DOCSLIB.ORG

2011-2012 Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2011-2012 Newsletter WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF ART OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2011–12 Newsletter MARC GOTLIEB CLASS OF 1955 MEMORIAL PROFESSOR OF ART Letter from the Director Greetings from Williamstown. I The coming year will see new, special programming designed hope that you enjoy this year’s to bring alumni together for discussion and debate. These in- newsletter, from its features on our clude a reunion event at the Museum of Modern Art, New York, current program, students, and fac- on Venting Monday, February 4—please mark your calendars ulty, to its updates on alumni across and stay tuned for additional information in the months ahead. the world. The past academic year From academics to internships, we continue to work closely with has seen substantial changes to the program’s urban fabric: the our partners—the Clark, the Williams Art Department, WCMA, Clark galleries in partial shutdown as the museum’s expansion MASS MoCA, and the Williamstown Art Conservation Center—in gains form on a daily basis, Chapin Library in partial shutdown our efforts to bring to our students, now as then, a transforma- with the renovation of Stetson Hall, and a new College library in tive intellectual experience. the works (the old Sawyer library will eventually be torn down). What is not on partial shutdown, needless to add, is the incred- ible level of activity of all those who occupy these new buildings (or buildings-in-the-making), from curatorial and research staff to the Graduate Program’s students and faculty. Amidst cranes, hard-hats, and the bustle of work-place construction, it’s full steam ahead for our academic programs, including new courses aena B on photography in the Middle East, Utopias Then and Now, Re- naissance Time, and many other thematic and historically based classes designed to plunge students into the now globalized art photo: Juan historical community that gathers here in the leafy precincts of the Northern Berkshires. Members of the Class of 2012 on the day of their Graduate Student Spring Symposium Back row: Alan Hirsch, Caitlin Condell, Ed Lessard, James Pilgrim, Lucie Steinberg, Zoë Samels, Susannah Blair, Jaimee Comstock-Skipp, and Jesse Feiman; Front row: Christianna Bonin, Ashley Lazevnick, and Alexandra Nemerov 4 Faculty & Staff News Congratulations to the Class of 2012! 10 GP News & Events 12 GP & Conferences 12 January Study Trip 15 Commencement 17 Students’ News 23 GP & The Clark 27 GP & WCMA 29 GP & MASS MoCA 31 GP & WACC 33 Grads’ News NICOLE DESROSIERS “Thanks to a hard working, com- and punitions of Poilâne, the sumptuous offerings of the mitted and engaged group of students I will remember this Biologique Marché Raspail on Sunday mornings, and the ACADEMIC YEAR 2010-11 year as one of great success. I also greatly appreciated the superb gelato at Grom, Le Bac à Glaces, and Pozzetto, not growth opportunities offered by the Clark—its exhibits and to mention the chocolatier Jean-Charles Rochoux. Georges Faculty and Staff News lectures were excellent. Another highlight of the year was Larnicol drew us in from the street with its window bins teaching two independent studies, one on Albert Camus’s overflowing with little Breton butter cakes. We took in fiction in the fall and the other, in the spring, supervising the art in the spectacularly revamped galleries at Musée the translation of Alfred de Musset’s play On ne badine pas d’Orsay, Artemisia at the Maillol, Matisse at the Pompi- JAY CLARKE“Last summer was a productive one work- lectured on “Mr. and Mrs. Anonymous: Sterling and Fran- avec l’amour, which I hope will eventually be staged.” dou, and Sempé and Doisneau at the Mairie de Paris. The ing with Sarah Hammond ’08 and Susannah Blair ’12 on cine Clark” at the Royal Academy. weather was glorious; we varied our pace by taking the the publication Landscape, Innovation, and Nostalgia: The The Clark’s five-year initiative with China culminated SAMUEL Y. EDGERTON “This past year, my 85th, found TGV to Switzerland and Lyon to visit friends, and made Manton Collection of British Art (Clark/Yale, 2012). We with two exhibitions in Williamstown: Unearthed: Re- me actually becoming busier again. Things began to get ac- sure, back in Paris, to spend at least one full afternoon worked as a team to research, edit, and edit again the nine cent Archaeological Discoveries from China and Through tive already during the spring and summer of 2011 when I sprawled in the chairs of the Luxembourg Gardens ‘read- essays and a collection checklist of 302 objects before the Shên-kan: Sterling Clark in China. Each commemorated served as a session chair at the annual Renaissance Society ing’ in the warmth of