The VERBUND COLLECTION Was Founded in 2004 by VERBUND. It
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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 -
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MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world. -
MACBA Coll Artworks English RZ.Indd
of these posters carry the titles of Georges Perec’s novels, but Ignasi Aballí very few were actually made into Flms. We might, however, Desapariciones II (1 of 24), 2005 seem to remember some of these as Flms, or perhaps simply imagine we remember them. A cinema poster, aker it has accomplished its function of announcing a Flm, is all that’s lek of the Flm: an objective, material trace of its existence. Yet it also holds a subjective trace. It carries something of our own personal history, of our involvement with the cinema, making us remember certain aspects of Flms, maybe even their storylines. As we look at these posters we begin to create our own storylines, the images, text and design suggesting di©erent possibilities to us. By fabricating a tangible trace of Flms that were never made, Desaparicions II brings the Flms into existence and it is the viewer who begins to create, even remember these movies. The images that appear in the posters have all been taken from artworks made by Aballí. As the artist has commented: ‘In the case of Perec, I carried out a process of investigation to construct a Fction that enabled me to relate my work to his and generate a hybrid, which is something directly constructed by me, though it includes real elements I found during the documentation stage.’ 3 Absence, is not only evident in the novel La Disparition, but is also persistent in the work Aballí; mirrors obliterated with Tipp-Ex, photographs of the trace paintings have lek once they have been taken down. -
Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
Dara Birnbaum
DARA BIRNBAUM 8 NOVEMBER 201 8 – 12 JANUARY, 2019 OPENING RECEPTION: THURSDAY 8 NOVEMBER 2018 , 6– 8pm “Her use of video and found footage, her editing and image processing are groundbreaking…. This is our visual language.” -Eva Respini, Barbara Lee Chief Curator, ICA, Boston Marian Goodman Gallery London is delighted to present an exhibition of works by Dara Birnbaum, with special focus on her large-scale video installations from the 1990s. The exhibition will open on 8 November 2018, running until 12 January 2019. Birnbaum’s practice has long been concerned with the lexicon of broadcasting and communication and the way ‘truths’ are delivered to the viewer. An early proponent of video art, Birnbaum began by isolating imagery from television, recontextualising it in an attempt to understand its true meaning. For the first time since her major 2009/2010 travelling retrospective, The Dark Matter of Media Light, the three works Tiananmen Square: Break-In Transmission, 1990, Transmission Tower: Sentinel, 1992 and Hostage, 1994, will be shown Transmission Tower: Sentinel, 1992. Installation view, together. All three pieces were made in response to major political events in the latter part of Documenta IX commission, Kassel, Germany, 1992. the 20th century, as a way to uncover the complex relationship between the media, the events covered and the way in which those events are presented to the public. On view in the side galleries will be a selection of two-dimensional works focusing on the anonymous street posters from the May 68 protests in France, as well as the series Lesson Plans (To Keep the Revolution Alive), 1977, which formed the basis of the artist’s first exhibition, at Artists Space in New York in 1977. -
EWVA 4Th Full Proofxx.Pdf (9.446Mb)
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Art, Design and Architecture 2019-04 Ewva European Women's Video Art in The 70sand 80s http://hdl.handle.net/10026.1/16391 JOHN LIBBEY PUBLISHING All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. EWVA EuropeanPROOF Women’s Video Art in the 70s and 80s do not distribute PROOF do not distribute Cover image: Lydia Schouten, The lone ranger, lost in the jungle of erotic desire, 1981, still from video. Courtesy of the artist. EWVA European Women’s PROOF Video Art in the 70s and 80s Edited by do Laura Leuzzi, Elaine Shemiltnot and Stephen Partridge Proofreading and copyediting by Laura Leuzzi and Alexandra Ross Photo editing by Laura Leuzzi anddistribute Adam Lockhart EWVA | European Women's Video Art in the 70s and 80s iv British Library Cataloguing in Publication Data EWVA European Women’s Video Art in the 70s and 80s A catalogue entry for this book is available from the British Library ISBN: 9780 86196 734 6 (Hardback) PROOF do not distribute Published by John Libbey Publishing Ltd, 205 Crescent Road, East Barnet, Herts EN4 8SB, United Kingdom e-mail: [email protected]; web site: www.johnlibbey.com Distributed worldwide by Indiana University Press, Herman B Wells Library – 350, 1320 E. -
Friends, 2020 Catalog
