Mona Hatoum CV 2018
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Old Works / New Works: When Contemporary
OLD WORKS / NEW WORKS: WHEN CONTEMPORARY PHOTOGRAPHIC ARTWORKS HELD BY CANADIAN PUBLIC INSTITUTIONS CHANGE AFTER ACCESSION by Anne Cibola Master of Arts, York University, Toronto ON, 2005 Bachelor of Fine Arts, Concordia University, Montreal QC, 2003 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2014 © Anne Cibola 2014 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS 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 Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. Anne Cibola I further authorize Ryerson 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. Anne Cibola I understand that my thesis may be made electronically available to the public. ii Abstract Old Works / New Works: When Contemporary Photographic Artworks held by Canadian Public Institutions Change After Accession Master of Arts, 2014 Anne Cibola Film and Photographic Preservation and Collections Management, Ryerson University This thesis explores what is at stake when changes are made to artworks after Canadian public institutions have accessioned them. It argues that the materiality of an art object matters, and together with the narrative or history of the artwork, contributes to its interpretation. Changes at the object level can have an impact not only on the history of an artwork, but also on an artist’s larger practice and on an institution’s collection. -
Old Works / New Works: When Contemporary
OLD WORKS / NEW WORKS: WHEN CONTEMPORARY PHOTOGRAPHIC ARTWORKS HELD BY CANADIAN PUBLIC INSTITUTIONS CHANGE AFTER ACCESSION by Anne Cibola Master of Arts, York University, Toronto ON, 2005 Bachelor of Fine Arts, Concordia University, Montreal QC, 2003 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2014 © Anne Cibola 2014 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS 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 Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. Anne Cibola I further authorize Ryerson 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. Anne Cibola I understand that my thesis may be made electronically available to the public. ii Abstract Old Works / New Works: When Contemporary Photographic Artworks held by Canadian Public Institutions Change After Accession Master of Arts, 2014 Anne Cibola Film and Photographic Preservation and Collections Management, Ryerson University This thesis explores what is at stake when changes are made to artworks after Canadian public institutions have accessioned them. It argues that the materiality of an art object matters, and together with the narrative or history of the artwork, contributes to its interpretation. Changes at the object level can have an impact not only on the history of an artwork, but also on an artist’s larger practice and on an institution’s collection. -
A Critique of Humoristic Absurdism
A Critique of Humoristic Absurdism A Critique of Humoristic Absurdism Problematizing the legitimacy of a humoristic disposition toward the Absurd A Critique of Humoristic Absurdism Copyright © 2020 Thom Hamer Thom Hamer All rights reserved. No part of this thesis may be reproduced, stored or transmitted in any way or by any means without the prior permission of the author or, when applicable, of the publishers of the scientific papers. Image on previous page: Yue Minjun (2003), Garbage Hill Student number: 3982815 Graphic design: Mirelle van Tulder Date: February 5th 2020 Printed by Ipskamp Printing Word count: 32,397 Institution: Utrecht University Contents Study: Research Master Philosophy Summary 9 Document: Final Thesis Foreword 10 Supervisor: prof. dr. Paul Ziche Introduction 12 Second Reader: dr. Hans van Stralen 1. The Philosophy of Humor 21 Third Reader: prof. dr. Mauro Bonazzi 1.1. A history of negligence and rejection 24 1.2. Important distinctions 33 1.3. Theories of humor 34 1.4. Defense of the Incongruity Theory 41 1.5. Relevance of relief and devaluation 52 1.6. Operational definition 54 2. The Notion of the Absurd 59 2.1. Camusian notion: meaninglessness 61 2.2. Tolstoyan notion: mortality 63 2.3. Nagelian notion: trivial commitments 67 2.4. Modified notion: dissolution of resolution 71 2.5. Justificatory guideline for a disposition toward the Absurd 78 3. Humoristic Absurdism 83 3.1. What is Humoristic Absurdism? 85 3.2. Cultural expressions of Humoristic Absurdism 87 3.3. Defense of Humoristic Absurdism 92 4. Objections against the humoristic disposition toward the Absurd 101 4.1. -
