Don't Be a Jerk

Total Page：16

File Type：pdf, Size：1020Kb

Maya Lin October 5th, 1959- Today Vietnam Veterans Memorial , 1982 Vietnam Veterans Memorial , 1982 Barbara Kruger 1945- Hottie! (Kruger) I Shop Therefore I Am , 1987 Mary Boone Gallery, NYC Violence Is A Stereotype, 1991 Mary Boone Gallery, NYC Past and Present, 1991 Mary Boone Gallery, NYC Kruger, Barbara; Don’t Be A Jerk, Mary Boone Gallery Kruger, Barbara God Kills A Kitten Ana Mendieta 1948-1985 Silueta Works, 1973-1978 More Silueta Works Untitled (Body Tracks), 1974 Kiki Smith American Feminist Artist 1954 - Present “The Blue Print Series” (1999) “Wolf Girl” “Emily D.” “Melanchlia” **For more on these go to MOMA online and type Kiki Smith** Alice Adventures Underground “Pool of Tears 2” (2000) “How I Know I’m Here” (1985/2000) “All Souls” (1988) “Mary Magdalene” (1994) “Untitled” (Roses) 1994 Kiki Smith; A Gathering: “Untitled” (1980-2005) Faith Ringgold Dream 2: King and the Sisterhood 1988 Acrylic on canvas 96 x 60” The Black Light Series: The American Spectrum, 1969 Oil on canvas , 18 x 72” Flag Story Quilt , 1985 Acrylic on canvas, dyed, painted and pieced fabric 57x 78” The American People Series #19: US Postage Commemorating the Advent of Black Power 1967 Oil on canvas 72 x 96” The American People Series #18: The Flag is Bleeding, 1967 Oil on canvas 72 x 96” Jaune Quick-to-See Smith Cowboys and Indians, Made in America, 1995 Collagraph print, 78 x 53” Genesis, 1993 Mixed media on canvas Celebrate 40,000 Years of American Art 1995 Collagraph print 78 x 53” War Shirt, 1992, Oil and mixed media collage on canvas diptych Where is John Lennon When We Need Him? 2003 Lithograph Magdalena Abakanowicz Backs Agora Abakan s Nam June Paik July 20, 1932- January 29, 2006 Nam June Paik “Video Flag” by Nam June Paik, synchronized video playback on 70 CRT monitors, 1958-1969, Hirshhorn Museum and Sculpture Garden (Washington, D. C.) Nam June Paik “Pre-Bell-Man”, statue in front of the 'Museum für Kommunikation', Frankfurt am Main, Germany Nam June Paik “Earth, Moon and Sun”, 1990 .

Copy Link

Recommended publications

Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983
Irrigation Veins: Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983 On view April 30 – May 30, 2020 Ana Mendieta. Volcán, 1979, color photograph Carolee Schneemann, Study for Up to and Including Her Limits, 1973, color © The Estate of Ana Mendieta Collection, LLC photograph, photo credit: Antony McCall Courtesy Galerie Lelong & Co., New York Courtesy of the Estate of Carolee Schneemann, Galerie Lelong & Co., and Licensed by Artists Rights Society (ARS), New York P·P·O·W, New York “These obsessive acts of re-asserting my ties with the earth are really a manifestation of my thirst for being.” Ana Mendieta Galerie Lelong & Co. and P·P·O·W present Irrigation Veins: Ana Mendieta and Carolee Schneemann, Selected Works 1966 – 1983, an online exhibition exploring the artists’ parallel histories, iconographies, and shared affinities for ancient forms and the natural world. Galerie Lelong and P·P·O·W have a history of collaboration and have co-represented Carolee Schneemann since 2017. This will be the first time the two artists are shown together in direct dialogue, an exhibition Schneemann proposed during the last year of her life. In works such as Mendieta’s Volcán (1979) and Schneemann’s Study for Up To and Including Her Limits (1973), both artists harnessed physical action to root themselves into the earth, establishing their ties to the earth and asserting bodily agency in the face of societal restraints and repression. Both artists identified as painters prior to activating their bodies as material; Mendieta received a MA in painting from the University of Iowa in 1972, and Schneemann received an MFA from the University of Illinois in 1961.
