Reconnoitring: Cartography of an Art Enthusiast
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Art, Capital of the Twenty-First Century Aude Launay
STATE OF POWER 2019 Art, Capital of the Twenty-First Century Aude Launay Jonas Lund, JLT 1106, 2018. CNC & engraved acrylic. Shielding itself in arcane guise to keep laymen away and, thereby, to shun any possibility of democratic supervision, finance has always created reality out of beliefs and stories, turning appraisal into numbers on which their trades are based. Fluctuations in markets reveal more changes in the minds of traders than actual variations in the companies traded. Being mainly composed of reflexive actions, the markets operate in a vacuum. The high volatility of finance seem to reverberate the ‘nothingness’ on which it relies. It is a world that artists understand well, challenging its power with its very means. What after all is an artwork? In literal terms, it is production time and material turned into an object, a commodity. The commodity’s value is not dependent on its inherent properties, however, but on the narratives attached to it – narratives built from the discourses and actions of collectors, curators, art historians, and so forth. Thus this value is not objectively determined. ‘In short, the value is not in the product but in the network’ argues artist and theorist Hito Steyerl, describing art as ‘a networked, decentralized, widespread system of value’ while comparing it to cryptocurrencies whose value is, as we know, not guaranteed by any central institution and whose state is maintained through distributed consensus.1 As the history of art is rooted in the subjective theory of value – despite a few historical attempts to rationalise the labor of art2 –, so is the act of collecting art objects. -
Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr. -
Brett, BIO/BIBLIO, 11-15-2020
Brett DePalma 37 Ackerman Place, Nyack, NY 10960 845-353-5458, 845-893-9229 [email protected], www.brettdepalma.com -BIOGRAPHY- 1949 Born, Lexington, KY 1970 B.A., Vanderbilt University (Peabody College), Nashville, TN 1972 B.F.A., Boston School of the Museum of Fine Arts, Boston, MA 1973 M.F.A., Tufts University, Medford, MA One Person Exhibitions 2017 Howl!Happening Gallery, “Dreaming on the Bowery: Post-Apocalyptic Painting”, 30yr Survey, New York, NY 2017 Rockland Council on the Arts, Garnerville, NY 2016 Mothership Gallery, Woodstock, NY 2015 Piermont Public Library, Piermont, NY 2015 Nyack Public Library, Nyack, NY 2011 Tinney Contemporary Gallery, Nashville, TN 2011 Dinter Fine Arts, online video project, New York, NY 1998 Rockland Community College, Library Rotunda, Suffern, NY 1991 Arnold Herstand Gallery, New York, NY 1991 Hevelda Gallery, Oporto, Portugal 1990 Colleen Greco Gallery, Nyack, NY 1990 Montebello Mansion Gallery, Montebello, NY 1989 Fawbush Gallery, New York, NY 1988 Philippe Briet Gallery, New York, NY 1988 Fawbush Gallery, New York, NY 1988 Anders Tornberg Gallery, Lund, Sweden 1986 Mario Diacono Gallery, Boston, MA 1985 Tony Shafrazi Gallery, New York, NY 1984 Tony Shafrazi Gallery, New York, NY 1983 Emilio Mazzoli Gallery, Modena, Italy 1983 Tony Shafrazi Gallery, New York, NY 1982 Emilio Mazzoli Gallery, Modena, Italy 1977 Martin Wiley Gallery, Nashville, TN 1975 Sarratt Art Center, Vanderbilt University, Nashville, TN 1974 Tufts University, M.F.A. Graduate Exhibition, Medford, MA Group Exhibitions 2020 Pulpo Gallery, Murnau, Germany, “New York’s Art Scene in the Eighties; Basquiat, Condo, Rifka, De Palma” 2020 Maison de la Culture, Janine-Sutto, Montreal, Canada “Spunkt Art Now” 2020 Galerie d’art Antoine-Sirois, University of Sherbrooke, Quebec, Canada, “Spunkt Art Now” 2020 Monaco Gallery, St. -
Picture As Pdf
1 Cultural Daily Independent Voices, New Perspectives Interlock: The Essential Mark Lombardi Patricia Goldstone · Thursday, October 20th, 2016 [alert type=alert-white ]Please consider making a tax-deductible donation now so we can keep publishing strong creative voices.[/alert] Before Edward Snowden, before Julian Assange, and long before an international consortium of 400 journalists broke the story of an 11-million tax-scam document leak they called the Panama Papers, there was Mark Lombardi, a lone conceptual artist who drew a continual visual history of the offshore banking business before he was found hanged in his 300 square-foot Williamsburg studio at the age of 49. The Panama Papers are only a part of the alternative world economy Lombardi mapped in a monumental series of elegant visual narratives detailing marriages of convenience between intelligence agencies, governments, corporations (i.e. banks) and organized crime from the 1930s to the year 2000, when he died. Connecting his drawings to form a 360-degreee panorama, he described the evolution of a single network which has consumed the financial ecology over time in a series of related bubbles, one of which predicts the next. Because he meticulously used both legal and mathematical tools to compose his drawings—with principles of proportional beauty he appropriated from Leonardo Da Vinci – Lombardi straddles the cusp between art and information, the first artist to “do metadata”. He is certainly the first artist to be studied in depth by the intelligence agencies he scrutinized in his work, and whose legacy is a financial fraud investigation platform, created by Peter “PayPal” Thiel with venture capital from the CIA. -
