DOCSLIB.ORG

Visitors Guide.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visitors Guide.Pdf Duane Hanson, Queenie II, 1988 – Résine polyester, peinture à l’huile, techniques mixtes, accessoires Autobody filler polychromed in oil, mixed media with accessories The Estate of Duane Hanson © The Estate of Duane Hanson – Photo : Robert McKeever L’Amérique est un grand jardin fleuri, multicolore, America is like a big, wonderful multi-colored flower merveilleux, qui reflète d’une certaine façon garden that in some way reflects the world at large. le monde tout entier. On observe dans la rue It is common to observe contrasting age, physical, et les magasins des types différents, par l’âge, and ethnic types passing in the streets and le physique, l’appartenance ethnique. Je peux shopping malls. From this “garden”, I am able cueillir ici des individus variés qui me parlent de to pick a variety of individuals who speak to me la vie contemporaine et de la condition humaine. about modern life and the human condition. Dans le tourbillon de la vie quotidienne, nous In the turmoil of everyday life, we too seldom sommes trop rarement conscients les uns des become aware of one another. In the quiet autres. Mais dans les moments calmes où vous moments in which you observe my work, maybe observez mon travail, vous reconnaîtrez peut-être you will recognize the universality of all people. l’universalité de toute personne. Nous sommes We are all at times frustrated, tired, bored, weary, parfois insatisfaits, fatigués, découragés, accablés and feel isolated. But life should be full of hope. d’ennui ou de solitude. Alors que la vie devrait être I am only observing what I see, while wondering pleine d’espoir. Je ne fais qu’observer ce que je vois, with a few changes in ourselves what tout en pensant qu’avec quelques changements en a better world this could be. nous-mêmes, le monde serait tellement meilleur. Duane Hanson Duane Hanson Ecrit à Davie, Floride, en 1993 Written in Davie, Florida, 1993 4 5 Duane Hanson L’artiste américain Duane Hanson (1925-1996) a American artist Duane Hanson (1925-1996) created créé des sculptures grandeur nature de personnes life-size sculptures of people described in minute décrites dans les moindres détails, habillées de detail, dressed in real clothes and often placed vrais vêtements et fréquemment accompagnées alongside real objects. Made of polyester resin and de vrais objets. Fabriquées en résine de polyester fibreglass, and later bronze, his sculptures were cast et fibre de verre, et plus tard en bronze, ses statues from live models but are not portraits of individuals. sont moulées sur des modèles vivants mais ne Instead, Hanson sought to produce characters sont pas des portraits d’individus. Bien au contraire, representative of everyday people to achieve a Hanson cherchait à réaliser des personnages “tough realism” that would hold a mirror up to the représentatifs de monsieur Tout-le-monde, afin trivialities and banalities of daily life. de parvenir à un « réalisme dur », miroir tendu à l’insignifiance et la banalité de la vie quotidienne. Hanson’s early works comprised life-sized tableaux that confronted viewers with scenes of war, police Ses premières œuvres sont des scènes grandeur brutality and homelessness. Early critical reactions nature de guerre, de brutalités policières, de misère. to these direct, realistic representations, along with Les critiques qui accueillirent ces représentations an increased interest in the figurative tendencies of réalistes, directes, couplées à l’intérêt croissant artists such as George Segal and Edward Kienholz, pour la figuration telle que la pratiquaient des encouraged Hanson to formulate his social and artistes comme George Segal et Edward Kienholz, political views as sculptures, bringing issues from incitèrent Hanson à formuler ses opinions sociales the outside world into the art gallery. et politiques par le biais de sculptures qui faisaient entrer le monde extérieur dans The exhibition is a selection of Hanson’s work made l’espace d’exposition. between the mid-1970s up to the mid-1990s, a period that saw a shift from more overt depictions L’exposition se compose d’une sélection d’œuvres of violence to the isolation and fatigue suffered 6 7 réalisées entre le milieu des années 1970 et le by individuals who had been overlooked and milieu des années 1990, période au cours de forgotten by wider society. As Hanson observed laquelle Hanson passe d’une représentation in 1982: “We have what we want and no longer franche de la violence à l’évocation de l’isolement et want what we have. Therefore, what we need is not de l’épuisement vécus par des individus qui ont été material, but some true belief in our reason ignorés ou oubliés par la société. Hanson déclarait for being.” en 1982 : « Nous