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Sean Landers
SEAN LANDERS 1962 Born in Palmer, MA, USA 1984 BFA, Philadelphia College of Art, Philadelphia, PA, USA 1986 MFA, Yale University School of Art, New Haven, CT, USA Lives and works in New York, NY, USA SOLO EXHIBITIONS 2020 2020 Vision, Petzel Gallery, New York, NY, USA (online presentation) Northeaster, greengrassi, London, UK Consortium Museum, Dijon, France (curated by Eric Troncy) 2019 Ben Brown Fine Arts, Hong Kong Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Curated by . Featuring Sean Landers, Petzel Bookstore, New York, NY, USA Sean Landers: Studio Films 90/95, Freehouse, London, UK (curated by Daren Flook) 2018 Petzel Gallery, New York, NY, USA [Cat.] 2016 Sean Landers: Small Brass Raffle Drum, Capitain Petzel, Berlin, Germany 2015 Taka Ishii Gallery, Tokyo, Japan Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] China Art Objects, Los Angeles, CA, USA 2014 Sean Landers: North American Mammals, Petzel Gallery, New York, NY, USA [Cat.] 2012 Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Longmore, Sorry We’re Closed, Brussels, Belgium greengrassi, London, UK 2011 Sean Landers: Around the World Alone, Friedrich Petzel Gallery, New York, NY, USA Sean Landers: A Midnight Modern Conversation, Marianne Boesky Gallery, New York, NY [CAT.] 2010 Sean Landers: 1991-1994, Improbable History, Contemporary Art Museum St. Louis, St. Louis, MO, USA (curated by Laura Fried and Paul Ha) [Cat.] 2009 Sean Landers: Art, Life and God, Glenn Horowitz Bookseller, East Hampton, NY, USA (curated by Jeremy Sanders) greengrassi, London, UK Sean -
News Release
NEWS RELEASE FOR IMMEDIATE RELEASE Lauren Kistner, Marketing & Communications Manager August 1, 2017 314.615.5277 / [email protected] Laumeier Sculpture Park Acquires Tony Tasset’s Deer, 2015, in Honor of 40th Anniversary Year (ST. LOUIS, MO)—Laumeier Sculpture Park announced today the acquisition and upcoming installation of a new sculpture by artist Tony Tasset, whose Eye, 2007, is already one of the most iconic sculptures in the Park. Tasset’s Deer, 2015, is a larger-than-life, 12-foot-tall sculpture of a white-tailed doe made of painted, steel-reinforced fiberglass. The major acquisition honors and celebrates the nonprofit organization’s 40th Anniversary year. The sculpture will be accessioned into Laumeier’s Permanent Collection and installed in the Way Field in August 2017. Tony Tasset is arguably one of the most inventive sculptors working in the United States today. Since the mid-1990s, he has created increasingly ambitious sculptures; his cunning work explores how we collectively dwell in the landscape. Deer celebrates the unique environment created when art frames nature. The artwork’s size suggests how nature is out of balance in today’s urban and suburban spaces, and how humans impact the species around us. The surreal juxtaposition of the super-sized deer emerging from the woods dramatizes the relationship of what it means to be human, the identity of sculpture and their respective places in nature. “As one of the first and largest dedicated sculpture parks in the country, Laumeier Sculpture Park has set many of the standards for public practice that combine curated public art with the interpretation and stewardship of a traditional indoor museum,” said Dana Turkovic, Associate Curator at Laumeier Sculpture Park. -
Alison Wilding
!"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New -
Annual Report 2012
BOARD OF TRUSTEES 4 LETTER FROM THE CHAIR 6 A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Teaching and Learning 30 Connecting and Collaborating 38 Building 44 Conserving 50 Supporting 54 Staffing and Volunteering 62 CALENDAR OF EXHIBITIONS AND EVENTS 68 FINANCIAL StATEMENTS 72 COMMIttEES OF THE BOARD OF TRUSTEES 78 SUPPORT GROUPS 80 VOLUNTEERS 83 MUSEUM StAFF 86 A REPORT LIKE THIS IS, IN ESSENCE, A SNAPSHOT. Like a snapshot it captures a moment in time, one that tells a compelling story that is rich in detail and resonates with meaning about the subject it represents. With this analogy in mind, we hope that as you read this account of our operations during fiscal year 2012 you will not only appreciate all that has been accomplished at the Philadelphia Museum of Art, but also see how this work has served to fulfill the mission of this institution through the continued development and care of our collection, the presentation of a broad range of exhibitions and programs, and the strengthening of our relationship to the com- munity through education and outreach. In this regard, continuity is vitally important. In other words, what the Museum was founded to do in 1876 is as essential today as it was then. Fostering the understanding and appreciation of the work of great artists and nurturing the spirit of creativity in all of us are enduring values without which we, individually and collectively, would be greatly diminished. If continuity—the responsibility for sustaining the things that we value most—is impor- tant, then so, too, is a commitment to change. -
