeigh Gertrude Laing John James MacDonaId Audrey Thomas Mavor Moore (Chairman) (resigned March 21, (until September 1976) (Member of the Michel Bélanger 1977) Gilles Tremblay Council) (Vice-Chairman) Eric McLean Anna Wyman Robert Rivard Nini Baird Mavor Moore (until September 1976) (Member of the David Owen Carrigan Roland Parenteau Rudy Wiebe Council) (from May 26,1977) Paul B. Park John Wood Dorothy Corrigan John C. Parkin Advisory Academic Pane1 Guita Falardeau Christopher Pratt Milan V. Dimic Claude Lévesque John W. Grace Robert Rivard (Chairman) Robert Law McDougall Marjorie Johnston Thomas Symons Richard Salisbury Romain Paquette Douglas T. Kenny Norman Ward (Vice-Chairman) James Russell Eva Kushner Ronald J. Burke Laurent Santerre Investment Committee Jean Burnet Edward F. Sheffield Frank E. Case Allan Hockin William H. R. Charles Mary J. Wright (Chairman) Gertrude Laing J. C. Courtney Douglas T. Kenny Michel Bélanger Raymond Primeau Louise Dechêne (Member of the Gérard Dion Council) Advisory Arts Pane1 Harry C. Eastman Eva Kushner Robert Creech John Hirsch John E. Flint (Member of the (Chairman) (until September 1976) Jack Graham Council) Albert Millaire Gary Karr Renée Legris (Vice-Chairman) Jean-Pierre Lefebvre Executive Committee for the Bruno Bobak Jacqueline Lemieux- Canadian Commission for Unesco (until September 1976) Lope2 John Boyle Phyllis Mailing L. H. Cragg Napoléon LeBlanc Jacques Brault Ray Michal (Chairman) Paul B. Park Roch Carrier John Neville Vianney Décarie Lucien Perras Joe Fafard Michael Ondaatje (Vice-Chairman) John Roberts Bruce Ferguson P. K. Page Jacques Asselin Céline Saint-Pierre Suzanne Garceau Richard Rutherford Paul Bélanger Charles Lussier (until August 1976) Michael Snow Bert E. -
DAVID URBAN Born 1966, Toronto, Ontario Lives and Works in Toronto, Ontario EDUCATION 1992-1994 University of Guelph, M.F.A
DAVID URBAN Born 1966, Toronto, Ontario Lives and works in Toronto, Ontario EDUCATION 1992-1994 University of Guelph, M.F.A. Visual Arts(Painting/Drawing) 1990-1991 University of Windsor, M.A. English Literature and Creative Writing, 1985-1989 York University, B.A English Literature, B.F.A. Visual Arts (Painting/Drawing) SELECTED EXHIBITIONS Solo 2007 Time Machines, TrépanierBaer, Calgary, Alberta Actual Fiction, Corkin Gallery, Toronto, Ontario 2005 A Toy in the Pond, TrépanierBaer, Calgary, Alberta 2004 David Urban: Treats for the NightWalker, Moore Gallery, Toronto, Ontario 2003 The Recognitions, Michael Gibson Gallery, London, Ontario Galerie Rene Blouin, Montreal, Quebec 2002 Present Tense 24, Art Gallery of Ontario, Toronto, Ontario Of Being Numerous, Trepanier Baer Gallery, Calgary, Alberta 2000 Credences of Summer - New Works, TrépanierBaer, Calgary, Alberta Sable-Castelli Gallery, Toronto, Ontario 1999 David Urban: Parts of a World, McMaster Museum, Hamilton, Ontario David Urban: Parts of a World, University of Waterloo Art Gallery, Waterloo, Ontario Galerie René Blouin, Montreal, Quebec 1998 David Urban: Parts of a World, Galerie Barbara Farber/Rob Jurka, Amsterdam, Netherlands David Urban: Parts of a World, Art Gallery of Peel, Brampton, Ontario, travelling to University of Waterloo Art Gallery, Waterloo, Ontario and McMaster Museum, Hamilton, Ontario in 1999 Jim Schmidt Contemporary Art, St. Louis, Missouri Like Seeing Fallen Brightly Away, Sable-Castelli Gallery, Toronto, Ontario 1997 David Urban: New Paintings, TrépanierBaer, -
Radiant Energy the Hard-Edged Abstractions of Rita Letendre, Doris Mccarthy and Janet Jones
Radiant Energy The Hard-Edged Abstractions of Rita Letendre, Doris McCarthy and Janet Jones Reflecting on her earliest years at her grandparents’ farm in Drummondville, Quebec, Rita Letendre mused in 1969 that it was there “I learned to fight, fist fight. And I learned to draw.”i That she paired anger with art-making at the very onset of her life and practice is unsurprising: Gaston Roberge, in his essay for Woman of Light, a 1997 retrospective highlighting fifty years of Letendre’s works on paper, titled his first subsection “Rage” in deference to her difficult upbringing and the racism she encountered in small-town Quebec: “My childhood is like a serious injury that has never healed… very early in life, I got used to protecting myself against people,” he quotes Letendre.ii Wanda Nanibush, co-curator of the Letendre retrospective Fire & Light at the Art Gallery of Ontario in 2017, situated this emotion within the artist’s intersectional subject position: “Her rage could well have sprung up as resistance to the violence she experienced as a child just for being Abenaki; a society that kept many in grinding poverty and its attendant social problems; a culture of deep religious conservatism; and a ridiculous world where the fact of being a woman limited all of one’s endeavors.”iii Making art at mid-century was an embattled undertaking for a woman. To make abstract art as an Indigenous woman could only be harder. Anger was one motivation that allowed Letendre to crash through the barriers put in her path, but Letendre also chased light and held it in each of her canvasses.