Die Öffentlichkeit Der Verschwörung. Ästhetik Und Politische Ökonomie Bei Mark Lombardi 2012
Repositorium für die Medienwissenschaft Sebastian Gießmann Die Öffentlichkeit der Verschwörung. Ästhetik und politische Ökonomie bei Mark Lombardi 2012 https://doi.org/10.25969/mediarep/1929 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Gießmann, Sebastian: Die Öffentlichkeit der Verschwörung. Ästhetik und politische Ökonomie bei Mark Lombardi. In: Dietmar Kammerer (Hg.): Vom Publicum. Das Öffentliche in der Kunst. Bielefeld: transcript 2012, S. 29– 47. DOI: https://doi.org/10.25969/mediarep/1929. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 3.0 Attribution - Non Commercial - No Derivatives 3.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/3.0 https://creativecommons.org/licenses/by-nc-nd/3.0 Die Öffentlichkeit der Verschwörung. Ästhetik und politische Ökonomie bei Mark Lombardi* SEBASTIAN GIESSMANN Es erscheint zwar verwegen, liegt aber auf der Hand: Revolution, De- mokratie und Strukturwandel der Öffentlichkeit brauchen Gerüchte und Verschwörungen wie die Luft zum Atmen. So zeichneten sich die antiken Athener nicht nur durch ihre Streitfreude vor Gericht oder ihre Theaterleidenschaft aus, sondern ebenso durch eine enorme Lust am politischen Frondieren.1 Ob diese, wie wir aus der Mediengeschichte der Verschwörungstheorie zu wissen meinen,2 erst mit der frühneuzeit- lichen und aufklärerischen Öffentlichkeit wiederkehrt, wäre eine Fra- ge, die Mediävistik und transnationale Geschichtsschreibung beant- worten müssten. Ich orientiere mich hingegen im Folgenden aber an jener Öffentlichkeit, deren historische Formation man in Büchern wie * Der für diesen Band bearbeitete und durchgesehene Text ist in erweiterter Form ebenfalls erschienen in: Krause, Markus/Meteling, Arno/Stauff, Mar- kus: Parallax View. -
LOREN MUNK American, B. 1951 the Artist Loren Munk Is A
LOREN MUNK American, b. 1951 The artist Loren Munk is a painter, draftsman, art writer and videographer. He is known within the New York artist's community primarily for his extensive work documenting the artist scene through his reviews, maps, diagrams and video reports. After studies at Idaho State University, and spending two and a half years in Europe in the United States Army, Munk returned stateside to attend New York's Art Students' League on the GI Bill. Munk's work debuted in SoHo in 1981 with a double show at J. Fields Gallery and Gabrielle Bryers. Since then, he has developed an international career. In addition to exhibiting in Brazil, France, Germany and the United States, Munk has received national and international public and private commissions including a mural competition for the Mayor's Office of Paris. He is well represented in important collections throughout Europe, South and North America and the Middle East. Most recently, Munk has been producing a major series of paintings which tackle the subject of art itself through an historical and diagrammatic lens. He has also, expanded upon his role in the artistic community, publishing numerous reviews and essays, curating and promoting several exhibitions, and offering his acknowledged expertise on the Williamsburg and Bushwick art scenes. Munk has lectured and critiqued at New York's School of Visual Arts, The Studio School, The New York Academy of Art, The Sotheby's Institute of Art, and Lehman College. Inventing the spontaneous online review, Munk documents the New York art world in YouTube videos, using the name James Kalm. -
Evidentiary Realism Group Show at NOME Gallery in Berlin December
. Evidentiary Realism group show at NOME Gallery in Berlin December 1, 2017 – February 17, 2018 Opening reception, December 1, 6-9pm Walk-through, December 2, 5pm NOME Gallery, Glogauer str. 17, Berlin More information on the website EvidentiaryRealism.net Artists: Sadie Barnette, Josh Begley, James Bridle, Ingrid Burrington, Harun Farocki, Navine G. Khan-Dossos, Hans Haacke, Khaled Hafez, Jenny Holzer, Mark Lombardi, Kirsten Stolle, Thomas Keenan & Eyal Weizman. Curated and organized by Paolo Cirio. Writers: Jaroslav Andel, Sampada Aranke, Giulia Bini, Joshua Craze, Nijah Cunningham, Heather Davis, Lauren van Haaften-Schick, Natasha Hoare, Aude Launay, Susanne Leeb, Susette Min, Mary Anne Redding, Susan Schuppli, Blanca de la Torre, Nicola