Sean Landers Cv 2021 0223
SEAN LANDERS Born 1962, Palmer, MA Lives and works in New York, NY EDUCATION 1986 MFA, Yale University School of Art, New Haven, CT 1984 BFA, Philadelphia College of Art, Philadelphia, PA SOLO EXHIBITIONS 2020 Petzel Gallery, New York, NY, 2020 Vision, April 26–ongoing (online presentation) Greengrassi, London, UK, Northeaster, June 16–July 31 Consortium Museum, Dijon, France, March 13– October 18, curated by Eric Troncy 2019 Ben Brown Fine Arts, Hong Kong, China, November 12–January 9, 2020 Galerie Rodolphe Janssen, Brussels, Belgium, November 9–December 20 (catalogue) Petzel Bookstore, New York, NY, Curated by . Featuring Sean Landers, November 7– December 14 Freehouse, London, UK, Sean Landers: Studio Films 90/95, curated by Daren Flook, January 13–February 24 2018 Petzel Gallery, New York, NY, March 1–April 21 (catalogue) 2016 Capitain Petzel, Berlin, Germany, Sean Landers: Small Brass Raffle Drum, September 16– October 29 2015 Taka Ishii Gallery, Tokyo, Japan, December 5–January 16, 2016 Galerie Rodolphe Janssen, Brussels, Belgium, October 29–December 19 (catalogue) China Art Objects, Los Angeles, CA, February 21–April 11 2014 Petzel Gallery, New York, NY, Sean Landers: North American Mammals, November 13– December 20 (catalogue) 2012 Galerie Rodolphe Janssen, Brussels, Belgium, November 8–December 21(catalogue) Sorry We’re Closed, Brussels, Belgium, Longmore, November 8–December 21 greengrassi, London, UK, April 26–June 16 1 2011 Friedrich Petzel Gallery, New York, NY, Sean Landers: Around the World Alone, May 6–June 25 Marianne Boesky Gallery, New York, NY, Sean Landers: A Midnight Modern Conversation, April 21–June 18 (catalogue) 2010 Contemporary Art Museum St. -
For Immediate Release
FOR IMMEDIATE RELEASE “Politics of Snow II” Paintings by Diane Burko Bernstein Gallery, Princeton University Exhibition dates: April 4 – May 19, 2011 Politics of Snow II will be held in conjunction with a panel discussion featuring Michael Oppenheimer, the Albert G. Milbank Professor of Geosciences and International Affairs Department of Geosciences and the Woodrow Wilson School of Public and International Affairs. The panel discussion will take place on April 21, 2011 at 4:30 p.m. in Bowl 016, Robertson Hall, Woodrow Wilson School of Public and International Affairs, Princeton University, Princeton, NJ. A public reception will follow the panel discussion at 6 p.m. in the Bernstein Gallery adjacent to Bowl 016. Contact: Kate Somers Ph: 609.497.2441 Politics of Snow II is a series of sweeping views of majestic glaciers and mountains by Philadelphia artist, Diane Burko, who has spent most of her long and productive career creating landscapes in the tradition of the Hudson River School. But in this series, the paintings are not landscapes meant to transport viewers into a contemplative reverie on the sublime qualities of nature. If they are meant to do so, it is only temporary, because Burko’s mission is to wake us out of that reverie and force us to bear witness to man’s imprint on our natural world as it manifests itself in global warming. Using archival photographs of glaciers as starting points, Burko pairs these images in diptychs and triptychs, and other multiple configurations, with contemporary views of the same landscape 10, 50 or 100 years later. -
Press Release and Artist Bios
