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Bailly 1 Invisible Culture Issue 11, Fall 2007 Artist-Curators and Art Historian-Curators at the Edge
Bailly 1 Artist-Curators and Art Historian-Curators at the Edge: How the “Modern West” Revealed Boundaries of Curatorial Practice Austen Barron Bailly This paper takes as it starting point two related projects: The Modern West: American Landscapes, 1890-1950 (October 2006-June 2007) and “Two Edges” (April 12, 2007). The Modern West was a major exhibition curated for Museum of Fine Arts, Houston (MFAH) by Emily Ballew Neff, Curator, American Painting and Sculpture, and it traveled to the Los Angeles County Museum of Art (LACMA).1 “Two Edges” was a virtual exhibition (never mounted) curated by artist Diana Thater for her participation, with LACMA Director Michael Govan, in the museum’s “Conversations with the Director” series, part of the suite of free public programming associated with the presentation of The Modern West at LACMA. Thater’s alternative “modern west” exhibition, created using “Virtual Gallerie” software and PowerPoint and presented digitally in a verbal “walk through,” was fully realized conceptually and functioned as a critique of Neff’s The Modern West, which she believed perpetuated and celebrated the mythology of the American West. Austen Barron Bailly, author of this paper, coordinated and installed The Modern West in Los Angeles and attended Thater’s presentation. As coordinating curator, I was responsible not only for deciding how to install the exhibition for LACMA but also for working with the museum’s Education Department to help develop all public programming for the exhibition—with one notable exception: Thater and Govan’s presentation. I was not involved, nor was I expected to be, in preparations for the I would like to thank Rita Gonzalez, Assistant Curator, LACMA, for encouraging me to write this paper. -
Before Projection: Video Sculpture 1974–1995 Contents
Henriette Huldisch Before Projection: Video Sculpture 1974–1995 Contents 5 Director’s Foreword 9 Acknowledgments 13 Before and Besides Projection: Notes on Video Sculpture, 1974–1995 Henriette Huldisch Artist Entries Emily Watlington 57 Dara Birnbaum 81 Tony Oursler 61 Ernst Caramelle 85 Nam June Paik 65 Takahiko Iimura 89 Friederike Pezold 69 Shigeko Kubota 93 Adrian Piper 73 Mary Lucier 97 Diana Thater 77 Muntadas 101 Maria Vedder 121 Time Turned into Space: Some Aspects of Video Sculpture Edith Decker-Phillips 135 List of Works 138 Contributors 140 Lenders to the Exhibition 141 MIT List Visual Arts Center 5 Director’s Foreword It is not news that today screens occupy a vast amount of our time. Nor is it news that screens have not always been so pervasive. Some readers will remember a time when screens did not accompany our every move, while others were literally greeted with the flash of a digital cam- era at the moment they were born. Before Projection: Video Sculpture 1974–1995 showcases a generation of artists who engaged with monitors as sculptural objects before they were replaced by video projectors in the gallery and long before we carried them in our pockets. Curator Henriette Huldisch has brought together works by Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Muntadas, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder to consider the ways in which artists have used the monitor conceptually and aesthetically. Despite their innovative experimentation and per- sistent relevance, many of the sculptures in this exhibition have not been seen for some time—take, for example, Shigeko Kubota’s River (1979–81), which was part of the 1983 Whitney Biennial but has been in storage for decades. -
Katy Schimert Born Grand Island New York, 1963
