Allen Ruppersberg Biography
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Full Results of Survey of Songs
Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents. -
THE INDEPENDENT VOICE of the VISUAL ARTS Volume 32 No
THE INDEPENDENT VOICE OF THE VISUAL ARTS Volume 32 No. 3 January/February 2018 Established 1973 INSIDE RICHARD SIEGESMUND delivers a harsh critique of current students’ art education $8 U.S. $10 Canada JEN DELOS REYES offers ideas about a radical school of art and art history for the 21st century EVAN CARTER shares his experiences in art school and guides students in choosing the right school DIANE THODOS describes the 1980s takeover of art schools by neoliberal economic values MICHEL SÉGARD reviews a rare exhibition of French photographer Hervé Guibert’s imagery NEW ART EXAMINER COVER IMAGE: .A photo of a Yale School of Fine Arts studio painting class taken CONTENTS circa 1900–1920. IS ART SCHOOL A SCAM? 4 Introduction 5 The Flawed Academic Training of Artists Art and Design Professor, RICHARD SIEGESMUND, delivers a harsh critique of current students’ art education amid today’s triumphant cultural marketplace. 8 Re-Thinking Art Education (Revisited), Again Artist and art administrator, JEN DELOS REYES, offers new thoughts on the idea and potential of a radical school of art and art history for the 21st century. 12 Art School Today: Fast and Loose University of Chicago 2017 MFA graduate, EVAN CARTER, speaks of his experiences in art school and guides future students about choosing the right art school. 15 How Neoliberal Economics Impacted Art Education DIANE THODOS, a 1989 MFA graduate of New York’s School of Visual Arts, describes the 1980s takeover of art schools by neoliberal economic values. 19 Artist Biography with a Bias Elaine de Kooning was a well-regarded artist and mentor to fellow artists. -
Mdms Fraser List of Works E.Docx
Andrea Fraser List of Works This list of works aims to be comprehensive, and works are listed chronologically. A single asterisk beside the title (*) indicates that an installation or project is represented in the exhibition only as documentation. Two asterisks (**) indicate that a work is not included in the exhibition. The context of a performance or work (for example commission, project, or exhibition) is listed after the medium. When no other performer is listed, the artist performed the work alone. When no other location is listed, videotapes document the original performance. Unless otherwise specified, videotapes are standard definition. If no other language is indicated, texts, performances, and videos are in English. Dates of performances are noted where possible. Dimensions are given as height x width x depth. Collection credits have been listed for series up to editions of three and public collections have been listed for editions of four to eight. Unless otherwise specified, exhibited works are on loan from the artist. Woman 1/ Madonna and Child 1506–1967 , 1984 Artist’s book Offset print, 16 pages 8 5/8 x 10 1/16 in. (22 x 25.5 cm) Edition: 500 Untitled (Pollock/Titian) #1 , 1984/2005 (**) Digital chromogenic color print 26 3/4 x 60 in. (67.9 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #2, 1984/2005 (**) Digital chromogenic color print 27 x 60 in. (68.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #3 , 1984/2005 (**) Digital chromogenic color print 40 x 60 in. (101.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #4 , 1984/2005 (**) Digital chromogenic color print 40 x 61 in, (101.6 x 154.94 cm) Edition: 5 + 1 AP 1/5 Kemper Museum of Art, Kansas City, MO Untitled (de Kooning/Raphael) #1 , 1984/2005 (**) Digital chromogenic color print 40 x 30 in. -
Event Guide September to December 2014
CLÁR IMEACHTAÍ Event Guide September | December 2014 Sive by John B. Keane, Abbey Theatre on Tour 1 Celebrating Irish Culture through the Arts, Home to the National Folk Theatre Box Office 066 7123055 Home of the National Folk Theatre of Ireland We bring together the people of Kerry and visitors from all over the world to enjoy the best of Irish culture - music, song and dance. Come and join us for a performance in our wonderful theatre in Tralee, in beautiful County Kerry, looking out over the Slieve Mish Mountains and the Dingle peninsula. Siamsa Tíre protects, develops and explores Irish culture and traditions, who we are, where we come from and who we are going to be. Thousands of visitors have enjoyed our performances of Irish music, song and dance as a highlight of their trip to Ireland. There is an energy, a wildness, a passion