DOCSLIB.ORG

Robert Ryman Selected Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert Ryman Selected Bibliography ROBERT RYMAN SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 Intimate Infinite: Imagine a Journey (exhibition catalogue). New York: Lévy Gorvy, 2018: 30–53, 66–67, illustrated. Robert Ryman: Drawings (exhibition catalogue). Text by Dieter Schwarz. New York: Pace Gallery, 2018. 2017 The Art Museum. London: Phaidon, 2017: 383, illustrated. Bell, Julian. What is Painting? London: Thames & Hudson Ltd., 2017: 149, illustrated. “To Colour Well”: Viewing the Caplan Collection. Edited by Virginia M. G. Anderson. Baltimore, Maryland: Constance R. Caplan, 2017: 72, illustrated. Colaizzi, Vittorio. Robert Ryman. London: Phaidon Press Limited, 2017. Jacobs, Steven, Susan Felleman, et al. Screening Statues: Sculpture and Cinema. Edinburgh: Edinburgh University Press, 2017: 157–158, illustrated. Minimal Art from Marzona Collection (exhibition catalogue). London: Galerie Thaddaeus Ropac, 2017: 86– 87, illustrated. Robert Ryman: Selected Bibliography—Books 2 Minimalism & Beyond (exhibition catalogue). New York: Mnuchin Gallery, 2017: 40–41, illustrated. Robert Ryman (exhibition catalogue). Texts by Courtney J. Martin and Robert Storr. Mexico City: Museuo JUMEX, 2017. Robert Ryman (exhibition catalogue). Texts by Robert Storr, Lucy R. Lippard, John Szwed, et al. New York and New Haven: Dia Art Foundation; Yale University Press, 2017. Ryman, Robert. “Robert Ryman with Phong Bui.” In Tell Me Something Good: Artist Interviews from The Brooklyn Rail. New York: David Zwirner Books, 2017: 386–393, illustrated. Ryman, Robert. “Robert Ryman.” In Robert Storr. Interviews on Art. Text by Francesca Pietropaolo. London: Heni Publishing, 2017: 760–783, illustrated. Storr, Robert. From the Masterpieces to Rooms Full of Art – and Back? Edinburgh: National Galleries of Scotland, 2017: 37, illustrated. 2016 Drawing Then: Innovation and Influence in American Drawings of the Sixties (exhibition catalogue). New York: Dominique Lévy, 2016: 73, illustrated. Embracing the Contemporary: The Keith L. and Katherine Sachs Collection (exhibition catalogue). Texts by Timothy Rub, Katherine Sachs, Joseph J. Rishel et al. Philadelphia: Philadelphia Museum of Art, 2016: 222– 3, illustrated. Lawrence Paul Yuxweluptun: Unceded Territories. Edited by Karen Duffek and Tania Willard. Vancouver: The Museum of Anthropology at UBC, 2016: 105, illustrated. Los Angeles to New York: Dwan Gallery, 1959–1971 (exhibition catalogue). Washington, D.C.: National Gallery of Art, 2016: cat. 125–6, pp. 238–9, illustrated. Michaud, Philippe-Alain. Sur le film. Paris: Éditions Macula, 2016: 87, illustrated. Robert Ryman: Selected Bibliography—Books 3 Unfinished: Thoughts Left Visible (exhibition catalogue). New York: The Metropolitan Museum of Art, 2016: 225, illustrated. Pasti, Carolina. A Life with Artists: Hannelore and Rudolph Schulhof. Texts by Richard Armstrong, Tom Freudenheim, Carol Goldberg, Suzanne Landau et al. New York: Skira Rizzoli Publication, 2016: 181, 197, illustrated. San Francisco Museum of Modern Art 360°: Views on the Collection. Edited by Judy Bloch and Suzanne Stein. San Francisco: San Francisco Museum of Modern Art, 2016: 130, illustrated. 2015 Robert Ryman: December 9, 2015–June 18, 2016 (exhibition brochure). Text by Courtney J. Martin. New York: Dia:Chelsea, 2016. 2014 The Distaff Side (exhibition catalogue). Texts by Ryan Frank, Caitlin Smith, Joan Simon, et al. Sharon, Connecticut: The Granary, 2014: 144, illustrated. Falconer, Morgan. Painting Beyond Pollock. London: Phaidon Press Limited, 2015: 155, 190, 192, 198, 200, 272; 190–191, illustrated Love Story – The Anne & Wolfgang Titze Collection (exhibition catalogue). Vienna: Verlag für modern Kunst Nürnberg, 2014: 258–9, illustrated. Make it New: Abstract Painting from the National Gallery of Art, 1950–1975 (exhibition catalogue). Williamstown: The Clark Art Institute, 2014: 34, 35, 102, 103, illustrated. Newman, Amy. Challenging Art: Artforum 1962–1974. New York: Soho Press, 2014: 338. Ormiston, Rosalind. 