Trezzi. Evidentiary Realism features artists engaged in investigative, forensic, and documentary art. The exhibition aims to articulate a particular form of realism in art that portrays and reveals evidence from complex social systems. The artworks featured explore the notion of evidence and its modes of representation. Evidentiary Realism reflects on post-9/11 geopolitics, increasing economic inequalities, the erosion of civil rights, and environmental disasters. It builds on the renewed appreciation of the exposure of truth in the context of the cases of WikiLeaks, Edward Snowden, the Panama Papers, and the recent efforts to contend with the post-factual era. Contemporary sharing and processing of information in an open global collaborative environment entails an amplified sense of reality. Leaks, discoveries, and facts are collectively verified and disseminated among numerous distribution networks. Techniques of presentation and engaging the public have been evolving in the same direction: through reconfiguration of media and languages, the evidence is presented in a variety of strategies and artifacts in dialogue with contemporary art practices. -
Loren Munk Born in 1951
Loren Munk Born in 1951. American. EDUCATION: 1979 Art Students Leauge, New York, NY 1975 University of Maryland at Ramstein, Ramstein, Germany 1972 Idaho State University, Pocatello, ID SOLO EXHIBITIONS: 2015 Flecker Gallery, Suffolk County Community College, Selden, New York, Reconnoitering: Cartography of an Art Enthusiast 2014 Freight+Volume, New York, NY, You are Here 2013 Valentine Gallery, Queens, NY, Valentine (curated by Fred Valentine) 2011 Leslie Heller Work Space, New York, NY, Location, Location, Location 2010 MINUS SPACE, Brooklyn, NY, Becoming Modern in America (curated by Matthew Delege) Daniel Weinberg Gallery, Los Angeles, CA 2009 Rupert Ravens Contemporary Art, Newark, NJ 2006 Dam & Struhltrager Gallery, Brooklyn, NY Dam & Struhltrager Gallery, Brooklyn, NY 2002 American Contemporary Art Gallery, Munich, Germany Andre Zarre Gallery, New York, NY Museum Moderner Kunst, Passau, Germany 2001 M.J. Wewerka Galerie, Berlin, Germany American Contemporary Art Gallery, Munich, Germany 2000 American Contemporary Art Gallery, Munich, Germany 1998 L’Antiquario, Sao Paolo, Brazil 1997 Jeffery Coploff Fine Art Ltd., New York, NY 97 ALLEN ST | NEW YORK, NY 10002 | T. 212.691.7700 | [email protected] 1996 Caesaria Gallery, Boca Raton, FL 1995 Amerika-Haus, Munich, Germany 1994 BMW, Munich, Germany Andre Zarre Gallery, New York, NY 1992 Galerie Svetlana, Munich, Germany Andre Zarre Gallery, New York, NY 1991 Krief Galerie d’Art Contemporain, Paris, France Ceder Crest College, Allentown, PA 1990 Galerie Zvetlana, Munich, Germany -
Making the Invisible Visible: the Neo-Conceptual Tentacles of Mark Lombardi
Making the Invisible Visible: The Neo-Conceptual Tentacles of Mark Lombardi Ryan Bigge Ryerson University "Mark Lombardi: Global Networks." Exhibition at the Art Gallery of Ontario, Toronto, Canada, 8 September to 5 December 2004. If heaven and hell exist, Lombardi's drawings are like Powerpoint representations that St. Peter might create to determine accountability. - Richard Klein, Exhibitions Director at the Aldrich Contemporary Art Museum A judicious entry point for Mark Lombardi's graphite and watercolour paper panoramas of financial malfeasance is the octopus. (That is, the octopus as metaphor, not zoological curiosity.) Recall the "Serio-Comic War Map For the Year 1877" by political cartoonist Frederick W. Rose, in which Russia is por- trayed as an octopus, with a wounded tentacle retreating from the Crimea, while others embrace Poland, Finland and Persia. Rose's map demonstrates how much smaller the world once was. To view even a relatively modest drawing by Lombardi, such as World Finance Corp. - Guillermo Hernandez Cartaya (Miami FL) (1st Version), 1994, is to witness the Byzantine linkages inscribed within his "rhizomic schematizations of power."' Lombardi spent much of his short life gathering information and creating art, but it was only in the six years before his death that he managed to find a satisfying method of merging his twin passions. Born in 195 1, Lombardi earned a BA in art history from Syracuse University in 1974 and spent a num- ber of years in Houston working as a curator, a fine arts librarian and a series of other related jobs. His interest in art, politics and research led him to com- plete two unpublished manuscripts on panorama paintings and the drug wars. -
Mapping & Data Visualization Slideshow Notes