Visitor Figures 2016 Exhibition & Museum Attendance Survey
2 THE ART NEWSPAPER REVIEW Number 289, April 2017 SPECIAL REPORT VISITOR FIGURES 2016 EXHIBITION & MUSEUM ATTENDANCE SURVEY Christo helps 1.2 million people to walk on water While the Whitney breaks the hold of New York’s big two hristo’s triumph in Italy, a space in New York to five artists, including Steve Children admiring Louise Bourgeois at Tate Modern: ravenous appetite for French art McQueen, Lucy Dodd and Michael Heizer, for the institution has hung on to its spot as the world’s abroad and a shake-up in New several weeks at a time. On average, more than most popular Modern and contemporary art museum York are the big stories of The 4,000 visitors saw each of the five presentations, Art Newspaper’s 2016 attend- roughly equivalent to the number that visited the FEMALE ARTISTS DRAW BIG CROWDS ance survey. museum’s Frank Stella retrospective. Christo’s Floating Piers (2016) Despite the Whitney’s rapid rise, MoMA and Female artists feature prominently in our survey. on Lake Iseo—the New York-based artist’s first the Met continue to lead the league in New York. At the Guggenheim Bilbao, Louise Bourgeois’s Cells Coutdoor installation since 2005—was the world’s MoMA remains at the top, thanks to staffers who attracted around 4,600 visitors a day. The Japanese most-visited work of art last year. Christo erected performed each afternoon over a long weekend artist Yayoi Kusama, who in 2014 proved a phenom- 3km of fabric-covered pontoons between an island last October in a production directed by the enon in South America and Asia, continued to pull and the shore and invited the public to walk on French choreographer Jérôme Bel. -
To Care, to Curate. a Relational Ethic of Care
Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye. -
The Menil Collection to Present Mona Hatoum
THE MENIL COLLECTION TO PRESENT MONA HATOUM: TERRA INFIRMA, OCTOBER 13, 2017 – FEBRUARY 25, 2018, THE ARTIST’S FIRST MAJOR SOLO EXHIBITION IN THE UNITED STATES IN TWENTY YEARS Following the Menil Presentation, the Exhibition will Travel to the Pulitzer Arts Foundation in St. Louis from April 6–August 11, 2018 Press preview October 11, 2017 at 9:00 a.m. HOUSTON, TX, September 21, 2017 – The London-based artist Mona Hatoum (b. 1952) creates work that addresses the growing unease of an ever-expanding world, one that is as technologically networked as it is politically fractured by war and exile. Investigating place and the body through a minimalist language of form and a wide range of materials, from glass and steel to light and sand, her sculptures and installations since the late-1980s are grounded in questions about how shifting geography and the limits of institutional structures can redefine our understanding of the world around us. Organized by Menil Senior Curator Michelle White, Mona Hatoum: Terra Infirma is the internationally-acclaimed artist’s first major solo exhibition in the United States in more than twenty years. Opening October 13, 2017, the exhibition will present approximately 30 major sculptures and installations from North American and European collections. The show also includes a number of smaller sculptures and works on paper. Highlights include work imbued with a sense of physical danger that challenge the idea of home as a place of rest and comfort. Homebound (1999) is a room-size assemblage of electrified household objects and furniture. Other works depart from the Surrealist notion of the uncanny. -
Artforum 2006