50 Art Movements You Should Know. New York: Prestel Publishing, 2014: 115, illustrated. Robert Ryman: Selected Bibliography—Books 4 2013 Celant, Germano, Thomas Demand, Rem Koolhaas and Harald Szeemann. When Attitudes Become Form: Bern 1969/Venice 2013 (exhibition catalogue). Milan: Ca’ Corner della Regina and Fondazione Prada, 2013: 577, illustrated. Delong, Lea Rosson, ed. Des Moines Art Center Collects. Des Moines, Iowa: Des Moines Art Center, 2013: 210, 211, illustrated. Mingei: Are You Here? (exhibition catalogue). Texts by Nicolas Trembley and Yuko Kikuchi. London: Pace London, 2013: illustrated. Pierrette Bloch. Zurich: JPR Ringier, 2013: 52, illustrated. Robert Ryman: Recent Paintings (exhibition catalogue). New York: Pace Gallery, 2013. 2012 Beard, Lee, Adam Butler, Claire Van Cleave, Diane Fortenberry and Susan Stirling. The Art Book. London: Phaidon Press Limited, 2012: 472, illustrated. Klein, Jacky and Suzy. What Is Contemporary Art? A Children’s Guide. London: Thames & Hudson, 2012: 31, illustrated. Ryman, Robert. “Statement (1971), Statement (1983).” In Kristine Stiles and Peter Selz. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. Second edition. Berkeley, California: University of California Press, 2012: 720–721. Soppelsa, Walter, ed. A Selection from the Daros Collection. Text by Jean-Christophe Ammann. Zurich: Daros Services AG, 2012: plates 83–88, illustrated. 2011 Robert Ryman: Selected Bibliography—Books 5 Alexej von Jawlensky, Joself Albers: Farbe-Abstraktion-Serie (exhibition catalogue). Germany: Museum Wiesbaden, 2011: illustrated, 48. Holzwarth, Hans Werner and Laszlo Taschen, eds. Modern Art: 1870–2000, Impressionism to Today. Cologne: Taschen, 2011: 534–535, illustrated. O’Keeffe, Linda. Brilliant: White in Design. New York: The Monacelli Press, 2011: 175, illustrated. Rondeau, James. The Judith Neisser Collection: Minimal and Postminimal Innovation. Chicago: Art Institute of Chicago, 2011: 126–129, illustrated. Rylands, Philip, ed. Hannelore B. and Rudolph B. Schulhof Collection. Text by Nicholas Fox Weber. Interview by Lisa Jacobs. New York: Solomon R. Guggenheim Foundation, 2011: 122–123, 150, illustrated. Splendor of Dynamic Structure: Celebrating 75 Years of the American Abstract Artists (exhibition catalogue). Text by Nancy E. Green. Ithaca, New York: Herbert F. Johnson Museum of Art, Cornell University, 2011: 38, illustrated. Staff, Craig G. Modernist Painting and Materiality. London: McFarland & Company Inc., Publishers, 2011: 143, illustrated. Structure & Absence (exhibition catalogue). Texts by Craig Burnett, Dario Gamboni and Jerry Saltz. London: White Cube, 2011: 26, illustrated. 2010 Contemporary Collecting: Selections from the Donna and Howard Stone Collection (exhibition catalogue). Chicago: Art Institute of Chicago, 2010: illustrated. 50 Years at Pace (exhibition catalogue). Texts by Arne Glimcher et al. New York: The Pace Gallery, 2010: illustrated. Jacob Kassay: Untitled (exhibition catalogue). Italy: Collezione Maramotti, 2010: illustrated. Robert Ryman: Selected Bibliography—Books 6 Kamien-Kazhden, Adina, ed. Modernism in Dialogue: 20th-Century Painting and Sculpture in the Israel Museum. Jerusalem: Israel Museum, 2010: 75, illustrated. Martín Ramírez (exhibition catalogue). Madrid: Museo Nacional Centro de Arte Reina Sofía, 2010: illustrated. Meyer, James, ed. Minimalism. London: Phaidon Press Ltd., 2010: illustrated. Monet and Abstraction (exhibition catalogue). Text by Paloma Alarcó. Madrid: Museo Thyssen-Bornemisza, 2010: illustrated. On-Line: Drawing through the Twentieth Century (exhibition catalogue). Texts by Catherine de Zegher and Cornelia H. Butler. New York: The Museum of Modern Art, 2010: 68, illustrated. Painting: Process and Expansion. From the 1950s to the Present Day (exhibition catalogue). Austria: Museum Moderner Kunst Stiftung Ludwig Wien, 2010: 30, illustrated. Rattemeyer, Christian et al. Exhibiting the New Art: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’ 1969. London: Afterall, 2010: 157, illustrated. Robert Ryman: Variations & Improvisations (exhibition catalogue). Text by Vesela Sretenovic. Washington, D.C.: Phillips Collection, 2010. Robert Ryman and Urs Raussmüller: Advancing the Experience. Text by Christel Sauer. Basel: Raussmüller Collection, 2010. Roman Opałka: Oktogon/ 1–∞ (exhibition catalogue). Poznań, Poland: Art Stations Foundation, 2010: illustrated. United States Embassy London: Art in Embassies Exhibition. Washington, D.C.: Art in Embassies Program, 2010: 29, illustrated. With a Probability of Being Seen: Dorothee and Konrad Fischer: Archives of an Attitude (exhibition catalogue). Texts by Rudi Fuchs, Friedrich Meschede, Konrad Fischer and Ronand Mönig. Barcelona: Museu d'Art Contemporani de Barcelona, 2010: 325, 326, illustrated. Robert Ryman: Selected Bibliography—Books 7 2009 Art of Our Time. Volume 2, 1999–2008. Tokyo: Japan Art Association, 2009. Colaizzi, Vittorio, ed. Robert Ryman: Critical Texts since 1967. London: Ridinghouse, 2009. Godfrey, Tony. Painting Today. London: Phaidon Press Limited, 2009: illustrated. Hudson, Suzanne P. Robert Ryman: Used Paint. Cambridge, Massachusetts and London: The MIT Press, 2009. Irwin & Hooper: The Frances and John Bowes Collection. San Francisco: California College of the Arts MA Program in Curatorial Practice, 2009: 2, 36–39, illustrated; back cover. New York/New Drawings 1946–2007 (exhibition catalogue). Texts by Elizabeth Finch and William Corbett. Segovia, Spain: Museo de Arte Contemporáneo Esteban Vicente, 2009: 211,
Load more

Recommended publications
  • ROBERT RYMAN Untitled 1963 Oil Paint on Stretched Sized Linen Canvas 27 1/2 × 27 3/8 Inches (69.9 × 69.5 Cm)
    FIRST FLOOR ROBERT RYMAN Untitled 1962 Oil and graphite on canvas 9 3/4 × 9 3/4 inches (24.8 × 24.8 cm) ROBERT RYMAN Untitled 1962 Oil on linen 12 1/2 × 12 3/4 inches (31.8 × 32.4 cm) ROBERT RYMAN Untitled #32 1963 Oil on linen 7 ⅝ × 7 3/4 inches (19.4 × 19.7 cm) ROBERT RYMAN Untitled 1963 Oil paint on stretched sized linen canvas 27 1/2 × 27 3/8 inches (69.9 × 69.5 cm) LEVY GORVY 909 MADISON AVENUE NEW YORK NY 10021 WWW.LEVYGORVY.COM +1 212 772 2004 Size: US Letter 8.5” x 11” Paper: 28# Crane’s Crest Fluorescent White Wove (Without Watermark) Engrave: Front 1/0 (PMS 423) +1.212.268.9201 Finish: Trim to final size FIRST FLOOR ROBERT RYMAN Untitled #1004 1960–61 Oil paint and gesso on unstretched sized linen canvas 15 1/2 × 14 1/2 inches (39.4 × 36.8 cm) ROBERT RYMAN Untitled 1958 Oil on canvas 43 × 43 inches (109.2 × 109.2 cm) San Francisco Museum of Modern Art, Purchase through a gift of Mimi and Peter Haas ROBERT RYMAN A painting of twelve strokes, measuring 11 1/4 × 11 1/4 signed at the bottom right corner 1961 Oil and gesso on linen canvas 14 × 14 × 1 1/2 inches (35.6 × 35.6 × 3.8 cm) San Francisco Museum of Modern Art Purchase through a gift of Mimi and Peter Haas ROBERT RYMAN Archive 1979 Oil on steel 13 1/2 × 11 7/8 × 1/2 inches (34.3 × 30.2 × 1.3 cm) San Francisco Museum of Modern Art Purchase through a gift of Mimi and Peter Haas LEVY GORVY 909 MADISON AVENUE NEW YORK NY 10021 WWW.LEVYGORVY.COM +1 212 772 2004 Size: US Letter 8.5” x 11” Paper: 28# Crane’s Crest Fluorescent White Wove (Without Watermark) Engrave: Front 1/0 (PMS 423) +1.212.268.9201 Finish: Trim to final size FIRST FLOOR ROBERT RYMAN Untitled Painting #13 1963 Oil on linen 22 × 22 inches (55.9 × 55.9 cm) ROBERT RYMAN Untitled 1962 Oil on linen 69 1/2 × 69 1/2 inches (176.5 × 176.5 cm) Whitney Museum of American Art, New York Gift of The American Contemporary Art Foundation, Inc., Leonard A.