Mapping & Data Visualization Slideshow Notes Slide 1: Title Introduction to Data Visualization and Mapping - why such a big explosion in the past years? How can we determine “good” images? How can we wade through so much data and condense it? Image: interior of a mouse’s ear. Pseudocolored, direct volume rendering of the inner portions of a mouse cochlea in which all of the cells have been removed by a detergent. Extracellular matrix, including blood vessel basement membranes, can be seen via specific fluorescent antibody labeling and imaging by scanning thin sheet laser imaging microscopy. Purpose: to understand the molecular mechanisms of hearing. Studying mice sheds light on genetic and physiological basis for human hearing impairment. Slide 2: Definition Mark Lombardi is a visual artist who maps the relationships between people and studies the connections and degrees of closeness. For example, he explores subjects such as the Vatican Bank, the Iran-Contra scandal, and the Iraq war - in short, he studies the “uses and abuses of power.” He traces the path of money and business to track a web of interconnected sources. In the process, he creates abstract drawings that stand alone in their own right as artistic explorations. He calls these drawings “Narrative Structures.” http://www.npr.org/templates/story/story.php?storyId=1487185 Slide 3: Information Mapping History Charles Minard is considered the “father of information graphics” because he invented the bar graph, the pie chart, and the line graph. The chart above tells the story of a war: Napoleon’s Russian campaign of 1812. It was drawn half a century afterwards by Charles Joseph Minard, a French civil engineer who worked on dams, canals and bridges. -
Master´S Thesis by Nina Zöpnek
Master´s Thesis By Nina Zöpnek Mapping the News – How an inter-disciplinary approach between the artistic form of social mapping as implemented by Mark Lombardi and the Bureau d´Etudes and investigative journalism can allow to re-think news representation A theoretical approach in the shape of an investigative article rMA Cultural Analysis (Arts and Culture) Supervised by Dr. Joost de Bloois June 2017 Universiteit van Amsterdam Historically speaking Staying on track with the latest news updates in any shape or form currently seems like an almost impossible task. Whether one is particularly interested in the news or not, the overwhelming fragmentation of the journalistic profession makes it a difficult endeavour to keep an overview. Updates are constantly offered as articles in newspapers, news shows on radio or television broadcasting, instant news updates on websites or apps, news excerpts in social media, podcasts on recent occurrences, images, or video clips, … And the list of what counts as news items could be expanded. One of the main reasons why it has become so difficult to keep up with the constant flow of information is the internet. Its introduction into our everyday lives is one of the biggest challenges journalism1 had and still has to face. Historically speaking, it is a rather long record that is currently being disrupted. The concept which we today refer to as “the press” has had a privileged monopoly over exposing and reporting on political and economic facts, transitions, and misconducts for approximately half a millennium. Its strength was born out of a technological advancement – namely the Gutenberg Press – and is now being undermined by another progression in technology and the changes this inherently entails: the rise and spread of the internet. -
Contributors
contributors Stephen Ausherman’s art films have been screened at John Henry Blatter - Born on a farm, nurtured with mid- The Center for Contemporary Art in Santa Fe, The New western simplicity and spanked by southern hospitality. Center for Contemporary Art in Louisville, Blatter is currently expanding his horizons through the use wholphindvd.com, and elsewhere. His art trailers are of frustration and hopes to one day show his art again. coming soon to the Art Disk. [email protected] www.restlesstribes.com Martin John Callanan is a resident and active citizen Calvin Burton - Born in Roanoke, Virginia but grew of the London Borough of Tower Hamlets, a National, up in the Sierra Nevada Mountains outside of Reno. and citizen of the United Kingdom of Great Britain, and He pursued his undergraduate studies at Brown a citizen of the European Union. By birth, Callanan is University in Providence, getting his B.A. in Visual a citizen of the Republic of Ireland: a status which has Arts and Mathematics. He spent two years in Xalapa, never been exercised (no passport been held despite Veracruz, Mexico, where he resided until returning eligibility for dual-nationality with UK). to the U.S. in 2004 to pursue his MFA in painting at [email protected] Virginia Commonwealth University. He currently lives in Richmond, Virginia. Derek Coté - Captain of all Canucks, and former explorer, [email protected] Derek is getting closer to discovering the secret of avoiding employment, and the benefits of a flexible schedule. Alice Bradshaw has recently shown with Contents May [email protected] Vary in Apartment, Manchester, October, 2006.