Artforum Diễn đàn Nghệ thuật 2006 - February 2006 - Tháng 2 Columns Các mục Passages Những bài viết ngắn Hannah Feldman on Raymond Hains Hannah Feldman về Raymond Hains và and Arnan Arnan Justin Spring on Ismail Merchant Justin Spring về Nhà buôn Ismail Books Các sách Yve-Alain Bois on the Russian Avant- Yve-Alain Bois về Người tiên phong Nga garde Phim Film J. Hoberman về Carlos Reygadas J. Hoberman on Carlos Reygadas Tại chỗ On Site Tom Holert về Nghệ thuật Đương đại ở Tom Holert on Contemporary Art in Belgrade Belgrade Tin tức News Caroline A. Jones về Toàn cầu hoá và Caroline A. Jones on Globalism and the Biennale của Venice Venice Biennale Tope Ten Tope Ten Matt Keegan Matt Keegan Features Những đặc san Search Engine: The Art of Michel Động cơ tìm kiếm: Nghệ thuật của Michel Majerus Majerus Daniel Birnbaum Daniel Birnbaum 1000 Words: Catherine Sullivan 1000 Từ: Catherine Sullivan Tim Griffin Tim Griffin The Social Turn: Collaboration and its Xã hội chuyển mình: Hợp tác và sự bất mãn Discontents Claire Bishop Claire Bishop The Films of Guy Debord Những bộ phim của Guy Debord Keith Sanborn and Greil Marcus Keith Sanborn và Greil Marcus Ellective Affinities: The Art of Edgar Những mối quan hệ thân thuộc có chọn lựa: Arceneaux Nghệ thuật của Edgar Arceneaux Jeffrey Kastner Jeffrey Kastner Openings: Matthew Brannon Những sự khởi đầu: Matthew Brannon Jan Tumlir Jan Tumlir Harry Dodge and Stanya Kahn Harry Dodge và Stanya Kahn Rachel Kushner Rachel Kushner Reviews Các phê bình Focus Trọng tâm Briony Fer on “Dada” Briony Fer về “Dada” Carrie -
Mona Hatoum Selected Press
Mona Hatoum Galerie Selected Press Chantal Crousel Robertson, Emma. «Mona Hatoum: “It’s about shattering the familiar”», The Talks, October 19, 2016. http://the-talks.com/interview/mona-hatoum/ Galerie Chantal Crousel Ms. Hatoum, do you see darkness in your art? I think your personal experience shapes the way you view the world around you. With 15 years of civil war in Lebanon and conflict in the Middle East ever since I can remember, there is nothing very uplifting about it and this inevitably filters through my work. So, yes, there is darkness but there is lightness as well. There are often two sides to each piece, not just one meaning. Duality and contradictions exist in most of the work: darkness and light, heaviness and humor, beauty and danger… Humor? That’s surprising — I don’t see a lot of humor in a piece like The Negotiating Table, for example. Well, take my performance piece Roadworks, for instance. I walked around the streets of Brixton dragging heavy Dr. Martens boots — the boots that the police and skin heads used to wear — behind my bare feet so that you have the symbol of vulnerability, this woman being followed by the boots of the state and racist thugs. But it is a surreal and humorous gesture. People interacted with it! I kept hearing comments like, “Oh, the Invisible Man,” “Does she know she’s being followed?” I like using humor to deflate those heavy situations. There are also contradictions in the installation Light Sentence. The rigidity of the cages is contradicted by the fluidity of the moving shadows. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
“Here and Elsewhere,” an Exhibition of Contemporary Art from and About the Arab World Museum-Wide Exhibition Opens July 16, 2014
TEL +1 212.219.1222 FAX +1 212.431.5326 newmuseum.org FOR IMMEDIATE RELEASE PRESS CONTACTS: July 8, 2014 Gabriel Einsohn, Senior Communications Director Hyatt Mannix, External Affairs Associate [email protected] 212.219.1222 x209 Andrea Schwan, Andrea Schwan Inc. [email protected] 917.371.5023 New Museum To Present “Here and Elsewhere,” an Exhibition of Contemporary Art From and About the Arab World Museum-wide Exhibition Opens July 16, 2014 New York, NY… Beginning July 16, the New Museum will , present “Here and Elsewhere,” the first museum-wide exhibition in New York City to feature contemporary art from and about the Arab world. The exhibition brings together more than forty-five artists from over fifteen countries, many of Ever Have You whom live and work internationally. In keeping with the New Museum’s dedication to showcasing the most engaging new art from around the globe, “Here and Elsewhere” is the most recent in a series of exhibitions that have introduced urgent Marwa Arsanios, Killed a Bear? Or Becoming Jamila sound; 28 color, 2014 (still). Video, min. Courtesy the artist questions and new aesthetics to US audiences. “This exhibition continues the New Museum’s commitment to looking at art from beyond the confines familiar to the New York art world,” said Massimiliano Gioni, Associate Director and Director of Exhibitions. “‘Here and Elsewhere’ brings new works and new voices to our audiences, presenting many artists who are showing in New York for the first time.” Combining pivotal and under-recognized figures with younger and midcareer artists, “Here and Elsewhere” works against the notion of the Arab world as a homogenous or cohesive entity. -