    [Show full text]
  • Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
    ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject.
    [Show full text]
  • Robert Ryman: Used Paint Suzanne P
    MuseuM Book CluB Guide Robert Ryman: Used Paint Suzanne P. HudSon Robert Ryman’s essentially all-white paintings have challenged and confounded museum-goers since their first appearance half a century ago. This unique study on the artist is a slightly advanced read, but nonetheless recommended to any level book club seeking meaning in what may at first appear to be rather meaningless art. Page numbers refer to Robert Ryman: Used Paint, Suzanne P. Hudson. Cambridge, MA: MIT Press. 2009. This guide was created by Hol Art Books. 1. The book opens with A Note on the Illustrations as a tourist or member, and being in the galleries in which the author gives a disclaimer as to the as an employees? How did this experience effect difficulty of satisfactorily reproducing images of Ryman’s work? What might have Ryman’s work Ryman’s work. She quotes the artist himself: “You looked like had this first exposure been to books have to see the real thing … Books leave you with and reproductions rather than to the physical the wrong impression. Seeing a real painting is the artworks themselves? Are museums laboratories only way to do it.” (p. xvi) Do you agree? If so, do today? you believe this is true for all artwork or only for 4. Why white? works of a subtly like Ryman’s? What exactly is lost in reproduction? Try it. In your museum, compare 5. As explored in Chapter 2: Paint, in Ryman’s con- a work on the wall with a reproduction of it from tinuing narrowing in on the fundamentals of what a postcard or museum guide.
    [Show full text]
  • Robert Ryman (American, 1930-2019) Ryman at Xavier Hufkens Ryman at David Zwirner “I Don’T Think of Myself As Making White Paintings
    Robert Ryman (American, 1930-2019) Ryman at Xavier Hufkens Ryman at David Zwirner “I don’t think of myself as making white paintings. I make paintings; I’m a painter. White paint is my medium,” Ryman explained in an in- depth 1971 interview with ArtForum about medium, material, support, light, and exhibiting his work. “When I begin, I’m never quite sure what the result is going to be. The process is actually making the painting, that’s all….When I start doing it, I discover things that I hadn’t thought could be there; I change it…until I end up with the final result.” Ryman also spoke about his life and professional practice with the Smithsonian Archives of American Art, in 1972, and in 1977 in a televised interview for the program Inside New York’s Art World. In 1993, MoMA hosted the most comprehensive survey of Ryman’s career to date in the United States, tracing the artist’s career from 1955 with over 80 paintings, many never seen before in public. Digital resources include archival installation photographs and a PDF of the out-of- print exhibition catalogue. For an exhibition at Xavier Hufkens in 2000, Ryman selected 20 paintings created in the 1960s, which left his studio for the first time upon Ryman, 1974 Ryman Archives installation, thus completing each work through the revelation of lights and the individual perception of each viewer. The Brooklyn Rail spoke to Ryman in 2007 for his exhibition at Pace Gallery. “There’s no symbolism. There’s no narrative in this painting.