about these performances, using the best of traditional arts, which come together to create a memorable and emotional experience for our visitors. So, check out our reviews on Trip Advisor, see some fabulous footwork and clips of the performances on our website - www.siamsatire.com and then come and visit us. We look forward to welcoming you! www.siamsatire.com Value Deals & Special Offers Drama Music Siamsa Tíre is offering patrons a variety of EURO SAVING OPTIONS this season from Early Bird Ticket offers, Dinner+Theatre offers, Music Season Tickets and Drama Season Tickets, all of which will suit your pocket! Season Ticket Season Ticket FEMALE GOTHIC (26 Oct) A STÓR MO CHROÍ (4 Oct) Early Bird Dinner DEFENDER OF THE FAITH (20/21 Nov) FIACHRA GARVEY (7 Nov) TRIALS OF GALILEO (5 Dec) THE VOICE SQUAD (6 Dec) A STÓR MO CHROÍ (4th Oct) &Theatre Book before 26th Sept for €15 tickets. -
CCM-Summer 2016.Pdf
Classical Reflection By Chantelle Constable Identical mirror twins Hannah and conjunction with the EP, which is Naomi Moxon grew up singing titled "The Night Before Christmas." nursery rhymes and listening to "Our video was really something Emmanuel & ourselves had been Vivaldi and Shania Twain in the car. talking about since we left The Voice. "We remember singing along... it was We had so many lovely comments probably quite embarrassing!" Now, about the song so we felt we really at the ages of 20, they are veterans of wanted to give back something to popular television talent show The those who support us!" Voice, and have just released their The girls' love of singing was instilled first Christmas EP. "We love from an early age. "Since the moment everything about Christmas... we could talk our mum would sing probably our favourite things are: with us for about an hour every Getting up early on Christmas morning. It was never about being perfect but just having fun!" Classical morning, dinner, wrapping everyone’s crossover seems to have also been an presents, and having family board instinctive choice, with the freedom it games." offers in its blend of styles and relaxing mood that appeals to a wide A video for "The Living Years," audience, even those who primarily featuring The Voice co-competitor listen to other genres. In choosing Emmanuel Nwamadi, was released in songs for their repertoire, melody enjoy everything!" takes top priority. The twins love As expected, the girls' voices are both "emotional songs," and love having soprano, and nearly identical to the audiences leave their concerts feeling point that they will often tradeoff "uplifted and happy." between the high and low harmonies within the same song ("It seems very "We always feel really honored when confusing but it happens naturally"). -
The Art of Duplicitous Ingemination
Originally published in ALLAN McCOLLUM Stedelijk Van Abbemuseum Eindhoven, Holland; 1989 Allan McCollum: The Art of Duplicitous Ingemination LYNNE COOKE ‘THE QUESTION OF NUANCE (within unity) is linked to the model, while difference (within uniformity) is linked with mass-production. Nuances are infinite, they are an inflexion, renewed continually by invention within a free syntax. Differences are finite in number and result from the systematic bending of a paradigm. We must not make a mistake here: if nuance seems rare and the marginal difference unquantifiable, because it benefits from being diffused widely, structurally it is still only the nuance which is inexhaustible. (In this way the model is linked to the work of art). The serial difference returns into a finite combination, into a system which changes continually according to fashion but which, for each synchronic moment in which it is considered, is limited and narrowly restricted by the dictates of production. When all is said Allan McCollum. Over Ten Thousand and done, a limited range of objects is offered to the vast Individual Works (detail). 1987-88. majority through the series, while a tiny minority is Enamel on cast Hydrocal, 2” diameter each, lengths variable. presented with an infinite variation of models. The first social group is offered a repertoire (however vast) of fixed elements, while the latter is given a multiplicity of opportunities (the former is given an indexed code of values, the latter a continually new invention). The question of class is therefore fundamental to this whole business. Through the redundancy of its secondary characteristics, the serial object makes up for the loss of its fundamental qualities. -
C#13 Modern & Contemporary Art Magazine 2013