Katy Schimert Born Grand Island New York, 1963. Lives and works in New York and Rhode Island EDUCATION 1989 M.F.A., Yale University, New Haven, CT 1985 B.A., Philadelphia College of Art, Philadelphia, PA TEACHING EXPERIENCE Present Rhode Island School of Design. Associate Professor of Art, Department Head and Graduate Program Director of Ceramics 2011 Rhode Island School of Design, Visiting Critic, Foundation Studies (Drawing) Spring Semester 2005 New York University, Visiting Professor of Sculpture. Sculpture, Drawing, Graduate Critique 2004-05 Harvard University, Visiting Professor of Sculpture: Sculpture, Drawing, Senior Thesis. 1995-04 New York University, Adjunct Professor and Sculpture Department Coordinator: Sculpture, Drawing, Graduate Critique, Oversaw the department’s facilities, courses, faculty and staff. 1991-94 University Of California, Santa Barbara, Lecturer: Sculpture, Photography, Ceramics Graduate Critique 1989-91 Yale University, Lecturer: Sculpture Department SOLO EXHIBITIONS 2014 Camouflage, Ink and Silence, University Museum of Contemporary Art at the University of Massachusetts, Amherst, MA. Curated by Loretta Yarlow (Fall of 2014). Catalogue with essay by John Yau to be published Fall 2014 2010 The Elysian Fields, Ochi Gallery, Ketchum, Idaho 2008 The Monster, David Zwirner, New York, NY 2006 War Landscape, David Zwirner, New York, NY 2001 Body Parts, David Zwirner, New York, NY 2000 Mount Vesuvius, 1301PE, Los Angeles, CA 1999 Katy Schimert/MATRIX 181: Oedipus, University California Berkeley Art Museum and Pacific Film Archive, Berkeley, California No Limits Events Gallery, Milan, Italy 1998 Icarus and the World Trade Center, David Zwirner, New York, NY 1997 Oedipus Rex: The Drowned Man, The Renaissance Society at the University of Chicago, Chicago, IL [catalogue] 1996 Love on Lake Erie, AC Project Room, New York, NY 1995 Dear Mr. -
Diana Thater Born 1962 in San Francisco
This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diana Thater Born 1962 in San Francisco. Lives and works in Los Angeles. EDUCATION 1990 M.F.A., Art Center College of Design, Pasadena, California 1984 B.A., Art History, New York University SOLO EXHIBITIONS 2020 Diana Thater: Yes there will be singing, David Zwirner Offsite/Online: Los Angeles [online presentation] 2018 Diana Thater, The Watershed, Institute of Contemporary Art, Boston 2017-2019 Diana Thater: A Runaway World, The Mistake Room, Los Angeles [itinerary: Borusan Contemporary, Istanbul; Guggenheim Bilbao, Bilbao, Spain] 2017 Diana Thater: The Starry Messenger, Moody Center for the Arts at Rice University, Houston, Texas 2016 Diana Thater, 1301PE, Los Angeles 2015 Beta Space: Diana Thater, San Jose Museum of Art, California Diana Thater: gorillagorillagorilla, Aspen Art Museum, Colorado Diana Thater: Life is a Timed-Based Medium, Hauser & Wirth, London Diana Thater: Science, Fiction, David Zwirner, New York Diana Thater: The Starry Messenger, Galerie Éric Hussenot, Paris Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art [itinerary: Museum of Contemporary Art Chicago] [catalogue] 2014 Diana Thater: Delphine, Saint-Philibert, Dijon [organized by Fonds régional d’art contemporain Bourgogne, Dijon] 2012 Diana Thater: Chernobyl, David Zwirner, New York Diana Thater: Oo Fifi - Part I and Part II, 1310PE, Los Angeles 2011 Diana Thater: Chernobyl, Hauser & -
DIANA THATER Science, Fiction
533 West 19th Street Fax 212 727 2072 David Zwirner New York, NY 10011 Telephone 212 727 2070 For immediate release DIANA THATER Science, Fiction January 8 – February 21, 2015 Opening reception: Thursday, January 8, 6 – 8 PM Press preview with the artist: 10 AM David Zwirner is pleased to present an exhibition of new work by Diana Thater, on view at 533 West 19th Street in New York. Shown here for the first time will be a new type of installation by the artist involving an enclosed video projection, ceiling screen, and light, as well as two new video walls. Thater is one of the most important video artists working today. Since the early 1990s, she has created a wide range of film, video, and installation-based works whose sculptural forms engage spatial perception in physical, The Starry Messenger, 2014 (rendering) 9-monitor video wall as well as conceptual, terms. Her pioneering oeuvre 68 3/8 x 121 x 3 5/8 inches was among the first to push the boundaries of how new (173.7 x 307.3 x 9.2 cm) media art is displayed, helping to cement its position in the art world. Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. -