avons ce que nous voulons et nous ne voulons plus ce que nous avons. Ainsi, ce The extraordinary materiality of Hanson’s dont nous avons besoin n’est pas matériel ; nous sculptures acts as a prompt, asking us to aspirons à croire vraiment en notre raison d’être. » contemplate the two extremes of human experience: our physical presence in relation L’extraordinaire matérialité des sculptures de to other objects and bodies; and the personal Hanson nous incite à contempler les deux extrêmes narratives that we carry around inside our heads. de l’expérience humaine : notre présence physique Encountering these works, whose external en rapport avec d’autres objets et d’autres corps ; details convince us that their internal worlds et les histoires personnelles que chacun de must be equally complex, demands a constant nous portent dans son esprit. Ces œuvres, dont reassessment of what is real and what is not. les détails matériels nous laissent imaginer la We are left with a new awareness of ourselves, complexité des mondes intérieurs, exigent du as well as a renewed curiosity in and sympathy spectateur une réévaluation de ce qui est réel for our fellow humans. et de ce qui ne l’est pas. Elles nous donnent une conscience nouvelle de nous-même ainsi qu’une curiosité et une sympathie renouvelées à l’égard de nos semblables. Photographies sans flash autorisées Photography without flash permitted Partagez-les avec : #DuaneHanson #VillaPaloma @nmnmonaco Share your photos with #DuaneHanson #VillaPaloma @nmnmonaco 8 9 Duane Hanson, Duane Hanson: Le « vrai », non pas le réalisme Realness, not Realism Par Douglas Coupland By Douglas Coupland Certains créateurs meurent un peu trop tôt, There are some creators who died a bit too early, sans voir leur travail reconnu à sa juste valeur. and who never lived to see their work get the full On pense à Van Gogh ou Scott Fitzgerald. Et à attention it deserved. Van Gogh comes to mind, Duane Hanson, qui a créé des œuvres figuratives as does Scott Fitzgerald, as does Duane Hanson. hyperréalistes à une époque de l’histoire de l’art Hanson created hyperrealist figurative work at où l’académisme avait la sculpture figurative en a moment in art history when to be sculpturally horreur. Il connut un succès énorme auprès du figurative was academically anathema. His public, ce qui le rendait d’autant plus suspect work was enormously popular with the public aux yeux de la critique ; il en était bien conscient. and this also made him critically suspect, a fact Sous-estimé pour cause de vogue politique of which he was well aware. To be underrated passagère, il en garda un sentiment d’isolement, because of transient political vogues left Hanson de non-appartenance au milieu artistique, without a full sense of artistic community, and sentiment très présent dans son œuvre et en this feeling of isolation is in evidence in his work, particulier dans les figures solitaires créées au particularly in the solo figures created in the last cours des vingt dernières années de sa vie. two decades of his life. Their loneliness is almost Leur solitude est d’une beauté à faire pleurer, achingly beautiful, and is reminiscent of a fellow et qui rappelle un autre artiste américain unique American unique, Edward Hopper. en son genre, Edward Hopper. I remember for the first time seeing Hanson’s Je me souviens avoir découvert le travail de work – Tourists (1970) – in my early twenties, Hanson avec Tourists (1970), alors que j’avais and I remember my realist wow moment – a une vingtaine d’années, et de cet instant moment that most people also experience d’émerveillement que j’ai vécu face à cette œuvre upon encountering his work, and I very much 10 11 réaliste... Il en est de même pour la plupart des remember wondering how does he do it? gens qui le découvrent, d’ailleurs. Je me rappelle Technical prowess is something I always très bien m’être demandé comment il y arrivait. appreciate in artwork, but some people read J’apprécie toujours la prouesse technique dans prowess as entertainment. I never got that une création, bien que certains n’y voient qu’un from his pieces. Hanson created the realism divertissement : les œuvres de Hanson ne that he did because there was no other way for m’ont jamais donné cette impression. Il a créé him to convey the relationship he saw between sa propre forme de réalisme car il n’avait pas individuals and the societies they inhabit. His d’autre moyen pour communiquer le rapport realism wasn’t Madame Tussauds, and it wasn’t qu’il percevait entre les individus et les sociétés mannequins in the store windows at Macy’s... qu’ils habitent. Son réalisme n’est pas celui de so then what was it? It was only later in life Madame Tussauds ni celui des mannequins that I realised Hanson was going for realness, dans les vitrines de Macy’s.