FRIENDS, 2020 KATARZYNA KOZYRA FOUNDATION SUPPORT PROGRAM the present times are challenging for everybody. Even more so for women. The spread of the coronavirus and the worldwide economic crisis will make our work more difficult still. But we don’t give up. We will continue to fight in defence of the freedom of thought and gender equality. The Katarzyna Kozyra Foundation, as you know, has been created to support the work of female artists. Its many initiatives included, for example, a series of exhibitions of Women Commentators – a project which gave voice to young Russian and Ukrainian artists who live in countries where freedom of expression is not always allowed. One of the most recent investigations that the Foundation carried out, Little Chance to Advance, has revealed the huge underrepresentation of female teachers in Polish Art Academies. The Foundation is also currently working on numerous projects, which include an exhibition of Urszula Broll, a recently deceased artist who unfortunately did not live to see sufficient recognition for the important work of her life, as well as an archive of statements and works by female artists from the Visegrad Group. The recent cuts in the financing of NGO’s providing social and cultural support for women, make the raison d’ être of the Katarzyna Kozyra Foundation even more justified. It is why I ask you to join the group of the Foundation’s Friends and support us with a financial contribution so as to help the Foundation implement its program in support for women artists, consisting of research projects, exhibitions, book publications, seminars… I do not ask you for this commitment in exchange for nothing. -
E the New American Filmmakers Series
• ,r:·~· ,.~· ).r !'J1useu.m of 1\merican Art 14 e The NewAmerican Filmmakers Series EXHIBITIONS OF INDEPENDENT FILM AND VIDEO Dara Birnbaum February 4-March 4, 1984 PM Magazine, 1982. Video installation Gallery Talk, Thursday, February 9, at 2:00 On view continuously 12:00-6:00, Tuesdays until8:00 Dara Birnbaum will be present C redits: Video post-production: C MX editors- Mark Bement, Stev·m Rob inson, California Institute of the Arts; Matt Danowski, Electronic Arts Intermix; Joseph Leonardi, the Annex, Long Beach Museum of Art. Music collaboration: Dara Birnbaum, Simeon Soffer. Post production sound editor/mixer: Simeon Soffer. Musical assistance: vocals-Shauna D'Larson; drums/rhythm-James Dougherty, Jon Norton (L.A. Woman); guitar- David Dowse (L. A. Woman) , Mark Norris; synthesizer -Simeon Soffer. Design consultation and ex ecution: Dan HilL John Salmen .. The artist wishes to thank Nancy Hoyt, who made the original in stallation of PM Magazine possible at The Hudson River Museum, Yonkers, New York, and Coosje Van Bruggen, who made the instal lation possible at "Documenta 7," Kassel, West Germany. The art of Dara Birnbaum has established an aesthetic dis course predicated on both a formal and ideological inves tigation of commercial broadcast television. In her video tapes she refashions television's popular images through a PM Magazine, 1982. Video installation at The Hudson River Museum, Yonkers, New York. Photograph by Dara Birnbaum. variety of editing and image-processing strategies that ex pose the hidden meanings within narrative and commercial women and the sexual roles of the office worker and con programs. sumer by replaying them on monitors that are placed with In a series of short videotapes Birnbaum began to exam in three enlarged photographic panels. -
Gabor G Gyukics (B. 1958) Poet, Jazz Poet, Literary Translator Born in Budapest
gabor g gyukics (b. 1958) poet, jazz poet, literary translator born in Budapest. He is the author of 1 book of original prose, 9 books of original poetry, 6 in Hungarian, 2 in English, 1 in Arabic, 1 in Bulgarian, 1 in Czech, and 13 books of translations including A Transparent Lion, selected poetry of Attila József and Swimming in the Ground a Contemporary Hungarian Poetry (in English, both with co-translator Michael Castro) and an anthology of North American Indigenous poets in Hungarian titled Medvefelhő a város felett. He writes his poems in English (which is his second language) and Hungarian. He had lived in Holland for two years before moving to the US where he'd lived between 1988-2002, at present he resides in Szeged, Hungary. His poetic works and translations have been published in over 200 magazines and anthologies in English, Hungarian and other languages worldwide. He is a recipient of the Banff International Literary Translation Centre (BILTC) residency in Canada in 2011. His latest book in English titled a hermit has no plural was published by Singing Bone Press in the fall of 2015. His latest book in Hungarian was published by Lector Press in May 2018. In 2018 he published his first jazz poetry CD in English titled Vibration of Words with three amazing Hungarian jazz musicians. He received the Poesis 25 Prize for Poetry in Satu Mare Romania in 2015, the Salvatore Quasimodo special prize for poetry in 2012, a National Cultural Foundation grant in 2007 and a Füst Milan translator prize in 1999 and in 2017. -
SUZY LAKE Born in 1947 in Detroit, Michigan, United States Lives and Works in Toronto, Ontario, Canada
