Artistsg BOOKS
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Dear Reader. Don't Read
1 Guy Schraenen Ulises Carrión Dear reader. Don’t read. The revolution engendered by access to knowledge on the Internet brings to the fore certain artistic projects of the past that seem to resonate with the present, as a kind of wake-up call or an invitation to reflect. This is the case, for instance, of the heterodox, multiform oeuvre of the artist, writer, and publisher Ulises Carrión. Right from its title, the exhibition Dear reader. Don’t read raises a paradox in the form of a negative imperative: it reminds us of the need to approach written text, literature, and hence culture as an ambiguous and contra- dictory field full of latent meanings that may perhaps even surface through their negation. The exhibition, which takes the thought-provoking form of a large exhibited—or “published”—archive, inquires into what a museum can contain, beyond traditional formats. It also explores what an art institution can do in the sense of giving voice to groups of thoughts that have been hidden by the veil of time and by the material complexity of the media in which they are expressed. The Ulises Carrión exhibition and publication are presented at a time when both the Museo Reina Sofía and its foundation are paying close attention to archives, particularly those related to Latin America’s cultural scene. Due to their very nature, these groups of units of knowledge are at risk of disappearing, either literally in the physical sense or by succumbing to oblivion and neglect, to the point where they can no longer be read or interpreted. -
Artistsg BOOKS: News and Reviews
ARTISTSgBOOKS: news and reviews narrative fiction, pop montage, comics and social docu- NEWS ments, and intermedia, all by Zelevansky while Kostelanetz Artists' Books '83 was an exhibition held in July at Soker reviewed a recent show of Books by Artists sponsored by Kaseman Gallery in San Francisco. The show, curated by Art Metropole. Howard Munson, included 108 works by 69 artists from The Artist's & Critics Forum (Vol. 2, no. 3) subtitled the United States, Mexico, Europe and Japan. Among the "Invisible Books" is a series of essays by art critics about artists who are new to the media of book art and who were what books they consider necessary to be published and showing outstanding work for the first time were Elisa can never be published and why. Among these essays is Gitting's And We Ourselves Are Only The Rock's Words... , one by Peter Frank concerning what happened to Colla- a book of photo etchings on delicate Japanese paper of a tion and why. For more information on this important female form flowing in and out of rock formations strange- newsletter, write to A & CF, Box 1885, Grand Central ly resembling the same female form; Paul Kwan's Indian Station, New York, NY 10163 ($10.00 per year for 4). Journal, an accordion-style book of collage fabrics, beads, and unusual curios picked up during his travels in India; The USIA has begun what it hopes to be a long-running Keiko Nelson-Tsukamoto's Diary of Inner Life, a beauti- series of exhibits of American books at information cen- ful all hand-made paper accordion-style book with flowing ters at book fairs around the world. -
BA Project in Fine Art
BA Project in Fine Art Statement and Thesis Joe Keys BA Project in Fine Art – Statement and Thesis Supervisor: Jóhannes Dagsson Iceland Academy of the Arts Department of Fine Art Spring 2021 Notice Joe Keys BA Project in Fine Art – Statement Supervisors of BA Project: Hekla Dögg Jónsdóttir, Ólöf Nordal and Páll Haukur Björnsson Supervisor of Statement: Jóhannes Dagsson Iceland Academy of the Arts Department of Fine Art Spring 2021 This statement is about a 16 ECTS final project for a BA-degree in Fine Art at the Iceland Academy of the Arts. It is not allowed to copy this statement in any way without author’s consent. The installation ‘Notice’ revolves around a playful