Load more

Recommended publications
  • HPP Brochure A5 Folder DEF.Indd
    EXPO HYPER– Ceci n’est pas REALISM un corps SCULPTURE Untitled (Kneeling Woman), detail, 2015 ©Sam Jinks Courtesy of the artist Sullivan + Strumpf, Sydney 22.11.2019 – 03.05.2020 LA BOVERIE LIÈGE.LUIK.LÜTTICH WWW.EXPO-CORPS.BE L’« hyperréalisme » est un courant artis- tique apparu dans les années 1970 aux Etats-Unis. Tournant le dos à l’abstraction et cherchant à atteindre une représenta- tion minutieuse de la nature au point que les spectateurs se demandent parfois s’ils ont affaire au corps vivant, l’artiste hyper- réaliste crée une oeuvre tantôt amusante, tantôt dérangeante, et toujours pour- voyeuse de sens. Avec une sélection d’une cinquantaine de sculptures hyperréalistes d’artistes internationaux de premier plan (George Segal, Ron Mueck, Maurizio Cattelan, Ber- linde De Bruyckere, Duane Hanson, John De Andrea…), l’exposition Hyperrealism Sculpture - Ceci n’est pas un corps. rendra compte de l’évolution de la figure humaine dans la sculpture de ce courant des années 1970 à nos jours. La sélection mettra en évidence différents problèmes clés dans l’approche de la représentation du réalisme figuratif afin de souligner la façon dont notre vision de notre corps a évolué sans cesse. Le titre de l’exposition fait référence à la célèbre oeuvre de René Magritte « Ceci n’est pas une pipe », qui questionnait le rapport de l’art à la réalité. Les artistes exposés à La Boverie s’attèlent à donner du corps humain la représentation la plus fidèle et vivante possible. Liège a saisi l’opportunité unique de s’intégrer dans le calendrier de la tournée mondiale de l’exposition, qui a été notamment présentée au Mu- sée des Beaux-Arts de Bilbao (Espagne), au Musée d’Art Contemporain de Monterrey (Mexique), à la National Gallery de Canberra (Australie) et à la Kunsthal de Rotterdam.
    [Show full text]
  • Duane Hanson Bibliography
    G A G O S I A N Duane Hanson Bibliography Selected Books and Catalogues: 2019 Letze, Otto et al. Reshaped Reality: 50 Years of Hyperrealistic Sculpture. Taipei: National Chiang Kai-shek and Memorial Hall, 2017 Letze, Otto et al. Hyper Real. Canberra: National Gallery of Australia. 2015 Coupland, Douglas and Katrib, Ruba. Duane Hanson. London: Serpentine Galleries and Koenig Books. 2007 Buchsteiner, Thomas and Letze, Otto. Duane Hanson: Sculptures of the American Dream. Leipzig: Hatje Cantz Publishers. 2001 Buchsteiner, Thomas and Letze, Otto. Duane Hanson: More Than Reality. Leipzig: Hatje Cantz Publishers. Beyond the Horizon. Festival of Arts and Pageant of the Masters 2001. Laguna Beach, California. Handbook. New York: Whitney Museum of American Art. 2000 A Century of American Dream. The Sparkle of the ‘American Way’ of Life. Exh. cat. Nagoya: Archi Prefectual Museum of Art. Breyhan, Christine. Duane Hanson. Housewife. Tirumph der Kunstlichkeit. Ostfildern- Ruit. Cast of Charaters. Figurative Sculptures. Exh. cat. Albuquerque: Albuquerque Museum. Duane Hanson. Virtual Reality. Exh. cat. Palm Springs: Palm Springs Desert Museum. Let’s Entertain. Life’s Guilty Pleasures. Exh. cat. Minneapolis: Walker Art Center. Menneske (The Human Body). Exh. cat. Copenhagen: Arken Museum for Moderne Kunst. 1999 Kresge Art Museum Bulletin. Lansing: Michigan State University. 1998 Livingstone, Marco and Palmer, Laurence. Duane Hanson: A Survey of His Works From the ‘30s to the ‘90s. Fort Lauderdale: Museum of Art. Duane Hanson. A Survey of his Work from the ‘30s to the ‘90s. Exh. cat. Fort Lauderdale: Museum of Art. 1997 Duane Hanson. Exh. cat. London: The Saatchi Gallery. Livingstone, Marco. Duane Hanson.