the spring sun.” book was handed off to the talented Pub- the 100th anniversary of the 1912 publication of Sterling of America March meeting in Montreal, and then with my lications Department. Once that book was Clark’s record of his 1908–09 expedition to Northern wife, Dottie, led a Williams Alumni Tour of Chicago dur- MARK HAXTHAUSEN “I have had a busy year of diverse put to bed, I began to teach the graduate China. The initiative began in 2008 with six installations ing August, ogling everything from the early steel-frame activities. Carl Einstein, the German critic and theorist I seminar ‘Approaches to Drawings from of Clark expedition photographs in China where gifts skyscrapers, F. L.Wright’s Oak Park houses, the fabulous have been translating and writing on over the past decade, Connoisseurship to Conceptualism,’ a class of original copies of Clark’s publications were given to Art Institute and water-spitting Crown Fountain in Mil- was the subject of special journal issues that appeared in populated by a talented group of first-year regional libraries along the expedition route. In 2010, a lennium Park, the Magnificent Mile featuring Marilyn France and Portugal, and I contributed to both. In Novem- students. The spring also brought a flurry of Chinese translation of Through Shên-kan was completed Monroe’s twenty-six-foot-high up-skirt statue, and even ber my article ‘Art, agentivité, et collectivité’ appeared in activity when I gave two lectures: by Hongshuai Shi, and a four-part television series on the Al Capone’s North Clark Street crime scenes. Beginning Gradhiva, the house journal of the Musée du Quai Branly one at Sage College on ‘Photography and Dis- Clark expedition aired on Chinese CCTV. The route was in 2012, I again served as a session chair during the March in Paris. In May, an earlier Einstein article from 2004, ‘Re- covery’ and at a Scandinavia House conference followed twice, first by three Oxford University students, RSA Meetings in Washington D.C., and finally sat down production/Repetition: Walter Benjamin/Carl Einstein,’ on ‘Landscape and Narrative in Munch’s Ameri- then by the Chinese photographer Li Ju, who retraced to do some writing. My review of Hans Belting’s new was published in Portuguese translation in Caleidoscópio can Reception.’ In June, an article I penned, Sterling Clark’s path three times in 2009-10, taking photo- book, Florence and Baghdad: Renaissance Art and Arab 11/12 (2012). In the course of the academic year I pre- ‘Munch’s Puberty as Metabolic Moment,’ was graphs along the way. Li Ju’s contemporary photographs Science has just been published in the American Histori- sented a number of papers and public lectures. In August, published in an exhibition catalog at Oslo’s are juxtaposed with the Clark expedition’s photographs cal Review (April, 2012): 486-487. In the meantime, I’ve 2011, I spoke at the Clark on the treatment of time and Munch Museum.” in the book Through Shên-kan: Revisiting Loess Plateau, been commissioned by Oxford University Press to prepare space in the photographs of the contemporary German published in China in 2012 and available from the Clark an annotated bibliography of the historiography of linear photo artists Candida Höfer and Thomas Struth, in con- MICHAEL CONFORTI Michael has continued to oversee Bookshop. Tom Loughman ’95 oversaw and made signifi- perspective from the Renaissance to Post-Modernism, a junction with an exhibition curated by Jay Clarke. In Oc- the Clark’s ongoing programs as well as its campus expan- cant contributions to Sterling Clark in China, a catalogue of project on which I’m now working and will occupy me for tober, at the University of Nagoya (Japan), I gave a paper sion. Over the past year significant progress was made on the second exhibition on view at Stone Hill Center this past the rest of this summer. As to the future if I’m still here in on ‘The Sovereignty of the Object’ at a conference on the that building and renovation program. Construction of the summer. October, I’m scheduled to give a lecture at the University campus as museum. My focus was the museum installation Tadao Ando designed Visitor, Exhibition, and Conference Over the course of the past year, Michael completed of Western Michigan in Kalamazoo. After that, I’ve signed as narrative, with the approaches taken in the recent rein- Center is progressing with new underground facilities and his term as chair of the Association of Art Museum Direc- a Free Will document ordering that whatever my condition stallation of the permanent collection at the Williams Col- a loading dock now operational. The Clark facilities will tor’s Nominating and Governance Committee and stepped the plug not be pulled till after November 7—and I should lege Museum of Art serving as my prime example.