[Show full text]
Fresh Meat Rituals: Confronting the Flesh in Performance Art
FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS By MILICA ACAMOVIC B.A., Saint Louis University, 2012 Kansas City, Missouri 2016 © 2016 MILICA ACAMOVIC ALL RIGHTS RESERVED FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART Milica Acamovic, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2003 ABSTRACT Meat entails a contradictory bundle of associations. In its cooked form, it is inoffensive, a normal everyday staple for most of the population. Yet in its raw, freshly butchered state, meat and its handling provoke feelings of disgust for even the most avid of meat-eaters. Its status as a once-living, now dismembered body is a viscerally disturbing reminder of our own vulnerable bodies. Since Carolee Schneeman's performance Meat Joy (1964), which explored the taboo nature of enjoying flesh as Schneeman and her co- performers enthusiastically danced and wriggled in meat, many other performance artists have followed suit and used raw meat in abject performances that focus on bodily tensions, especially the state of the body in contemporary society. I will examine two contemporary performances in which a ritual involving the use of raw meat, an abject and disgusting material, is undertaken in order to address the violence, dismemberment and guilt that the body undergoes from political and societal forces. In Balkan Baroque (1997), Marina Abramović spent three days cleansing 1,500 beef bones of their blood and gristle amidst an installation that addressed both the Serbo-Croatian civil war and her personal life.
[Show full text]
The Unpublished Works of Ana Mendieta Olga Viso
rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:08 Uhr Seite 1 rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:08 Uhr Seite 2 2 rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:09 Uhr Seite 3 UNSEEN MENDIETA THE UNPUBLISHED WORKS OF ANA MENDIETA OLGA VISO PRESTEL MUNICH BERLIN LONDON NEW YORK rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:09 Uhr Seite 4 Cover: Documentation of Feathers on Woman, 1972 (Iowa). Detail of 35 mm color slide Back cover: Documentation of an untitled performance with flowers, ca. 1973 (Intermedia studio, University of Iowa). Detail of 35 mm black-and-white photo negatives Page 1: Untitled (detail), c. 1978. Blank book burnt with branding iron, 13 3⁄16 x111⁄4 in. overall. Collection Des Moines Art Center Permanent Collections, purchased with funds from Rose F. Rosenfield and the Edmundson Art Foundation, Inc. Frontispiece: Ana Mendieta (foreground) and Hans Breder in a field of flowers, Old Man’s Creek, Sharon Center, Iowa, 1977. Detail of 35 mm color slide © Prestel Verlag, Munich · Berlin · London · New York, 2008 © for the text, © Olga M. Viso, 2008 © for the illustrations, © Estate of Ana Mendieta, 2008 All photographs of works by Ana Mendieta are courtesy of Galerie Lelong, New York, unless otherwise indicated. Prestel Verlag, Königinstrasse 9, D-80539 Munich Tel. +49 (89) 242908-300, Fax +49 (89) 242908-335 Prestel Publishing Ltd. 4, Bloomsbury Place, London WC1A 2QA Tel. +44 (020) 7323-5004, Fax +44 (020) 7636-8004 Prestel Publishing, 900 Broadway, Suite 603, New York, N.Y.
[Show full text]
THE UN-HEROIC ACT Representations of Rape in Contemporary Women’S Art in the U.S
PRESS KIT, SEPTEMBER 1 30, 2018 THE UN-HEROIC ACT Representations of Rape in Contemporary Women’s Art in the U.S. curated by Monika Fabijanska exhibition accompanied by a fully-illustrated catalog September 4 – November 2, 2018 Anya and Andrew Shiva Gallery John Jay College of Criminal Justice City University of New York New York City The following material contains 1/ press release 2/ public programming 3/ the outline of the exhibition structure, with all artworks accompanied by an image, caption, and description 4/ artists’ biographies Public programming details will be announced at the press preview Captions must be used as provided in this document. For website and print quality images, please contact [email protected] Please contact the gallery at [email protected], 212.237.1439 for inquiries, images and interview requests. You may also direct questions to the curator, [email protected] For more information, visit www.shivagallery.org, detailed updates at www.monikafabijanska.com ARTISTS IN THE EXHIBITION (in the chronological order of the work creation): Yoko Ono Natalie Frank Ana Mendieta Jennifer Karady Senga Nengudi Sonya Kelliher-Combs Suzanne Lacy Andrea Bowers Lynn Hershman Leeson Ada Trillo Carolee Thea Kara Walker Guerrilla Girls Roya Amigh Jenny Holzer Naima Ramos-Chapman Kathleen Gilje Bang Geul Han Angela Fraleigh Guerilla Girls BroadBand 1 FOR IMMEDIATE RELEASE THE UN-HEROIC ACT: Representations of Rape in Contemporary Women's Art in the U.S. curated by Monika Fabijanska September 4 – November 2, 2018 opening reception: September 12, 5:30-8:30 PM symposium: October 3, 5-9 PM tours & artists talks: September 26, 6-8 PM, October 24, 6-8 PM gallery hours: Monday-Friday 10-6 Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977.