    [Show full text]
  • Robert Ryman, Paintings 1955 to 1993
    Robert Ryman, paintings 1955 to 1993 Author Ryman, Robert, 1930- Date 1993 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/404 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art R O R T R Y A PAINTINGS 1955 TO 1993 When we look at paintings,we are generallylooking for some commercial and industrial primers, enamels, and other types of syn thing in painting, something that paint describes, or sug thetic coatings, Ryman's white can be crusty or suave, opaque or gests, or evokes. It may be an image, a symbol, or an idea. sheer,as warm as fresh cream or as cool as ceramic tiles. Frequentlyit involvesa synthesisof all three. Even in its most abstract In much the same way, the scale of his works can vary from form, therefore,painting has usually been about somethingoutside or handkerchief-sizesquares of paper, linen, metal, or plexiglass to vast beyond itself. Consequently,it has commonly been regarded as a sheets of fiberglass or stretched canvases measuring some twelve meansto an end, the way in which the artist envisionsreality or depicts feet square. Significantly, Ryman treats these greatly differing things that may exist only in the imagi surfaces as essentially equal in nation. For the past forty years, Robert importance, because unique in the pos Ryman has approached painting from sibilities they offer. Small paintings are the opposite direction.
    [Show full text]
  • Littlejohn Contemporary Is Pleased to Present a One-Person Exhibition, “Inside/Outside”, New Paintings by Melinda Stickney-Gibson
    Press Release MELINDA STICKNEY-GIBSON inside / outside March 17 – April 23, 2016 Reception: Thursday, March 17, 6-8pm Littlejohn Contemporary 547 West 27 Street, 2nd Floor Chelsea: New York, NY 10001 Telephone: 203-451-5050 www.LittlejohnContemporary.com MELINDA STICKNEY-GIBSON “NO, KNOW (…still)”, 2015, oil on canvas, 42 x 48 inches New York, NY (CHELSEA), - Littlejohn Contemporary is pleased to present a one-person exhibition, “inside/outside”, new paintings by Melinda Stickney-Gibson. The exhibition will run from March 17 – April 23, 2016, with a reception for the artist on Thursday, March 17th from 6pm until 8pm. Melinda Stickney-Gibson’s new series of paintings continues her investigation into the nature of paint and painterly gesture. Influences for these works can be seen in the paintings of Joan Mitchell, Robert Ryman, Cy Twombly, Agnes Martin and Nancy Spero. Neither completely abstract nor representational, her paintings reflect upon the natural world just outside the door of her Catskill Mountain home, as well as her more internal, personal narratives. Stickney-Gibson greatly values the solitude and quiet of life in the Catskills. Her work is characterized by a diaristic, personal approach. Paintings with multi-layered surfaces begin with written marks; incorporating fragments of writing from her own journals, favorite writing samples by others, and universal words such as “yes, “maybe”, “no?”, and “her”. These marks represent specific moments; each one has an intention which once fulfilled is checked off and covered over. The paintings have an underlying hidden narrative which is eventually erased when a final white top layer of paint covers the gesture.