Widening Circles | Photographs by Reginald Eldridge, Jr
JOAN MITCHELL FOUNDATION MITCHELL JOAN WIDENING CIRCLES CIRCLES WIDENING | PHOTOGRAPHS REGINALD BY ELDRIDGE, JR. Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Sonya Kelliher-Combs Shervone Neckles Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Widening Circles: Portraits from the Joan Mitchell Foundation Artist Community at 25 Years © 2018 Joan Mitchell Foundation Cover image: Joan Mitchell, Faded Air II, 1985 Oil on canvas, 102 x 102 in. (259.08 x 259.08 cm) Private collection, © Estate of Joan Mitchell Published on the occasion of the exhibition of the same name at the Joan Mitchell Foundation in New York, December 6, 2018–May 31, 2019 Catalog designed by Melissa Dean, edited by Jenny Gill, with production support by Janice Teran All photos © 2018 Reginald Eldridge, Jr., excluding pages 5 and 7 All artwork pictured is © of the artist Andrea Chung I live my life in widening circles that reach out across the world. I may not complete this last one but I give myself to it. – RAINER MARIA RILKE Throughout her life, poetry was an important source of inspiration and solace to Joan Mitchell. Her mother was a poet, as were many close friends. We know from well-worn books in Mitchell’s library that Rilke was a favorite. Looking at the artist portraits and stories that follow in this book, we at the Foundation also turned to Rilke, a poet known for his letters of advice to a young artist. -
Moving Image Artists
Time Based Artists Drawing Animation William Kentridge - Stereoscope Blu - Muto Len Lye (NZ) - Tusalava Kseniya Simonova - Sand Animation Hector Projector – Its Art Amy Kravitz – River Letthe Michel Gagne – Twisted Shadow Puppets Alexander Alexeieff and Claire Parker- La Nez Leopold Survage - Coloured Rhythms Oskar Fischinger – Mephisto Waltz Norman McLaren - Boogie Doodle Joanna Priestley – Voices Gary Bardin – Adagio Stan Brakhage – Garden of Earthly Delights Ed Emshwiller – Sunstone Steven Subotnick - West The Quay Brothers – The Calligrapher Paul Glabicki – Object Conversation Performance Alan Kaprow – Happening Joan Jonas – Glass Puzzle Carolee Schneemann -Eye Body: 36 Transformative Joseph Beuys – Action Piece Actions Yves Klein – Anthropométries de l'époque bleue, Chris Burden – Trans-fixed Ana Mendieta – Blood Sign #1 Marina Abramovic – Artist in The Present Gorilla Girls – March for Women’s Lives Jim Allen (NZ) – Contact Bill Viola – The Crossing Ene Liis Semper – Oaas Edward and Johann (NZ) – Paddies Attic Zhang Huan – Family Tree György Galántai –Foot Wear Vanessa Beecroft – VB35 Monali Meher – In Determination Eleanor Antin - Plaisir d'Amour (after Couture) Nick Cave – Sound Suits Le Wei – Ahead 1 Video Digital Carolee Schneemann - Cycladic Imprints Nam June Paik – Ommah Peter Campus – Interface Tracey Moffatt - Night Cries: A Rural Tragedy Luke Duncalfe (NZ) Jacuard Loom Panels Pipilotti Rist – Ever is Over All Harriet Stockman (NZ) – Final Gag Chris Braddock (NZ) The Artist Will Be Present Diana Thater – Butterflies Feng -
Diana Thater: the Sympathetic Imagination on View: November 22, 2015–February 21, 2016 Location: Art of the Americas Building (Plaza Level) and BCAM (Third Floor)
Exhibition: Diana Thater: The Sympathetic Imagination On View: November 22, 2015–February 21, 2016 Location: Art of the Americas Building (Plaza Level) and BCAM (Third Floor) Image captions on page 5 (Los Angeles—June 25, 2015) The Los Angeles County Museum of Art (LACMA) presents Diana Thater: The Sympathetic Imagination (November 22, 2015– February 21, 2016), the artist’s first comprehensive museum exhibition in the United States. Among the most important artists to emerge during the 1990s, Los Angeles– based artist Diana Thater has created groundbreaking and influential works of art in film, video, and installation that challenge the normative ways in which moving images are experienced. Her dynamic, immersive installations