[Show full text]
View Program
Y HELLENIC REPUBLIC MINISTRY OF CULTURE & SPORTS STATE MUSEUM OF CONTEMPORARY ART ORGANISATION – P RODUCTION Biennale Director STATE MUSEU M Syrago Tsiara OF CONTEMPORARY ART Head of Αdministrative Services - Project Management BOARD OF ADMINISTRATION Athina Ioannou President Curatorial Team Andreas Takis Yannis Bolis Vice President Angeliki Charistou Sophia Kaitatzi-Whitlock Domna Gounari Areti Leopoulou Secretary Giota Myrtsioti Thodoris Markoglou Eirini Papakonstantinou Members Evi Papavergou Alexandros Baltzis Katerina Paraskeva George Divaris Maria Tsantsanoglou Aliki Kostaki Syrago Tsiara Anastasios Nikakis Lois Papadopoulos Museographic Design George Tsakiris Anastasia Valavanidou Registrar - Artworks Conservator Director of SMCA Maria Tsantsanoglou Olga Fota Electrician - Lighting Supervisor Director of the Contemporary Art Kostas Kosmidis Center of Thessaloniki (CACT) Syrago Tsiara Public Relations - Communication Chrysa Zarkali Director of the Thessaloniki Museum of Photography (ThMPh) Public Relations Support - Adaptation Hercules Papaioannou of Graphical Applications Cleo Gousiou Editions Kleoniki Christoforidou Educational Programs Evi Papavergou Katerina Paraskeva Secretary - Volunteering & Internship Program Christina Plevritou Accountants Department Dora Kaipi Areti Karavassili Maria Pournou SMCA Reception Georgia Lili State Museum of Contemporary Art CACT Reception 21 Kolokotroni St., Moni Lazariston Eleni Stergiou 564 30, Thessaloniki, Greece Cleaning T: (+30) 2310 589141 & 143 Thomay Katrana F: (+30) 2310 600123 Maria
[Show full text]
Ana Mendieta.Pdf
Osterweil/Mendieta SOMETHING IS AMISS in the first shot of Ana Mendieta’s film Moffitt Building and then take it out again. Although she kept her films short and silent, she Piece, 1973. The image is of an ordinary white Midwestern exterior with a glass learned to maintain her poker face by eliminating the subjective perspective of door and a storefront window, both blinkered by venetian blinds. Neither the the camera and ceding to a more neutral viewpoint. And though she jettisoned address number (230) nor the old-fashioned lettering (h. f. moffitt) provides the kind of visual mediation and distance provided in Moffitt Building Piece by much of a clue. But after a few moments, the camera tilts down to what looks the car’s windowpane, Mendieta remained ambivalent about direct encounters like a bloodstain on the sidewalk in front of the adjoining door. The blot seems with the body. Over the next decade, she continued to question the imperfect out of place, for nothing else in the scene portends violence. Before we have a evidence of being. chance to figure out what has happened, the camera zooms impatiently into the Much of the attention given to Mendieta’s art has focused on the photographs spill, insisting that we bear witness even as passersby do not. There isn’t just of her earth-body works. With a few notable exceptions—including the 2013 trav- liquid saturating the threshold, but grisly matter. eling exhibition “Ana Mendieta: Traces,” which opened at the Hayward Gallery This is the doorway to Mendieta’s apartment building in Iowa City, 1973.