    [Show full text]
  • CHANGING the EQUATION ARTTABLE CHANGING the EQUATION WOMEN’S LEADERSHIP in the VISUAL ARTS | 1980 – 2005 Contents
    CHANGING THE EQUATION ARTTABLE CHANGING THE EQUATION WOMEN’S LEADERSHIP IN THE VISUAL ARTS | 1980 – 2005 Contents 6 Acknowledgments 7 Preface Linda Nochlin This publication is a project of the New York Communications Committee. 8 Statement Lila Harnett Copyright ©2005 by ArtTable, Inc. 9 Statement All rights reserved. No part of this publication may be reproduced or transmitted Diane B. Frankel by any means, electronic or mechanical, including photocopying, recording, or information retrieval system, without written permission from the publisher. 11 Setting the Stage Published by ArtTable, Inc. Judith K. Brodsky Barbara Cavaliere, Managing Editor Renée Skuba, Designer Paul J. Weinstein Quality Printing, Inc., NY, Printer 29 “Those Fantastic Visionaries” Eleanor Munro ArtTable, Inc. 37 Highlights: 1980–2005 270 Lafayette Street, Suite 608 New York, NY 10012 Tel: (212) 343-1430 [email protected] www.arttable.org 94 Selection of Books HE WOMEN OF ARTTABLE ARE CELEBRATING a joyous twenty-fifth anniversary Acknowledgments Preface together. Together, the members can look back on years of consistent progress HE INITIAL IMPETUS FOR THIS BOOK was ArtTable’s 25th Anniversary. The approaching milestone set T and achievement, gained through the cooperative efforts of all of them. The us to thinking about the organization’s history. Was there a story to tell beyond the mere fact of organization started with twelve members in 1980, after the Women’s Art Movement had Tsustaining a quarter of a century, a story beyond survival and self-congratulation? As we rifled already achieved certain successes, mainly in the realm of women artists, who were through old files and forgotten photographs, recalling the organization’s twenty-five years of professional showing more widely and effectively, and in that of feminist art historians, who had networking and the remarkable women involved in it, a larger picture emerged.
    [Show full text]
  • Encountering Mimetic Realism: Sculptures by Duane Hanson, Robert Gober, and Ron Mueck
    Encountering Mimetic Realism: Sculptures by Duane Hanson, Robert Gober, and Ron Mueck by Monica Ines Huerta A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2010 Doctoral Committee: Associate Professor Patricia Simons, Co-Chair Associate Professor Rebecca Zurier, Co-Chair Associate Professor David T. Doris Professor Alexander D. Potts © Monica Ines Huerta All rights reserved 2010 To My Dad ii Acknowledgements Although it can at times feel like an isolating journey, a dissertation is never a solo adventure. There have been many people along the way that have contributed to the progress and completion of this project. I am grateful to my academic advisors who gave generously of their time and expertise. Rebecca Zurier, a supportive advisor, whose historical perspective continuously pushed me to creatively and critically think about the many permutations of realism. Patricia Simons, a wonderfully committed mentor, who asked the tough questions that helped me break through binaries in order to embrace more nuanced arguments. Alex Potts, whose early and ongoing support during my graduate career inspired me to delve deeper into the areas of modern and contemporary sculpture. And last be not least, David Doris, a most welcomed addition to my committee in the later stages of writing and whose creativity I will forever attempt to emulate. I would also like to extend a very warm thank you to the faculty and staff of the Department of the History of Art for their scholastic, financial, and logistical support. I am very thankful to the Ford Foundation for providing the necessary financial backing that allowed me to focus on the research and writing of this document during critical stages of its development.
    [Show full text]
  • Jean-Noel Archive.Qxp.Qxp
    THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs.
    [Show full text]
  • Photo Realism
    Photo Realism As a full-fledged art movement Photorealism evolved from Pop Art, and as a counter to Abstract Expressionism as well as Minimalist art movements, in the late 1960s and early 1970s in the United States. Photorealists use a photograph, or several photographs, to gather the information to create their paintings, and it has been argued that the use of a camera and photographs is an acceptance of Modernism. Charles Thomas "Chuck" Close (born 1940) is an American painter, artist and photographer. He makes massive-scale photorealist portraits. Working from a gridded photograph, he builds his images by applying one careful stroke after another in multi-colours or grayscale. He works methodically, starting his loose but regular grid from the left hand corner of the canvas. His works are generally larger than life and highly focused. Close, Big Self-Portrait 1967-68 "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super- realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the subject matter of the paintings Close, Susan 1971 likewise worked to secure the painting as a realist object." G. Thompson: American Culture in the 1980's Richard Estes (born 1932) is regarded as one of the founders of the international photo-realist movement of the late 1960s. His paintings generally consist of reflective, clean, and inanimate city and geometric landscapes.