OPEN SPACE Curated by Björn Meyer-Ebrecht Rachel Beach, Lisa Beck, Nuno De Campos, Stacy Fisher, Rob Fisher, Rob Fischer, Sophia Flood, Halsey Hathaway, Andrew Prayzner, Oliver Jones, Matthias Neumann, Carolyn Salas, David Schafer, Greg Simsic, Richard Tinkler, Austin Thomas Opening Reception: Thursday, September 29, 2016, 7 - 10PM Open during Bushwick Open Studios 2016: Saturday/Sunday, October 1 - 2, 2016; 12 - 7 PM and by appointment Björn Meyer-Ebrecht's Studio 1182 Flushing Avenue, 2nd floor Brooklyn, NY 11237) [email protected] 917.865.9609 www.meyer-ebrecht.com “Open Space” is the latest in a series of exhibitions I have curated in my studio. It follows “Communal Table” (2014) and “Common Room” (2015). This trilogy examines the conditions under which both physical and social space is determined by architecture, and in turn, how artworks inhabit, create, and refer to this space. Both previous shows were attempts to create temporary structures that existed as autonomous architectural entities within a larger space. This current show considers a different, more fluid condition of architecture. The installation focuses on the negative space that surrounds the built environment. My intention is to connect to larger invisible structures, such as belief systems, ideologies, and utopias. Focusing completely on works on paper, this show looks at drawing as the purest representation of larger and sometimes intangible ideas and ambitions. While some works are actual sketches or plans for sculptures or structures, others are concerned with creating an abstract language. My interest lies in the potential of drawing to create an autonomous system or space, often in the most economic way. -
FP 9.3 Fall1989.Pdf
The University of Wisconsin System ___5 I -====3 -6 A CURRENT LISTING OF CONTENTS VOLUME 9, NUMBER 3 FALL 1989 Published by Susan Searing, Women's Studies Librarian i:i? University of Wisconsin System 112A Memorial Library -iilii: 728 State Street Madison, Wisconsin 53706 :iii'i'i (608) 262-5754 MINIST ODICALS A CURRENT LISTING OF CONTENTS Volume 9, Number 3 Fall 1989 r Qa Periodical literatureis the cutting edge of women's scholarship, feminist theory, and much of women's culture. .rnrst . Periodicals: A Current Listina of Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicalswill serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals; and to provide the requisite bibliographic information should a reader wish to subscribe to a joumal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table of contents pages from current issues of major feminist journals are reproduced in each issue of Feminist Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the following information on each journal: 1. -
Annewilsonresume
ANNE WILSON https://annewilsonartist.com [email protected] Chicago and Evanston, Illinois USA SELECTED EXHIBITIONS 2021 Hair Stories, Newport Art Museum, Newport, RI (summer 21) Mortal Coil, Zuckerman Museum of Art, Kennesaw, GA (catalog, Aug-Dec 21) With Eyes Opened: Cranbrook Academy of Art Since 1932, Cranbrook Art Museum, Bloomfield Hills, MI (catalog, summer 21) 2020 Anne Wilson: If We Asked about the Sky, Rhona Hoffman Gallery, Chicago, IL (solo) Ars Electronica Festival for Art, Technology & Society, In Kepler’s Gardens, Festival Sept 9-13. Translation of Errant Behaviors (Anne Wilson and Shawn Decker, Cat Solen, Daniel Torrente) Website: https://disposition.ats.community China and USA TechnoloGy and Innovation in Fiber Art, virtual exhibition hosted by the Academy of Arts & Design, Tshinghua University, Beijing and School of Art, The University of the Arts, Philadelphia (Nov-Dec) The WeiGht of the Body, University Galleries, William Paterson University, Wayne, NJ In Stitches, Racine Art Museum, Racine, WI 2019 bauhaus imaginista, Haus der Kulturen der Welt (HKW), Berlin, traveling to Zentrum Paul Klee, Bern, Switzerland DialoGues - Beyond Borders (Special Guests) within the 16th International Triennial of Tapestry, Central Museum of TeXtiles, Łódź, Poland Expo Chicago, Chicago, IL (Rhona Hoffman Gallery) 2018 Handheld, The Aldrich Museum of Contemporary Art, Ridgefield, CT FRONT International: Cleveland Triennial for Contemporary Art, Cleveland Institute of Art, OH bauhaus imaginista: Learning From, SESC Pompéia São Paulo, Brazil MAD Collects: The Future of Craft Part 1, Museum of Arts and Design, New York, NY Through Her Eye, Mana Contemporary, Chicago, IL To Time!, Paul Kotula Projects, Detroit, MI True to Form: Selections from the Permanent Collection, Cranbrook Art Museum, Bloomfield Hills, MI Beasts, Racine Art Museum. -
Nordic Changes: Works by Diane Burko on View at the American Swedish Historical Museum September 29Th, 2019 Thru Janu