    [Show full text]
  • LYNDA BENGLIS Curriculum Vitae
    THOMAS BRAMBILLA LYNDA BENGLIS Curriculum Vitae Thomas Brambilla S.r.l. | Via Casalino 25, 24121, Bergamo, Italy Capitale Sociale Euro 10.000,00 I.V. | C.F. 04333390161 | VAT. IT04333390161 Ph (+39) 035 24 74 18 | e-mail: [email protected] | www.thomasbrambilla.com THOMAS BRAMBILLA Lynda Benglis (1941), lives and works in New York, Santa Fe and Ahmedabad, India. Selected solo exhibitions 2021 Lynda Benglis, Nasher Sculpture Center, Dallas, USA. Lynda Benglis, National Gallery of Art, Washington, D.C., USA. 2020 Lynda Benglis: Early Works 1967-1979, Cheim & Read, New York, USA. Lynda Benglis: Early Works 1967-1979, Ortuzar Projects, New York, USA. Lynda Benglis: Ceramics & Sparkle Sculptures, Xavier Hufkens, Brussels, Belgium. Lynda Benglis, National Gallery of Art, Washington, D.C., USA. Lynda Benglis: Hills and Clouds, Pace Gallery, New York, USA. 2019 Lynda Benglis: Spettri, Thomas Dane Gallery, Naples, Italy. Lynda Benglis: In the Realm of the Senses, Museum of Cycladic Art, Athens, Greece. Lynda Benglis: Elephant Necklace, Ogden Museum of Southern Art, Louisiana, New Orleans, USA. Lynda Benglis, Pace Gallery, Palo Alto, California, USA. Lynda Benglis: Over Air, Locks Gallery, Philadelphia, USA. Lynda Benglis: Bird’s Nest, The Harwood Museum of Art, University of New Mexico, Taos, USA. 2018 Lynda Benglis, Paula Cooper Gallery, New York. Lynda Benglis: Sparkle Plenty, ADAA: The Art Show, Park Avenue Armory, New York. Lynda Benglis, Locks Gallery, Philadelphia, Pennsylvania. 2017 Lynda Benglis, Blum & Poe, Los Angeles, California. 2016 Benglis and the Baroque, Thomas Brambilla gallery, Bergamo, Italy. Lynda Benglis: Secrets, Bergen Assembly, KODE Art Museums of Bergen, Bergen, Norway. Lynda Benglis, Cheim & Read, New York.
    [Show full text]
  • Akram Zaatari's
    8/22/13 Two Point Perspective: Akram Zaatari’s “Letter to a Refusing Pilot” | Art21 Blog HOME GUEST BLOG EDUCATION VIDEO current theme: networks search BLOGGER-IN-RESIDENCE: Noah Simblist, Curator, Writer, and Professor, Dallas, TX Two Point Perspective: Akram Zaatari’s Jʼaime 68 “Letter to a Refusing Pilot” Tweet 6 subscribe July 23rd, 2013 by Noah Simblist Art21 Blog feed Video feed Education feed Guest Blog feed featured film communicate Barry McGee: Retrospective pages About Art21 new york close up About the Art21 Blog Current Contributors art21 online on Art21.org Akram Zaatari. “Letter to a Refusing Pilot (still),” 2013. Film and video installation. Courtesy the artist and Sfeir-Semler Gallery Beirut. on Blip.tv on Del.icio.us Stories can have a life of their own. They are told, heard, told again, written down, archived, Jacolby Satterwhite Dances with recorded, and gathered together with supporting documents, photographs or film. A story, His Self on Facebook especially in the context of war, can fragment, multiply, and turn into a series of contractions. on Flickr The veracity of a story’s truth becomes increasingly elusive when one has to choose between teaching with on iTunes an individual’s partial understanding of a situation and the unreliable grand narratives told to contemporary art on PBS us by power brokers who are first and foremost driven by ideology. This condition haunts on Twitter many of the artworks that have emerged in Beirut these past twenty years. on YouTube blogroll 16 Miles of String 2 Buildings 1 Blog In and out of the classroom Art Fag City Art Whirled blogger-in-residence Artlog ArtsBeat Bad at Sports BAM 150 BOMBlog C-Monster Dorothy Santos, Visual and Creative Capital – The Lab Critical Studies Geek, San Culture Monster Francisco, CA Ed Winkleman Akram Zaatari.
    [Show full text]
  • Sol Lewitt Planes with Broken Bands of Color (San Gimignano)
    GALLERIA CONTINUA Via del Castello 11, San Gimignano (SI), Italia tel. +390577943134 fax +390577940484 [email protected] www.galleriacontinua.com SOL LEWITT PLANES WITH BROKEN BANDS OF COLOR (SAN GIMIGNANO) Opening: Saturday 14 February 2009, Via del Castello 11, 6pm–12 midnight Long term project, Tuesday–Saturday, 2–7pm Galleria Continua is pleased, and honoured, to exhibit a previously unshown wall drawing by Sol LeWitt in its San Gimignano gallery. Sol LeWitt (Hartford 1928–New York 2007) was one of the leading exponents of Minimalism, which emerged in the United States at the beginning of the 60s. Based on mental structures and concrete visual structures, his work was characterized by a constant spirit of inquiry, resulting in unquestionably and invariably original work. In his long artistic career, LeWitt managed to achieve a perfect balance between perceptual and conceptual quality, between the simplicity of geometric order and the search for beauty and intuitive creativity. LeWitt overturned the conventional rules of artistic practice and of the material production of artworks, dismissing, with his conceptual approach, notions of non-repeatability and of the importance of manual ability, attributing absolute priority to the idea: “The work is the manifestation of an idea. It is an idea and not an object.” In LeWitt’s view, his work was not essentially a manual practice but was first and foremost a question of producing a pure, Platonic idea, which could then be handed over to someone else for material execution, provided his instructions and the intentions of his idea were respected. This “making an idea the work” has meant that the output of this magnificent American artist can now be found around the world – in leading museums, public buildings, private homes, foundations and even in remote universities.