compromise of ´usefulness´ in found objects. This is something I rely on in my practice; by starting out with used material I establish a beginning place where to play with composition, aesthetics and function. I am looking to accentuate useful aspects of objects, so much so that they gain a new and awkward logic. The wheeled corner table is adjusted to clumsily fit around a column, the notice board is built with a corner, perhaps made for particular size notes or a specific amount of notes. The magazine holders become an object that has to be held by wooden rods coming from the column. These three sculptures were made in reference to each other and speak directly to a place of work, not a specific work environment, just somewhere mundane and empty. The enlarged printed sudoku is unsolved and framed and speaks to this emptiness. -
A Pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1
MANIFESTO PAMPHLET 18/19.10.2008 A pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1. The historic avant-gardes of the early 20th century and the neo- avant-gardes in the 1960s and 70s created a time of radical manifestos. 2. We now live in a time that is more atomised and has less cohesive artistic movements. 3. At this moment, there is a reconnection to the manifesto as a document of poetic and political intent. 4. This is a declaration of artistic will and new-found optimism. 5. New modes of publication and production are a means to distribute ideas in the form of texts, documents, and radical pamphlets. 6. This futurological congress presents manifestos for the 21st century. This event is urgent. 1 MANIFESTO PAMPHLET 18/19.10.2008 Gilbert & George (1969) SPONSOR’S FOREWORD In an exciting journey to discover the future of travel and relaunch their brand, Kuoni has partnered with a series of prominent experts from the worlds of contemporary lifestyle, fashion, art, architecture, music and literature. The latest in its ongoing series of collaborations sees Kuoni partner with the Serpentine Gallery, and, from 18 – 19 October, Kuoni is proud to be the headline sponsor of the Serpentine Gallery Manifesto Marathon. Through the sponsorship of the Manifesto Marathon, Kuoni will collect new perspectives on travel and develop these into a ‘new culture of travelling’–a selection of luxury, unique and authentic travel experiences. The Kuoni and Serpentine Gallery relationship is based on a common sense of curiosity and passion for innovation. Moreover, the concept of the Manifesto Marathon closely mirrors the Kuoni Getaway Council –an ever-evolving group of prolific experts and innovative thinkers from different fields, industries and countries– which was set up as a platform for exchanging ideas and finding new ways to innovate in travel. -
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The Conceptual, the Romantic, and the Nonhuman: The SÚM Group and the Emergence of Contemporary Art in Iceland, 1965-1978 by HEIÐA BJÖRK ÁRNADÓTTIR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May 2019 © Heiða Björk Árnadóttir, 2019 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: The Conceptual, the Romantic, and the Nonhuman: The SÚM Group and the Emergence of Contemporary Art in Iceland, 1965-1978 submitted Heiða Björk Árnadóttir in partial fulfillment of the requirements for by the degree of Doctor of Philosophy in Art History Examining Committee: Dr. T’ai Smith Supervisor Dr. Ignacio Adriasola Supervisory Committee Member Dr. Geoffrey Winthrop-Young Supervisory Committee Member Dr. Maureen Ryan University Examiner Dr. Vin Nardizzi University Examiner Additional Supervisory Committee Members: Supervisory Committee Member Supervisory Committee Member ii Abstract This dissertation considers the emergence of contemporary art practices in Iceland through the activities of the artist collective SÚM between 1965 and 1978. The founding of SÚM in 1965 brought forth, for the first time, a generation of Icelandic artists whose practices closely correspond to that of experimental artists globally, especially those aligned with Fluxus and conceptual art. As I highlight, this relied on Iceland’s belated modernization and changes to the country’s geopolitical status in the twentieth century, as well as on global efforts to decentralize the artworld. -