2013 C#13 Modern & Contemporary Art Magazine C#13 O $PWFSJNBHF"MGSFEP+BBS 7FOF[JB 7FOF[JB EFUBJM Acknowledgements Contributors Project Managers Misha Michael Regina Lazarenko Editors Amy Bower Natasha Cheung Shmoyel Siddiqui Valerie Genty Yvonne Kook Weskott Designers Carrie Engerrand Kali McMillan Shahrzad Ghorban Zoie Yung Illustrator Zoie Yung C# 13 Advisory Board Alexandra Schoolman Cassie Edlefsen Lasch Diane Vivona Emily Labarge John Slyce Michele Robecchi Rachel Farquharson Christie's Education Staff Advisory Board John Slyce Kiri Cragin Thea Philips Freelance C#13 App Developer Pietro Romanelli JJ INDEX I Editor’s Note i British Art 29 Acknowledgements ii Kali McMillan Index iii Index iv Venice C#13 Emerging Artists 58 Robert Mapplethorpe's Au Debut (works form 1970 to 1979) Artist feature on Stephanie Roland at Xavier Hufkens Gallery Artist feature on De Monseignat The Fondation Beyeler Review Artist feature on Ron Muek LITE Art Fair Basel Review Beirut Art Center Review HK Art Basel review Interview with Vito Acconci More than Ink and Brush Interview with Pak Sheun Chuen Selling Out to Big Oil? Steve McQueen's Retrospective at Schaulager, Basel The Frozen Beginnings of Art Contemporary Arts as Alternative Culture Interview with Lee Kit (in traditional Chinese) A Failure to Communicate Are You Alright? Exhibition Review A Failure to Communicate Notes on Oreet Ashrey Keith Haring at Musee D’Art -
ALLAN Mccollum Brief Career Summary Allan Mccollum
ALLAN McCOLLUM Brief career summary Allan McCollum was born in Los Angeles, California in 1944 and now lives and works in New York City. He has spent over thirty years exploring how objects achieve public and personal meaning in a world constituted in mass production, focusing most recently on collaborations with small community historical society museums in different parts of the world. His first solo exhibition was in 1970 in Southern California, where he was represented throughout the early 70s in Los Angeles by the Nicholas Wilder Gallery, until it’s closing in the late 70s, and subsequently by the Claire S. Copley Gallery, also in Los Angeles. After appearing in group exhibitions at the Pasadena Art Museum and the Los Angeles County Museum of Art, his first New York showing was in an exhibition at the Sidney Janis Gallery, in 1972. He was included in the Whitney Museum of American Art Biennial Exhibition in 1975, and moved to New York later that same year. In 1978 He became known for his series Surrogate Paintings, which were shown in solo exhibitions in New York at Julian Pretto & Co., Artistspace, and 112 Workshop (subsequently known as White Columns), in 1979. In 1980, he was given his first solo exhibition in Europe, at the Yvon Lambert Gallery, in Paris, France, and in that same year began exhibiting his work at the Marian Goodman Gallery in New York, where he introduced his series Plaster Surrogates in a large solo exhibition in 1983. McCollum began showing his work with the Lisson Gallery in London, England, in 1985, where he has had a number of solo exhibitions since. -
Ceri Hand Selected Programme 2002 – 2020
CERI HAND SELECTED PROGRAMME 2002 – 2020 *All listed programme accompanied by public & digital programme including talks, learning & skills events, performances, resources and merchandise 2020 As Director of Programmes at Somerset House I was responsible for the cultural programme, leading a team of curators, producers and engagement and skills specialists. ▪ Mushrooms: The Art, Design and Future of Fungi, Somerset House Trust, London Exhibition curated by Francesca Gavin and Claire Catterall, with catalogue Adham Faramawy, Alex Morrison, Amanda Cobbett, Andrea Zucchini, Aniela Hoitink, Annie Ratti, Beatrix Potter, Cody Hudson, Cy Twombly, Daniel David Freeman, David Fenster, Donlon Books, Graham Little, Hamish Pearch, Hannah Collins, Haroon Mirza, Jason Evans, Jeremy Shaw, John Cage, Kristel Peters, Lara Ögel, Laurence Owen, Lois Long, Mae-ling Lokko, Perks and Mini, Salvatore Arancio, Seana Gavin, Sebastian Cox and Ninela Ivanova, Simon Popper, Stephan Doitschinoff, The Mycological Twist 2019 Somerset House Trust, London ▪ Hanna Moon & Joyce Ng: English as a Second Language Exhibition curated by and with Shonagh Marshall ▪ International Fashion Showcase 2019: Brave New Worlds, the Changing Landscape of Fashion International professional development residency and exhibition, with catalogue, produced in partnership with British Council, British Fashion Council, London College of Fashion, UAL and Somerset House Rahemur Rahman, David Lee, Curtis Oland, Laura Laurens, Situationist, Naushad Ali, Ice Surface Temperature, Ami Doshi Shah, Roni -