    [Show full text]
  • A Finding Aid to the Duane Hanson Papers, 1935-2006, in the Archives of American Art
    A Finding Aid to the Duane Hanson Papers, 1935-2006, in the Archives of American Art Jayna M. Hanson Funding for the processing of this collection was provided by the Terra Foundation for American Art 13 Jul 2012 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Materials, 1978-1994........................................................... 4 Series 2: Personal Business records, circa 1960s-1996.......................................... 5 Series 3: Correspondence, 1963-2006...................................................................
    [Show full text]
  • Jackson Pollock (1912-1956) Pollock and Abstract
    Module: Art Theory and History for Senior Students Course Code: AVI 4M the non-figurative approach of European abstract schools such as Futurism, the Bauhaus and Ana- lytical and Synthetic Cubism. This style of art encompasses a wide range of artists with different approaches but generally has an image of being rebellious even to the point of being nihilistic. POLLOCK AND ABSTRACT EXPRESSIONISM *main source for biographies and art movements is Abstract expressionism was primarily an Amer- http://en.wikipedia.org/ ican art movement that developed after the second world war. It was the first North American move- ment to achieve worldwide influence and put New York City at the center of the western art world. The movement's name is derived from a com- bination of the emotional intensity of the German Expressionists artists from the early 1900's with Namuth, Hans (1915-1990) © Copyright"The Artist in 1950," research photograph associated with the exhibition, "Jackson Pollock." December 19, 1956 through February 3, 1957. The Museum of Modern Art, New York. Gelatin-silver print, 8 x 8" (20.3 x 20.3 cm). Photographic Archive. The Museum of Modern Jackson Pollock, Autumn Rhythm, (No. 30). 1950. 105”x Art Archives, New York. © Copyright MUST be cleared prior to 207”. enamel on canvas. The Metropolitan Museum of Art, release! Location :The Museum of Modern Art, New York, NY, U.S.A. Photo Credit : Digital Image © The Museum of Modern Art/ New York. Licensed by SCALA / Art Resource, NY JACKSON POLLOCK (1912-1956) Jackson Pollock was born in Cody, Wyoming in the American mid-west.
    [Show full text]
  • Hyperrealism and the Ilusion of Living Being in Contemporary Sculpture
    University of Arts and Design Cluj-Napoca I.O.S.U.D. DOCTORAL THESIS HYPERREALISM AND THE ILUSION OF LIVING BEING IN CONTEMPORARY SCULPTURE Scientific coordonator: Ph.D. Prof. Radu-Călin Solovăstru Ph.D. candidate: Felix Deac Cluj - Napoca 2014 CONTENT INTRODUCTION ......................................................................................................................... 1 1.MORPHOGENESIS, HISTORICAL RESEARCH ............................................................... 3 1.1. Clasification and definition.................................................................................................... 3 1.2. Topic of research and it’s origins .......................................................................................... 6 1.3. Assumptions of Hyperrealism ............................................................................................... 9 1.4. The origins of synthetic materials ....................................................................................... 11 1.5. Hyperrealism and connexions ............................................................................................. 12 1.6. Hyperrealism in sculpture, crhonologic references ........................................................... 19 1.6.1. Duane Hanson the begining of figure production ....................................................... 21 1.6.2. John de Andrea .............................................................................................................. 22 1.6.3. Ron Mueck reproduction of reality
    [Show full text]
  • Press Release.Pdf
    DUANE HANSON NMNM - VILLA PALOMA 20.02-28.08.2016 CONTENTS I – DUANE HANSON • PRESS RELEASE • LIST OF WORKS • DUANE HANSON STATEMENTS • “DUANE HANSON: REALNESS, NOT REALISM” BY DOUGLAS COUPLAND • THE SERPENTINE GALLERIES • PROGRAMME FOR THE PUBLIC III - NOUVEAU MUSEE NATIONAL DE MONACO • PRESENTATION AND PROGRAMME • ORGANISATION CHART • PARTNERS • PRACTICAL INFORMATION PRESS KIT - DUANE HANSON- NOUVEAU MUSEE NATIONAL DE MONACO 1 I. DUANE HANSON PRESS RELEASE The Nouveau Musée National de Monaco presents the work of late American sculptor Duane Hanson (1925-1996) at Villa Paloma from February 20th until August 28th, 2016. Throughout his forty-year career, Hanson created lifelike sculptures portraying working-class Americans and overlooked members of society. Reminiscent of the Pop Art movement of the time, his sculptures transform the banalities and trivialities of everyday life into iconographic material. The exhibition – initiated by the Serpentine Galleries, London - presents key works from the artist’s oeuvre. Hanson’s early works comprised life-sized tableaux – depicting soldiers killed in action, police brutality and homeless people – that confront the viewer with devastating truths. Widespread criticism of his work Abortion in 1965 encouraged Hanson to formulate his social and political views as sculptures. In the following years, and in the spirit of protest movements of the time, he created sculptures that dealt with social misery and violence. From the late 1960s his work shifted to depicting everyday people, with some satirical aspects, creating figures that could be conceived as representative of an entire labour force, class or even a nation. Beginning with Football Players in 1968, Hanson produced sculptures that represent typical Americans, concentrating on “those that do not stand out”, including Housepainter (1984/1988) and Queenie II (1988).