Bowdoin-College-Catalogue-2010
BowdoinBowdoin 2010–20112010–2011 CATALOGUECATALOGUE AugustAugust 20102010 Brunswick,Brunswick, MaineMaine bowdoin.edu/cataloguebowdoin.edu/catalogue Bowdoin 2010–2011 CATALOGUE August 2010 Brunswick, Maine bowdoin.edu/catalogue Bowdoin College complies with applicable provisions of federal and state laws that prohibit discrimination in employment, admission, or access to its educational or extracurricular programs, activities, or facilities based on race, color, ethnicity, national origin, religion, sex, sexual orientation, gender identity and/or expression, age, marital status, place of birth, veteran status, or against qualified individuals with disabilities on the basis of disability. The information in this publication was accurate at the time of publication. However, Bowdoin College reserves the right to make changes at any time without prior notice to any of the information, including but not limited to course offerings, degree requirements, regulations, policies, procedures, and charges. The College provides the information herein solely for the convenience of the reader, and to the extent permissible by law, expressly disclaims any liability that may otherwise be incurred. In compliance with the Campus Security Act of 1990, Bowdoin College maintains and provides information about campus safety policies and procedures and crime statistics. A copy of the report is available upon request. Bowdoin College and the other members of the New England Small College Athletic Conference take strong stands against abusive drinking and its negative side effects. The vast majority of students at these colleges who choose to drink alcohol do so responsibly. Those who abuse alcohol receive a combination of discipline and education. Additionally, all of the member schools expressly prohibit hazing. Printed using sustainable paper and processes. -
Launch of the Darling Foundry's Summer Programming Thursday
Press Release| For immediate release | Montreal, June 10, 2019 LAUNCH OF THE DARLING FOUNDRY’S SUMMER PROGRAMMING THURSDAY, JUNE 13, 2019 AT 5PM EXHIBITIONS Barbara Steinman Diving for Dreams Curator: Ji-Yoon Han June 13 - August 25, 2019 Main Hall Pascale Théorêt-Groulx 9.8 Mètres par seconde par seconde Curator: Caroline Andrieux June 13 - August 25, 2019 Small Gallery READING PLATFORM Information Office June 13 - August 25, 2019 ENTRANCE HALL Celia Perrin Sidarous June 13 - August 25, 2019 PLACE PUBLIQUE Ayò. Akínwándé Power Show III: The God-Fathers Must Be Crazy Curator: Milly-Alexandra Dery Summer 2019 WEEKLY EVENINGS Possible Awakenings Curator: Milly-Alexandra Dery Every Thursday night: June 13 - August 22, 2019 VERNISSAGE Thursday June 13, 2019 starting at 5pm On the evening’s agenda: A guided tour of the exhibitions for members and the press led by the curators (5:30pm) Speech by Caroline Andrieux, Press Contact: Eli Kerr Artistic Director of the Darling Foundry (6:15pm) Communications Manager [email protected] Artists studios open to the public (6:30pm - 7:30pm) +1 514 392-1554 À enfiler en cas d’urgence, performance by Pascale Théorêt-Groulx (7:30pm) BARBARA STEINMAN Diving For Dreams Curator: Ji-Yoon Han | Main Hall June 13 - August 25, 2019 A careful observer of what she once called “layers of impermanence,” that is the intertwined pathways of time and history, of individual and collective memory, Barbara Steinman invites visitors to consider the space of the Darling Foundry—a building located in the midst of radical architectural transformation and other urban development, and whose volume embodies both the height of luxury and a kind of endangered species.