    [Show full text]
  • Noger 2018 PR
    Udo Nöger The Inside of Light Nöger’s singular practice is predicated on the use of ambient light, which he harnesses and reworks to create his ethereal, monochromatic mixed-media artworks. In his quest for nuanced artistic results that upend traditional approaches to art-making, he spotlights light as a medium in and of itself. All artists work with light in one way or another; color and light, for instance, are inextricably linked. Painters rely on the subtractive model of color mixing, in which the color of a particular paint pigment is determined by which visible light wavelengths it absorbs and which it reflects. Other artists, such as those who make light art, manage an additive model in which lights of various wavelengths can be combined to produce a particular color outcome. In the first model, the mixing of all available pigments creates black, while in the second, combining the full spectrum of light wavelengths creates white. Nöger works in a hybrid mode, moving beyond the surface of a work to create what can be likened to shallow light boxes containing systems of transparent layers that he manipulates using various media and techniques. Ambient light filters through their surfaces, illuminating their interiors and bouncing between the internal components before being reflected back out. Although the works contain no artificial light sources, they appear to emit light. This delicate luminescence is impacted by the particular quality of ambient lighting (determined, for example, by time of day or type of artificial lighting) that a work is exposed to. Thus, despite their palettes of whites and grays, the works can also conjure faint blues, purples, peaches, and greens.
    [Show full text]
  • Minimalism 1 Minimalism
    Minimalism 1 Minimalism Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the late 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, John McLaughlin, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It is rooted in the reductive aspects of Modernism, and is often interpreted as a reaction against Abstract expressionism and a bridge to Postmodern art practices. The terms have expanded to encompass a movement in music which features repetition and iteration, as in the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist compositions are sometimes known as systems music. (See also Postminimalism). The term "minimalist" is often applied colloquially to designate anything which is spare or stripped to its essentials. It has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe the Mensheviks.[1] Minimalist design The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work.
    [Show full text]
  • Robert Ryman, 1976 Ers Are Part of the Image Whether Or Not They Are Used As Found, Or Altered Or Fabri­ Cated Especially
    Notes 1. Untitled Drawing, 1976, is one of four works commissioned for the exhibition Contemporary Conversations: " Drawing Now," curated by Bernice Rose at The Museum of Modern Art, New York, in 1976. 2. According to Amy Baker Sandback, Ryman's archivist, "Both the bolt and the fasten­ Robert Ryman, 1976 ers are part of the image whether or not they are used as found, or altered or fabri­ cated especially ... these are visual elements as much as line or brush stroke or color or panel or fabric support." Correspondence with the author, May 16, 2007. 3. Naomi Spector, Robert Ryman (London: Whitechapel Art Gallery, 1977), 1. 4. Robert Ryman , quoted in David Carrier, "Robert Ryman and the Origins of His Art," Burlington Magazine 139, no. 1134 (September 1997): 632. 5. Seven pages were purchased by The Institute for Art and Urban Resources "as an exhibition space for works made to fit the size, format and lithographic process of this magazine." Artforum 15, no. 4 (December 1976). I I Works in the Exhibition Midland II, 1976 National/, 1976 Oil paint and synthetic resin on blue Oil on blue Acrylivin panel with four Acrylivin with four 6-sided, cadmium­ cadmium-plated steel fasteners and plated steel bolts and fasteners hexagonal bolts 48 x 48 inches 355/s x 34 inches The Menil Collection, Houston Collection of Egidio Marzona Untitled Drawing, 1976 Pastel and graphite on Plexiglas with black oxide steel fasteners 495/s x 495/s inches Addison Gallery of American Art, Phillips Academy, Andover; Gift of Carl Andre Cover: Robert Ryman, Midland II, 1976.
    [Show full text]