address key issues that span the realms of film, museum exhibitions, the natural sciences, and contemporary culture through the deployment of movement, scale, and architecture. Co-curated by Lynne Cooke, Senior Curator for Special Projects in Modern Art at the National Gallery of Art, Washington, DC, and Christine Y. Kim, Associate Curator of Contemporary Art at LACMA, The Sympathetic Imagination comprises 22 works from the early 1990s through 2015. Occupying approximately 20,000 square feet, it is LACMA’s largest monographic exhibition dedicated to a female artist to date. The primary emphasis of Thater’s work resides in the tension between the natural environment and mediated reality, and by extension, between the domesticated and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and layered imagery engages its surroundings to create complex relationships between time and space. -
Diana Thater Born 1962, San Francisco, California. Lives And
Diana Thater Born 1962, San Francisco, California. Lives and works in Los Angeles, California. education 1990 M.F.A., Art Center College of Design, Pasadena, California 1984 B.A., Art History, New York University, New York, New York solo exhibitions 2016 The Mistake Room, ‘The Silence of Ordinary Things’, Los Angeles, CA. 2015 Diana Thater, Eric Hussenot, Paris, France. LACMA, Diana Thater : The Sympathetic Imagination’, Los Angeles County Museum of Art, CA. Science Fiction, David Zwirner gallery, New York. Life is a Time-Based Medium, Hauser & Wirth, London. Aspen Art Museum, Aspen, CO. Beta Space, San Jose Museum of Art, San Jose, CA. Diana Thater, San Jose Museum of Art, California. 2014 Delphine, Saint-Philibert, Dijon, FRAC Bourgogne, France. 2012 Oo Fifi, Five Days in Claude Monetʼs Garden, Part I and Part II, 1992, 1301PE, Los Angeles, CA Chernobyl, David Zwirner, New York, NY 2011 Nature morte, Galerie Hussenot, Paris, France. 2010 Between Science and Magic, David Zwirner, New York, NY Between Science and Magic, Santa Monica Museum of Art, Santa Monica, CA Delphine, Kulturkirche St. Stephani, Bremen, Germany 2009 Diana Thater: gorillagorillagorilla, Kunsthaus Graz, Graz, Austria (a collaborative project with the Natural History Museum, London, England), [catalogue] Diana Thater, Hauser & Wirth, Swallow Street, London, England Tigers and Other People, Towner Art Gallery, Eastbourne, England Butterflies and Other People, Santa Barbara Museum of Art, Santa Barbara, CA 2008 Diana Thater, 1310PE, Los Angeles, California Diana Thater: Here is a text about the world, David Zwirner, New York, New York Delphine, New Children’s Museum San Diego, San Diego, California 2007 OFF WITH THEIR HEADS, OSRAM Art Projects / Seven Screens, Munich, Germany [catalogue] relay, a collaboration with T. -
Cindy Bernard - 1 –
Cindy Bernard - 1 – Cindy Bernard P.0. Box 50545 Los Angeles, CA 90050 Born: San Pedro, California Email: [email protected] Website: www.cindybernard.com Education: California Institute of the Arts (CalArts), M.F.A., 1985 California State University, Long Beach, B.A., 1981 Current positions: Adjunct Professor, Graduate Fine Art, Art Center College of Art and Design Founding Director, SASSAS, www.sassas.org SOLO MUSEUM PROJECTS 2013 Stedelijk Museum, Amsterdam 2011 Los Angeles County Museum of Art SOLO MUSEUM AND GALLERY EXHIBITIONS 2017 Richard Telles Fine Art, Los Angeles (May) 2014 Fralin Museum of Art, University of Virginia 2008 Tracy Williams LTD, New York Mills Gallery, Boston Center for the Arts 2005 Tracy Williams LTD, New York 2004 Margo Leavin Gallery, Los Angeles University of Nevada, Las Vegas The Suburban, Chicago 2002 Lemon Sky Projects + Editions, Los Angeles 2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1997 Lotta Hammer, London 1996 Air de Paris, Paris 1995 James Hockey Gallery, WSCAD, Farnham, England traveled to: Viewpoint Gallery, Salford, England 1993 Center for Creative Photography, University of Arizona, Tucson traveled to: Southeast Museum of Photography 1992 Richard Kuhlenschmidt Gallery, Santa Monica 1991 Air de Paris, Nice, France 