Load more

Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Lawrence University (1-1, 0-0 MWC North) at Beloit College (1-1, 0-0
    Lawrence University (1-1, 0-0 MWC North) at Beloit College (1-1, 0-0 MWC North) Saturday, September 19, 2015, 1 p.m., Strong Stadium, Beloit, Wisconsin Webcast making his first start, was 23-for-36 ing possession and moved 75 yards A free video webcast is available for 274 yards and three touchdowns. in 12 plays for the game’s first touch- at: http://portal.stretchinternet.com/ Mandich, a senior receiver from Green down. Byrd hit freshman receiver and lawrence/. Bay, had a career-high eight catches Appleton native Cole Erickson with an for 130 yards and a touchdown for the eight-yard touchdown pass to com- The Series Vikings. plete the drive and give Lawrence a Lawrence holds a 58-36-5 edge in The Lawrence defense limited 7-3 lead. a series that dates all the way back to Beloit to 266 yards and made a key The Vikings then put together 1899. This year marks the 100th game stop late in the game to preserve the another long scoring drive early in in the series, which is the second- victory. Linebacker Brandon Taylor the second quarter. Lawrence went longest rivalry for Lawrence. The Vi- paced the Lawrence defense with 14 80 yards in eight plays and Byrd found kings have played 114 games against tackles and two pass breakups. Trevor Spina with a 24-yard touch- Ripon, and that series dates to 1893. Beloit was down by eight but got down pass for a 14-3 Lawrence lead Lawrence has won three of the last an interception on a tipped ball and with 11:53 left in the first half.
    [Show full text]
  • School of Art 2014–2015
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2014–2015 School of Art 2014–2015 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • Onobrakpeya & Workshop
    ONOBRAKPEYA & THE HARMATTAN WORKSHOP 78 Ezekiel Udubrae (detail) AGBARHA OTOR LANDSCAPE 2007 oil on canvas 122 x 141cm 78 Ezekiel Udubrae (detail) AGBARHA OTOR LANDSCAPE 2007 oil on canvas 122 x 141cm ONOBRAKPEYA & THE HARMATTAN WORKSHOP 1 Bruce Onobrakpeya OBARO ISHOSHI ROVUE ESIRI (THE FRONT OF THE CHURCH OF GOOD NEWS) plastocast 125 x 93 cm 3 ONOBRAKPEYA & THE HARMATTAN WORKSHOP 1 Bruce Onobrakpeya OBARO ISHOSHI ROVUE ESIRI (THE FRONT OF THE CHURCH OF GOOD NEWS) plastocast 125 x 93 cm 3 ONOBRAKPEYA & THE HARMATTAN WORKSHOP CURATED BY SANDRA MBANEFO OBIAGO at the LAGOS COURT OF ARBITRATION SEPT. 16 - DEC 16, 2016 240 Aderinsoye Aladegbongbe (detail) SHOWERS OF BLESSING 2009 acrylic on canvas 60.5 x 100cm 5 ONOBRAKPEYA & THE HARMATTAN WORKSHOP CURATED BY SANDRA MBANEFO OBIAGO at the LAGOS COURT OF ARBITRATION SEPT. 16 - DEC 16, 2016 240 Aderinsoye Aladegbongbe (detail) SHOWERS OF BLESSING 2009 acrylic on canvas 60.5 x 100cm 5 We wish to acknowledge the generous support of: Lead Sponsor Sponsors and Partners Contents Welcome by Yemi Candide Johnson 9 Foreword by Andrew Skipper 11 Preface by Prof. Bruce Onobrakpeya 13 Curatorial Foreword by Sandra Mbanefo Obiago 19 Bruce Onobrakpeya: Human Treasure 25 The Long Road to Agbarah-Otor 33 Credits Celebration by Sam Ovraiti 97 Editorial & Artistic Direction: Sandra Mbanefo Obiago Photography, Layout & Design: Adeyinka Akingbade Our Culture, Our Wealth 99 Exhibition Assistant Manager: Nneoma Ilogu Art at the Heart of Giving by Prof. Peju Layiwola 121 Harmattan Workshop Editorial: Bruce Onobrakpeya, Sam Ovraiti, Moses Unokwah Friendships & Connectivity 133 BOF Exhibition Team: Udeme Nyong, Bode Olaniran, Pius Emorhopkor, Ojo Olaniyi, Oluwole Orowole, Dele Oluseye, Azeez Alawode, Patrick Akpojotor, Monsuru Alashe, A Master & His Workshops by Tam Fiofori 149 Rasaki Adeniyi, Ikechukwu Ajibo and Daniel Ajibade.