Fashion Photography and the Museum by Jordan Macinnis A
In and Out of Fashion: Fashion Photography and the Museum by Jordan MacInnis A thesis presented to the Ontario College of Art & Design in partial fulfillment of the requirements for the degree of Master of Fine Arts in Criticism and Curatorial Practice Toronto, Ontario, Canada, 2011 © Jordan MacInnis 2011 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature . Date . ii In and Out of Fashion: Fashion Photography and the Museum Master of Fine Arts, 2011 Jordan MacInnis Criticism & Curatorial Practice Ontario College of Art & Design University Abstract The past two decades have witnessed an increase in exhibitions of fashion photography in major international museums. This indicates not only the museum’s burgeoning interest in other cultural forms but the acceptance of fashion photography into specific art contexts. This thesis examines two recent exhibitions of contemporary fashion photography: “Fashioning Fiction in Photography Since 1990” at the Museum of Modern Art (April 16- June 28, 2004), the first exhibition of fashion photography at a major North American museum of art, and “Weird Beauty: Fashion Photography Now” at the International Center of Photography (January 16, 2009-May 3, 2009). -
Louise Lawler
LOUISE LAWLER Born 1947 in Bronxville, New York Lives in Brooklyn, New York EDUCATION 1969 BFA Cornell University, Ithaca, New York SELECTED ONE-PERSON EXHIBITIONS 2019 Andy in Chicago, Art Institute of Chicago Is Anybody Home, Marc Jancou Chalet, Rossinière, Switzerland 2018 She’s Here, Sammlung Verbund, Vienna (cat.) Edits and Projections (with Rhea Anastas and Robert Snowden), 80WSE, New York AFTER, Campoli Presti, Paris 2017 WHY PICTURES NOW, Museum of Modern Art, New York (cat.) 2015 No Drones, Blondeau & Cie, Geneva 2014 The High Line Billboard, New York No Drones, Metro Pictures, New York No Drones, Sprueth Magers, Berlin No Drones, Sprueth Magers, London No Drones, Yvon Lambert, Paris No Drones, Galerie Greeta Meert, Brussels No Drones, Studio Guenzani, Milan 2013 Adjusted, Museum Ludwig, Cologne (2013-2014) (cat.) November 1 – December 21 (two-person show with Liam Gillick), Casey Kaplan, New York 2012 (Selected). Louise Lawler, Galerie Neue Meister, Albertinum, Dresden (cat.) 2011 No Drones, Sprüth Magers, London Fitting at Metro Pictures, Metro Pictures, New York 2010 Later, Yvon Lambert, Paris 2009 Sprüth Magers, Berlin 2008 Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other, Metro Pictures, New York 2007 No Official Estimate, Yvon Lambert, Paris Where is the Nearest Camera, Sprüth Magers, London (2007-2008) Louise Lawler: The Tremaine Pictures 1984-2007, BFAS Blondeau Fine Art Services, Geneva (cat.) 2006 Twice Untitled and Other Pictures (looking back), curated by Helen Molesworth, Wexner Center, -
The Museum of Modern Art Z Sfsn N 11 West 53 Street, New York, N.Y
NO. 40 The Museum of Modern Art Z SfSn n 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart ART AND ILLUSION THROUGH INTERPLAY OF WORD AND IMAGE AT MODERN MUSEUM Recent and new work by Los Angeles-based artist Allen Ruppersberg will be on view through July 4 in the first-floor galleries of The Museum of Modern Art. Di rected by Nancy Karumba, Curatorial Assistant in the Department of Painting and Sculpture, PROJECTS: ALLEN RUPPERSBERG is the 49th in the Museum's continuing series reporting on current developments in art since 1971. Ruppersberg's previous works in many mediums have wittily and at times poetically explored art, magic, symbolism, nature, and language. In his more recent work, Ruppersberg has been considering issues of art and illusion through the examination of the interplay between word and image, a concern which he further elaborates in the pieces on view at the Museum. Reading and Drawing, Pages 1-250 consists of five drawings of book spines with their legible titles—The Best Plays of 1965-66, Iventory by Michel Buton, and H.G. Wells' Experiment in Autobiography, among others. Each of these drawings is framed with 50 sheets of drawing paper behind it. Fragments of Yet Another Unfinished Novel is a work of dispersed photographs and sheets of typed text that tell an elliptical, allusive "story" that the viewer must put together for himself or herself as the eye goes from text to text and from image to image. The fragmentary character of Ruppersberg1s "unfinished novel" probes the disjunction between word and image, between reading and perception.