--FOR IMMEDIATE RELEASE -- Nordic Changes: Works by Diane Burko On view at the American Swedish Historical Museum th th September 29 , 2019 thru January 5 , 2020 Philadelphia, PA: ASHM is delighted to present Nordic Changes, an exhibition of paintings and photographs by the internationally-renowned artist, Diane Burko and guest opening event on Sunday, September 29th curated by Dr. Kirsten Jensen. The will feature gallery talks by Ms. Burko and Dr. Jensen, as well as a panel discussion with the artist, along with local experts including Christine Knapp, Director of Sustainability for the City of Philadelphia, Erik Johanson Director of Innovation for Septa, and Billy Fleming, former Wilks Family Director McHarg Center and former White House Domestic Policy Councilor for Urban Policy Development, to discuss the impacts of climate change in the Philadelphia area. Special guest Ambassador Bergdís Ellertsdóttir of Iceland will also be in attendance. The Philadelphia- and Bucks County-based artist is a world traveler, and this exhibition highlights a body of work she produced following expeditions made over the past two decades to the Nordic Arctic in Greenland, Iceland, and Svalbard. Since her first visit to Iceland in 2002, Burko has focused her attention on environmental issues, blending science with beauty to create art that is a vessel for eco-activism. Burko’s pieces in the exhibition are visual investigations, revealing the dramatic ways in which the Arctic is being transformed due to the effects of climate change. Nordic Changes offers visitors a capsule survey of Burko’s many expeditions to the Arctic, beginning with her Icelandic landscapes. -
Multiple Choice: on Separated United Forms by David Schafer
DAVID SCHAFER SEPARATED UNITED FORMS Multiple Choice: On Separated United Forms by David Schafer Jan Tumlir What Is It? Perhaps, it goes without saying—and yet I’ll say it: writing about art is not literature because it has an object that exists. It has an object that is not strictly imaginary, as are the objects of novels and stories, but then again, it is also not strictly concrete either. This is because, first, the object of art writing, like that of any other writing, is not there. The art object is absent to the writing; all that lies within the reach of the author and reader alike is “writing (storing) writing—no more, no less,”1 as Friedrich Kittler puts it. Second, the object of art writing, unlike that of most other writing, is one to which we do tend to grant an imaginary status. Why mention any of this now, again? Because David Schafer is an artist who reads a great deal of writing about art—as well as that about architecture, design, music, and many more things be- sides—and often responds to it in his work. It is characteristic of his practice that the written response to art is in turn responded to artis- tically, which is not to suggest that Schafer makes art about writing about art (or that he makes what is disparagingly termed “theory- driven art”); rather, he acknowledges the dialogical element implicit within it. Moreover, one could say that inasmuch as his work stands its ground on this point, it proclaims the dialogical element as im- plicit in all works. -
ARTISTS MAKE US WHO WE ARE the ANNUAL REPORT of the PENNSYLVANIA ACADEMY of the FINE ARTS Fiscal Year 2012-13 1 PRESIDENT’S LETTER
ARTISTS MAKE US WHO WE ARE THE ANNUAL REPORT OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FISCAL YEAR 2012-13 1 PRESIDENT’S LETTER PAFA’s new tagline boldly declares, “We Make Artists.” This is an intentionally provocative statement. One might readily retort, “Aren’t artists born to their calling?” Or, “Don’t artists become artists through a combination of hard work and innate talent?” Well, of course they do. At the same time, PAFA is distinctive among the many art schools across the United States in that we focus on training fine artists, rather than designers. Most art schools today focus on this latter, more apparently utilitarian career training. PAFA still believes passionately in the value of art for art’s sake, art for beauty, art for political expression, art for the betterment of humanity, art as a defin- ing voice in American and world civilization. The students we attract from around the globe benefit from this passion, focus, and expertise, and our Annual Student Exhibition celebrates and affirms their determination to be artists. PAFA is a Museum as well as a School of Fine Arts. So, you may ask, how does the Museum participate in “making artists?” Through its thoughtful selection of artists for exhibition and acquisition, PAFA’s Museum helps to interpret, evaluate, and elevate artists for more attention and acclaim. Reputation is an important part of an artist’s place in the ecosystem of the art world, and PAFA helps to reinforce and build the careers of artists, emerging and established, through its activities. PAFA’s Museum and School also cultivate the creativity of young artists.