[Show full text]
Arte Cubano Del Siglo IXX Al XXI Cuban Art: 19Th-21St Century
Spring 2014 Teacher Training Workshop Presented by the Latin American and Caribbean Center and Cuban Research Institute at FIU, Perez Art Museum and MDCPS Division of Academic Support, Visual and Performing Arts Arte Cubano del siglo IXX al XXI Cuban Art: 19th-21st Century Aldo Menéndez, La Gloria eres tú, Acrilico tela, 1993 Dates: February 7, 2014 (Teacher Workday) & Saturday, February 8, 2014 Time: 10am-3pm daily Location: Pérez Art Museum Miami (PAMM), 1103 Biscayne Blvd., Miami, FL 33132 Led by artists: Aldo Menéndez and Ivonne Ferrer 14 Master Plan Points The first of a series of workshops on the significance of Cuban art of the 19th, 20th and 21st Centuries. This two-day workshop explores various artists such as Wifredo Lam, Joaquin Torres Garcia, Ana Mendieta, Rene Portocarrero, Eduardo Abela, Victor Manuel, Augusto Menocal, Carlos Enriquez, and Jose Bedia among others. Cuba’s first performance and photo realist artist Aldo Menéndez will lead the workshop with demonstrations by Ivonne Ferrer. This workshop is made possible with the support from the Latin American and Caribbean Center and the Cuban Research Institute at FIU and PAMM Getting to PAMM, located at 1103 Biscayne Blvd., Miami, FL 33132 between the Adrienne Arsht Center and American Airlines Arena. From Biscayne Blvd., go east at 11th street. The museum is located at the far east side of Museum Park, between the science museum construction site and Biscayne Bay. Arte Cubano del siglo IXX al XXI Cuban Art: 19th-21st Century Teacher Training Workshop February 7-February
[Show full text]
07.Blood and Ritual. Ancient Aesthetics In
Blood and ritual: ancient aesthetics in feminist and social art in Latin America Emilia Quiñones Otal Introduction The work of contemporary artists Regina José Galindo and Lorena Wolffer has been characterized by its harsh social criticism. While both are primarily known for their work against gender violence, they have also addressed other problems in their regions, such as oppressive governments, wars, and the imperialism they are subjected to due to the political, economic, and cultural intervention of the United States. Galindo was born in Guatemala and has worked there throughout her career. Her art has been exhibited around the world, including at the Venice Biennale, where in 2005 she was awarded a Golden Lion in the category of "artists under 30." Wolffer is Mexican and, like Galindo, she has had an international impact. Both have developed an art full of striking elements, including blood, aimed at disturbing the viewer, and both use very contemporary methods, including performance, video art, and complex art projects in which the audience interacts with the piece and where one single piece may consist of written, recorded, photographed, and theatrical elements. This paper will examine the artists who have had the greatest impact on these two contemporary women in terms of theme, style, and symbolism. One performance each by Galindo and by Wolffer will be addressed in particular. The theme and many formal symbolic elements are common to both performances, which are characterized by a very strong critique of social problems in their countries, including the economic crisis, corruption, military interventions, rape, and the problems faced by the indigenous people of Guatemala.
[Show full text]
Senga Nengudi's Art Within and Without Feminism, Postminimalism
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-13-2020 Beyond Movements: Senga Nengudi’s Art Within and Without Feminism, Postminimalism, and the Black Arts Movement Tess Thackara CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/605 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Beyond Movements: Senga Nengudi’s Art Within and Without Feminism, Postminimalism, and the Black Arts Movement by Tess Thackara Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis Sponsor: May 4, 2020 Dr. Howard Singerman _____________ ______________________ Date Signature May 4, 2020 Dr. Lynda Klich _____________ ______________________ Date Signature Table of Contents List of Illustrations……………………………………………………………………………....ii Introduction……………………………………………………………………….......................1 Chapter 1: “Black Fingerprints and the Fragrance of a Woman”: Senga Nengudi and Feminism………………………………………………………………………………………..12 Chapter 2: Toward Her Own Total Theater: Senga Nengudi and Postminimalism…………….31 Chapter 3: Ritual and Transformation: Senga Nengudi and the Black Arts Movement……………………………………………………………………………………….49 Conclusion………………………………………………………………………………………64 Bibliography…………………………………………………………………………………….68 Illustrations……………………………………………………………………………………...72 i List of Illustrations Fig. 1: Senga Nengudi, ACQ series (install view), 2016–7, refrigerator and air conditioner parts, fan, nylon pantyhose, and sand. © Senga Nengudi. Courtesy of the artist, Lévy Gorvy, Thomas Erben Gallery, and Sprüth Magers. Fig. 2: Senga Nengudi, ACQ I, 2016–7, refrigerator and air conditioner parts, fan, nylon pantyhose, and sand.