SUZY LAKE Born in 1947 in Detroit, Michigan, United States Lives and works in Toronto, Ontario, Canada EDUCATION 1978 MFA, Concordia University, Montreal, Quebec, Canada 1968 Wayne State University, Detroit, Michigan, United States Western Michigan University, Kalamazoo, Michigan, United States SELECTED SOLO EXHIBITIONS 2019 Game Theory, Georgia Scherman Projects, Toronto, Ontario, Canada 2018 Suzy Lake: Performing an Archive, curated by Srimoyee Mitra, Stamps Gallery, University of Michigan, Ann Arbor, Michigan, United States 2017 Suzy Lake: Scotiabank Photography Award, Ryerson Image Centre, Toronto, Ontario, Canada (catalogue) Performing an Archive, Art Gallery of Windsor, Windsor, Ontario, Canada Beauty and the Aging Body, curated by Yan Zhou, Lianzhou Foto Festival, Lianzhou, China 2016 Performing an Archive, McMaster Museum of Art, Hamilton, Ontario, Canada 2014 Introducing Suzy Lake, Art Gallery of Ontario, Toronto, Ontario, Canada (retrospective, publication) 2013 Suzy Lake, Mois de la Photo featured exhibition, Drone: The Automated Image, Darling Foundation, Montreal, Quebec, Canada (catalogue) 2012 So Whose Gaze Is It Now, Georgia Scherman Projects, Toronto, Ontario, Canada; Grande Prairie Museum, Grande Prairie, Alberta, Canada (2013) 2011 Political Poetics, University of Toronto Art Centre, Toronto, Ontario, Canada (touring exhibition): Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada; McIntosh Gallery, Western University, London, Ontario, Canada; Peterborough Art Gallery, Peterborough, Ontario, Canada; -
MANGAARD C.V 2019 (6Pg)
ANNETTE MANGAARD Film/Video/Installation/Photography Born: Lille Værløse, Denmark. Canadian Citizen Education: MFA, Gold Medal Award, OCAD University 2017 BIO Annette Mangaard is a Danish born Canadian media artist and filmmaker who has recently completed her Masters in Interdisciplinary Art, Media and Design. Her installation work has been shown around the world including: the Armoury Gallery, Olympic Site in Sydney Australia; Pearson International Airport, Toronto; South-on Sea, Liverpool and Manchester, UK; Universidad Nacional de Río Negro, Patagonia, Argentina; and Whitefish Lake, First Nations, Ontario. Mangaard has completed more then 16 films in more than a decade as an independent filmmaker. Her feature length experimental documentary on photographer Suzy Lake and the history of feminism screened as part of the INTRODUCING SUZY LAKE exhibition October 2014 through March 2015 at the Art Gallery of Ontario. Mangaard was nominated for a Gemini for Best Director of a Documentary for her one hour documentary, GENERAL IDEA: ART, AIDS, AND THE FIN DE SIECLE about the celebrated Canadian artists collective which premiered at Hot Doc’s in Toronto then went on to garner accolades around the world. Mangaard’s one hour documentary KINNGAIT: RIDING LIGHT INTO THE WORLD, about the changing face of the Inuit artists of Cape Dorset premiered at the Art Gallery of Ontario and was invited to Australia for a special screening celebrating Canada Day with the Canadian High Commission. Mangaard’s body of work was presented as a retrospective at the Palais de Glace, Buenos Aires, Argentina in 2009 and at the PAFID, Patagonia, Argentina in 2013. In 1990 Mangaard was invited to present solo screenings of her films at the Pacific Cinematheque in Vancouver, Canada and in 1991 at the Kino Arsenal Cinematheque in Berlin, West Germany. -
Sockless in Sandals: Collected Poems of Bob Cobbing, Vol 6
SOC KLESS .1. N SAN D A LS COLLECTED POEMS VOLUME SIX BY BOB COBBING SECOND AEON PUB L .1 C A·T JON S 1 985 SOCKLESS IN SANDALS Collected Poems Volume Six by DOD CODDING ISDN 0 901068 59 4 Published by Second Aeon Publications 19 Southminster Road, Penylan, Cardiff Second Aeon is a member of ALP CONTE NT S 5 Introduction by Peter Finch 7 A guide to the "new" 8 If he knew what he was doing, he would do it better: 9 Police left holding bag I In Taiwan 10 Fifteen months ago, Gil Singh I This is my first poem 11 The logic is simple I Scientific research has shown ~.... " 12 Expert systems - a basis of "knowledge 13 Special Offer 14 What's in a name - Thatcher 15 Katalin Ladik 16 Edwin Morgan 17 The Jack poem 18 The Tom poems 22 Poetical anawithems, wordslishing 23 Bo?angles 24 A-nan an' nan 27 STAY - Lem / PEH - pa - hahl 28 tem - UHQ 29 tem - kway - eh - les 30 The Sacred Mushroom 32 Umbo, tubule 33 Alphabet of Californian Fishes 34 Angels Camp, Berkeley 35 Allosaurus, Amebelodon 36 Acrilan, Adidas 37 A~bry, ambree 38 Po~ybasite - Monoclinic 39 Rainbow 40 Whale 41 SOL 42 SUN 43 A Classification of Danish Riddles with Unexpected Solutions 44 Lion, Lenin, Leonora, Lamb 45 See Water 46 Alevin, Bars, Causapscal -47 U" Me Transfer 48 A bean-feast that bore fruit 50 ANT WAR WON 51 Van Gogh - The Annotated Paintings 59 Notes by Bob Cobbing (Cover by Peter Finch) - T; SOCKLESS IN SANDALS It seems appropriate that Second Aeon which hasn't produced so much as a broadsheet for a decade should move into print again with a volume by Bob Cobbing, its lon~ term supporter and mentor.