1990 Richard Kuhlenschmidt Gallery, Santa Monica 1988 Michael Kohn Gallery, Los Angeles SOLO SCREENINGS AND PERFORMANCES 2013 Human Resources, Los Angeles 2010 SASSAS, Fiesta Hall, Los Angeles 2009 USC School of Cinema, Los Angeles 2005 Tonic, New York 2004 University of Nevada, Los Angeles 2001 Goldman-Tevis Gallery, Los Angeles* Beyond Baroque, Los Anglees* 2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1999 Santa Monica Museum of Art* *projections+sound w/Joseph Hammer Cindy Bernard - 2 – GRANTS, AWARDS AND FELLOWSHIPS 2017 UCross Residency 2016 MacDowell Fellowship / Residency 2013 Ruffin Distinguished Artist In Residence, McIntire Dept. -
The Historical Emergence and Conceptual Context of Neuro-Art
Art and Neuroscience: The Historical Emergence and Conceptual Context of Neuro-Art by Carin Laura D’Souza A thesis submitted in partial fulfillment of the requirements for the degree of: Doctor of Philosophy in Art History Approved Dissertation Committee: Prof. Dr. Paul Crowther, chair Prof. Dr. Claus Hilgetag Dr. Timothy Senior Prof. Dr. Robert Zwijnenberg Date of Defense: November 13, 2012 School of Humanities and Social Science, Jacobs University, Bremen i ii Abstract This study has developed on the premise that neuroscience has a significant impact on contemporary art, and on the observation that, from the dialogue with neuroscience, a new artistic tendency has been emerging. The aim of this research was therefore to investigate the roots, the emergence, and development of what I generically call neuro art. The main objective of the research was to initiate the history of neuro art. This history of neuro art investigates, for the first time, the relationship between neuroscience and contemporary practice of the visual arts by identifying and examining those artworks that rely on knowledge of the brain and the nervous system. The study begins with a broad analysis of the role neuroscience plays in contemporary culture. The analysis situates neuro art within the larger context of cultural interactions with neuroscience, defines neuro art, and frames the history of neuro art in relation with two other disciplines: neuroaesthetics and neuroarthistory. The core of the research addresses in detail the history of art objects about the brain and the nervous system. Setting the scene, the thesis first describes the earlier manifestations of neuro art and identifies its conceptual and historical roots. -
Letter from the Director
Letter From the Director the historical and contemporary Romare Bearden’s centennial cel- significance of “crossroads” and the ebration, this fall we celebrate value of “collaboration.” Caribbean: the hundredth anniversary of the Crossroads is the culmination of birth of noted photographer, writer almost a decade of research and and filmmaker Gordon Parks with dialogue about a region that is— Gordon Parks: A Harlem Family like Harlem—complex, culturally 1967. This exhibition features Parks’s diverse and full of art and artists. photographs of the Fontanelle family As I write this, the Museum galleries from his iconic Life magazine feature, are abuzz with Harlemites and A Harlem Family, alongside never- visitors from around the world enjoy- before-seen images from the same ing Caribbean: Crossroads, Primary series, providing unique insight Sources: Artists in Residence 2011– into Parks’s creative process. 12 and Illuminations: Expanding And with the help of my camera the Walls 2012, while our staff is phone, I’m taking my own impromptu planning an amazing slate of exhibi- photographs! You can see my snap- Photo: Timothy Greenfield-Sanders tions and programs for this shots of Harlem life and details of fall and winter. works of art that inspire me on my Today, the Studio Museum is at I’m always being asked when new Instagram feed. Search for a crossroads—literally and figura- the Studio Museum will add a new thelmagolden to check out some tively. We are located on the main chapter to our beloved series of of my latest images and let me know thoroughfare of a neighborhood “F” exhibitions.