[Show full text]
Tranformations and Disappearances: the Presence of the Artist in the Work of Francesca Woodman
Providence College Journal of Art 41 bearing evidence of the photographic process, these images are Tranformations and Disappearances: The haunting in the simultaneous likeness and unlikeness they create Presence of the Artist in the Work of of Woodman. Though Woodman is physically present within these works, the images break from the historical tradition of “self-por- Francesca Woodman traiture” in a variety of ways. There is no visual claim that these images are depicting the artist as one may find in earlier prototypes Michael Rose where artists often portrayed themselves with the tools of their trade. For instance, in the self-portrait of seventeenth century Dutch painter Judith Leyster, the artist makes a concerted effort to depict herself in the role of an artist. Leyster leans back jauntily in her chair and holds out the instrument of her craft, her paintbrush. A The photos that Francesca Woodman created during her canvas representing her productivity is seen in front of her as she short life (1958-1981) are at once striking and subtle, often provoc- engages the viewer with her gaze. This conceit is not relevant for ative but also playful. There is a constant character of exploration Woodman who, working in the mid-twentieth century, would have that defines her work. Among all of the themes and concepts seen the art-making process quite differently from her seventeenth Woodman plays with in the work, there are two shared traits that century counterpart. Woodman, as a student, is said to have used seem particularly pre-eminent: the dual themes of transformation herself as the model for her works mainly due to the convenience and disappearance.
[Show full text]
The Body in Performance a Study Room Guide on Body Based Practices
The Body in Performance A Study Room Guide on body based practices Compiled by Franko B 2005 LADA Study Room Guides As part of the continuous development of the Study Room we regularly commission artists and thinkers to write personal Study Room Guides on specific themes. The idea is to help navigate Study Room users through the resource, enable them to experience the materials in a new way and highlight materials that they may not have otherwise come across. All Study Room Guides are available to view in our Study Room, or can be viewed and/or downloaded directly from their Study Room catalogue entry. Please note that materials in the Study Room are continually being acquired and updated. For details of related titles acquired since the publication of this Guide search the online Study Room catalogue with relevant keywords and use the advance search function to further search by category and date. Cover image credit: Franko B, I Miss You!, Tate Modern 2003, Photographer Hugo Glendinning The Body Study Room Guide by Franko B (2004/5) Franko B was invited to produce a guide looking at body based practices, including works employing the body as an artistic tool and site of representation. Franko approached the guide by drawing up a list of materials we hold that are important to him, of new materials we are in the process of acquiring and of materials he has generously donated to the Study Room. To accompany his list of recommendations he also conducted an interview with Dominic Johnson discussing his choices, their significance to him and to understandings of the possibilities of Live Art.
[Show full text]
Judy Chicago: Visions for Feminist Art Francesca Debiaso Gettysburg College
Student Publications Student Scholarship Spring 2012 Judy Chicago: Visions for Feminist Art Francesca DeBiaso Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the American Art and Architecture Commons, and the Contemporary Art Commons Share feedback about the accessibility of this item. DeBiaso, Francesca, "Judy Chicago: Visions for Feminist Art" (2012). Student Publications. 6. https://cupola.gettysburg.edu/student_scholarship/6 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 6 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Judy Chicago: Visions for Feminist Art Abstract Controversy, awe, and revelation distinguish Judy Chicago's now 40 year career in the art world. Chicago's large body of work is inseparable from her ideologies pertaining to women's crippling exclusion from male dominated disciplines within art, history, and society overall. Her work is characterized by a desire to establish feminine iconography ("central-core imagery") and create a feminist lexicon applicable to the arts as to validate and celebrate women's experience. Viewing her artwork as a tool for social change and dialogue, Chicago has incorporated collaboration and consciousness-raising into her art making process. Thus, her collaborators gain not only the participation of creating the works, but also share in the cultivation of a female (art) history.
[Show full text]