I'll Get Through
1 Major press reports/Längere Presseartikel dpa, 17.08.98 Tagesanzeiger, Zurich, 8.06.98 Koelnische Rundschau, 18.08.98 1 Tagesanzeiger, Zurich, 8.06.98 Mannheimer Morgen, 18.08.98 2 Neue Zürcher Zeitung, 8.06.98 Fraenkischer Tag, 18.08.98 6 Neue Zürcher Zeitung, 8.06.98 Westfaelischer Anzeiger, 18.08.98 7 Basler Zeitung, 8.06.98 Die Welt, Berlin, 18.08.98 8 Berliner Zeitung, 9.06.98 Winsener Anzeiger, 11.09.98 13 Basellandschaftliche Zeitung, 9.06.98 dpa Landesdienst, 30.98.98 15 Frankfurter Rundschau, 9.06.98 Rhein-Zeitung, 1.10.98 17 Kölner Stadtanzeiger, 9.06.98 Schwarzwaelder Bote, 1.10.98 18 Erkelener Nachrichten, 9.06.98 Reutlinger General-Anzeiger, 1.10.98 19 Süddeutsche Zeitung, 9.06.98 Video Text, 1.10.98 20 Neue Zürcher Zeitung, 9.06.98 Hellweger Anzeiger, 1.10.98 21 In Memoriam Dieter Roth ???### NZZ??? Frankfurter Allgemeine Zeitung, 2.10.98 24 Tagesspiegel (Berlin), 9.06.98 Sueddeutsche Zeitung, 23.10.98 25 Rheinische Post, 9.06.98 ???#### 110 27 Stuttgarter Zeitung, 9.06.98 ????#### 110 29 Die Welt (Hamburg), 9.06.98 Laudatio for Dieter Roth on the award of 3th1e art Die Presse (Vienna), 9.06.98 multiple prize 1998 in Düsseld3o2rf Berliner Morgenpost, 9.06.98 34 Frankfurter Allgemeine Zeitung, 9.06.98 ###Mentions/Kurze Erwähnungen 37 Berner Zeitung, 9.06.98 39 Langenthaler Tagblatt, 9.06.98 Süddeutscher Zeitung, 12.06.98 42 Neue Nidwaldner Zeitung, 9.06.98 Frankfurter Allgemeine, 12.06.98 44 Westdeutsche Zeitung, 9.06.98 Frankfurter Rundschau, 19.06.98 46 Stuttgarter Nachrichten, 9.06.98 Blick, 25.06.98 47 HNA Hessische Allgemeine, 9.06.98 Nürnberger Nachrichten, 30.06.98 49 Mannheimer Morgen, 9.06.98 Sonntags Zeitung, 5.07.98 51 Appenzeller Zeitung, 9.06.98 Schweizer Monatshefte, 10.07.98 53 Alles für Wien, Vienna, 10.06.98 Der Standard, Vienna, 14.08.98 54 Neue Zürcher Zeitung, 10.06.98 Sonntags Zeitung, 23.08.98 55 Die Zeit, 10.06.98 dpa Landesdiest, Hamburg, 24.08.98 58 Tageszeitung, 10.06.98 Zürichsee-Zeitung, 26.08.98 59 SonntagsZeitung, 14.06.98 Aargauer Zeitung, 29.08.98 67 Jungle World, No. -
The Network Atlas
Géza Perneczky NETWORK ATLAS Works and Publications by the People of the First Network Volume 1: A - N A Historical Atlas for the Post-Fluxus Movements as Mail Art, Visual Poetry, Copy Art, Stamp Art & Other Relative Trends with Addresses, Projects, Publications & Exhibition Events (Unedited manuscript) * Up to date: July 2004. © Geza Perneczky Soft Geometry, Cologne 2 3 It's very important for me to say that I consider my occupation as an artist as very small and insignificant but at the same time as one of great dignity. I mean the refusal to accept compromisses with power, no matter of what kind it is, and the rejection of the use of art and the artistic work as its instrument... Es muy importante para mí expresar que el ejercicio de mi profesión artística lo veo como una actividad muy modesta, pero con mucha dignidad a la vez. Me refiero a la actitud de rechazo de todo compromiso con el poder, cualquiera que sea, y de la utilización de la actividad creadore como instrumento de él... Es ist für mich sehr wichtig zu sagen, daß ich meine künstlerische Tätigkeit als sehr bescheiden betrachte, gleichzeitig aber als eine von großer Würde. Ich meine damit das Zurückweisen von Kompromissen mit der Macht, egal welcher Art sie ist, und das Zurückweisen der Benutzung der Kunst und der künstlerischen Tätigkeit als ihr Instrument... (Guillermo Deisler: Some events... ) 4 1 a Collective de Arte Postale» Faculdade de Filosofia. Arapongas Brasil 1978 → °1 a Collective de Arte Postale. Doc. List of 29 parts. 1978 «A 1. Waste Paper Comp. -
Am I a Fluxus Artist?