    [Show full text]
  • Bruce Helander
    BRUCE HELANDER- CV Spencer Museum of Art, Lawrence, Kansas Textron Corporation, Providence, Rhode Island EDUCATION Tampa Museum of Art, Tampa, Florida Tucson Museum of Art, Tucson, Arizona Rhode Island School of Design, BFA, 1969 Union County College Museum of Art, Union, New Jersey Rhode Island School of Design, MFA, 1972 United Nations, New York City Yale University School of Publishing, 2011, 2015 Vassar College, Lehman Loeb Art Center, Poughkeepsie, New York Harvard University, Journalism classes, 2010 Wellesley College Museum, Wellesley, Massachusetts Whitney Museum of American Art, New York, New York Wichita Art Museum, Wichita, Kansas Former White House Fellow, National Endowment for the Arts WXEL Public Television and Radio, West Palm Beach, Florida Recipient, New York Foundation for the Arts Grant The White House, Washington, D. C. Fellow, Florida Artists Hall of Fame 2014 Vatican Museum, Rome, Italy Former Editor-in-Chief, The Art Economist magazine PUBLIC COLLECTIONS SELECTED ONE-MAN EXHIBITIONS Abergs Museum, Gothenburg, Sweden 2022 Coral Springs Museum of Art, Retrospective, Coral Springs Absolut Vodka Company, Sweden 2020 Octavia Art Gallery, New Orleans, Louisiana Albright-Knox Art Gallery, Buffalo, New York 2019 High Line Nine Galleries, New Collage Works & Paintings, New York Albany Museum of Art, Albany, Georgia City Alexander Brest Museum, Jacksonville, Florida 2019 Fritz Gallery, The Patterns We Perceive, Palm Beach, Florida Art Institute of Chicago, Chicago, Illinois 2018 MM Fine Art, the Hamptons/New York Boca Raton
    [Show full text]
  • Corporeality, Subjectivity, and Empathy in Contemporary American Art Elissa Yukiko Weichbrodt Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-23-2013 Through the Body: Corporeality, Subjectivity, and Empathy in Contemporary American Art Elissa Yukiko Weichbrodt Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Weichbrodt, Elissa Yukiko, "Through the Body: Corporeality, Subjectivity, and Empathy in Contemporary American Art" (2013). All Theses and Dissertations (ETDs). 1049. https://openscholarship.wustl.edu/etd/1049 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History and Archaeology Dissertation Examination Committee: Angela Miller, Chair Elizabeth Childs Adrienne Davis John Klein Linda Nicholson Ila Sheren Through the Body: Corporeality, Subjectivity, and Empathy in Contemporary American Art by Elissa Yukiko Weichbrodt A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © 2013, Elissa Yukiko Weichbrodt TABLE OF CONTENTS List of Figures ………………………………………………………………………………………………………………… iii Acknowledgements ………………………………………………………………………………………………………… viii Dedication …………………………………………………………………………………………………………………….. x Introduction ………………………………………………………………………………………………………………….. 1 CHAPTER ONE Bodies That Mattered …………………………………………………………………………. 14 CHAPTER TWO Constructed Bodies: Robert Gober and Kiki Smith ……………………………….. 58 CHAPTER THREE Unnatural Naturals: David Hammons and Lorna Simpson ………………....... 111 CHAPTER FOUR Touching Visions: Felix Gonzalez-Torres and Janine Antoni ………………….
    [Show full text]