Myndlistardeild Myndlist Am I a Fluxus Artist? An exploration of the ideas behind Fluxus, avant-garde ideologies, and the relationship between life and art Ritgerð til BA-prófs í myndlist Ylva Frick Vorönn 2015 Myndlistardeild Myndlist Am I a Fluxus Artist? An exploration of the ideas behind Fluxus, avant-garde ideologies, and the relationship between life and art Ritgerð til BA-prófs í myndlist Ylva Frick Kt.: 100690-2929 Leiðbeinandi: Jón Proppé Vorönn 2015 6 Abstract Fluxus was a movement that emerged in the late 1950s and is comprised of a group of artists with different backgrounds; writers, musicians, painters, sculptors, etc., who made events and exhibitions together. This essay is an exploration of Fluxus with the focus point on writings by Dick Higgins and Ken Friedman. After a brief introduction to Fluxus and the history of it, I analyse and discuss works of mine; interactive performances, sculptures and installations, in connection with works by Fluxus artists, like Joseph Beuys and Alison Knowles, as well as more contemporary artists, like Elin Wikström, Thomas Hirschhorn, and Ragnar Kjartansson. The works are discussed in relationship to the life and art dichotomy, and the artist's communication with the world of non-art. In connection with my sculptural work, Stick Lisa, I talk about art as a metaphor for life, and how artworks can visualise otherwise invisible structures in society. I look at ideologies and manifestos of two other avant-garde movements, Dadaism and Futurism, and compare them with the ideas behind Fluxus. I also explain the new term, metamodernism, and connect it with the Fluxus concept of using many different media, intermedia. -
Felix Gonzalez-Torres American, B
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Felix Gonzalez-Torres American, b. Guáimaro, Cuba 1957, d. Miami, Florida 1996. EDUCATION 1987 M.F.A., International Center of Photography, New York University 1983 Independent Study Program, Whitney Museum of American Art, New York 1983 B.F.A., Pratt Institute, Brooklyn, New York 1981 Independent Study Program, Whitney Museum of American Art, New York SELECTED SOLO EXHIBITIONS 2021 Felix Gonzalez-Torres: The Politics of Relation. Museu d'Art Contemporani de Barcelona (MACBA), Barcelona, Spain. 26 Mar. – 12 Sep. 2021. Cur. Tanya Barson. 2020 Felix Gonzalez-Torres, “Untitled” (Fortune Cookie Corner), 1990. Fortune cookies, endless supply. Overall dimensions vary with installation. Original installation: approximately 10,000 fortune cookies. Various venues. 25 May – 5 Jul. 2020. Cur. Andrea Rosen. 2017 Felix Gonzalez-Torres. David Zwirner, New York. 27 Apr.– 24 Jun. 2017. 2016 Felix Gonzalez-Torres. Rockbund Art Museum, Shanghai, China. 30 Sept. – 25 Dec. 2016. Cur. Larys Frogier and Li Qi. Felix Gonzalez-Torres. Andrea Rosen Gallery, New York. 3 May – 18 Jun. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Massimo De Carlo, Milan. 21 May – 20 Jul. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Hauser & Wirth, London. 27 May – 30 Jul. 2016. Cur. Julie Ault and Roni Horn. 2015 Felix Gonzalez-Torres: This Place. Metropolitan Arts Centre, Belfast, Northern Ireland. 30 Oct. 2015 – 24 Jan. 2016. Cur. Eoin Dara. 2012 Felix Gonzalez-Torres, Double. PLATEAU and Leeum, Samsung Museum of Art, Seoul, South Korea. -
News 6 Notes
NEWS 6 NOTES The Corcoran Gallery of Art has been are being shown at the Union Gallery, phers includes Fay Godwin, Simon awarded at grant of $20,740 from the San Jose State University, San Jose. Marsden, John Blakemore, Ken Baird, National Historic Publications and Re- Thomas Joshua Cooper, Paul Joyce, cords Commission (NHPRC) to pro- PHOTOGRAPHY and others, sponsored by the Arts mote the development of the Corco- Council of Great Britain. For catalog, ran's archives. In January 1980, with Garlic Press, P.O. Box 24799, Los write to Museum of Art, WSU, Pull- a first grant, the Corcoran created the Angeles, CA 90024 offers art photo- man, WA 99164. Archives for the collection and preser- graphy mailing lists, covering museums vation of records which document the and galleries in the U.S. and in foreign The latest world record for a single 110-year heritage of the largest private countries, as well as lists of art photo- photograph is Ansel Adams' Moonrise, museum and school of art in Washing- graphy book publishers and art photo- Hernandez, New Mexico, recently pur- ron, DC. graphy periodicals. For more informa- chased by television producer, Burt During the first year, records orga- tion, write them for price list. Sugarman, for $71,500, from G. Ray nized were the Director's Correspon- Hawkins. art dealer. dence 1908-1968, exhibition files Portfolio: A Contemporary Education- 1907-1976, and gallery catalogs 1874- al Photography Magazine (no. 3) was Harry Callahan and Lee Friedlander 1980. This year, the staff will assem- issued in the Fall 1980 by Greg received Annual Peer Awards in Crea- ble the gallery's photographs and con- Holmes and Martin Wolin Jr.