    [Show full text]
  • JAY DEFEO May 1 – June 7, 2014
    JAY DEFEO May 1 – June 7, 2014 NEW YORK, April 09, 2014 – Mitchell-Innes & Nash is pleased to present the first solo exhibition of Jay DeFeo’s work in New York since the acclaimed Jay DeFeo: A Retrospective at the Whitney Museum of American Art in 2013. Assembling fifty key works spanning the years 1965–1989, the exhibit examines DeFeo’s distinctive exploration of visual vocabulary, rich materiality and experimental process across the media of painting, drawing, photography and rarely seen photocopy works. DeFeo’s diverse and constantly evolving practice extended far beyond her seminal work The Rose (1958–66). Throughout her career, DeFeo consistently blurred the boundaries between abstraction and representation, transcending the identity of the common objects that fascinated her. Moving seamlessly between painting, drawing and collage, DeFeo introduced photography into her oeuvre in 1970. In the mid-1970s, the artist began using the photocopy machine as a new type of photographic lens through which she created series of works that defy an accepted understanding of the limitations of the photocopier. As seen in large-scale works such as Tuxedo Junction (1965/1974), surface and texture are of paramount importance in her oeuvre, partly inspired by the crumbling facades found in Paris and Florence, where she traveled early in her career. The densely layered surface of built-up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions. This exhibition focuses on a handful of forms and objects that appear and reappear in her work: a torn fragment of a 1958 work titled White Spica, her camera tripod, a hybrid item created from an antique candlestick telephone, flowers, a generic tissue box, or a tiny ceramic cup.
    [Show full text]
  • British-Village-Inn-Exhibition-March
    MISSION To identify talented Nigerian Female Artists to bring positive social change in society. VISION To foster a sense of pride and achievements among female creative professionals. To promote the dignity of women. To encourage membership to continue creating art. FEAAN EXCECUTIVE MEMBERS President Chinze Ojobo Vice President Clara Aden Secretary Abigail Nnaji Treasurer Millicent Okocha Financial Secretary Funmi Akindejoye P.R.O. Chinyere Odinikwe Welfare Officer Amarachi K. Odimba TOP MANAGEMENT Chairman BoT Prof Bridget O. Nwanze Secretary BoT Lady Ngozi Akande President Chinze Ojobo FEAAN Representative Susa Rodriguez-Garrido 02 FEMALE ARTISTS A S S O C I AT I O N O F N I G E R I A Copyright © 2019 ISBN NO: 978-978-972-362-1 A Catalogue of Exhibition Female Artists Association of Nigeria All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the copyright owner and publishers. CURATORS Susa Rodriguez-Garrido Chinze Ojobo GRAPHICS Susa Rodriguez-Garrido Rotimi Rex Abigail Nnaji PUBLISHER ImageXetera 03 CONTENT Foreword by the President of the Female Artists Association of Nigeria. Chinze Ojobo................................................................................................................................................................ 5 Preface by Susa Rodriguez-Garrido, Representative of FEAAN, Founder of Agama Publishing Susa Rodriguez-Garrido...........................................................................................................................................
    [Show full text]
  • Media Release
    MEDIA RELEASE The Studio Museum in Harlem 144 West 125th Street New York, NY 10027 studiomuseum.org/press Preview: Wednesday, November 13, 2013, 6 to 7pm Contact: Liz Gwinn, Communications Manager [email protected] 646.214.2142 This Fall, the Studio Museum presents The Shadows Took Shape, an exhibition with more than 60 works by 29 artists examining Afrofuturism from a global perspective Left: Cyrus Kabiru, Nairobian Baboon (from C-Stunners series), 2012. Courtesy the artist. Photo: Amunga Eshuchi. Right: The Otolith Group, Hydra Decapita (film still), 2010. Courtesy the artists New York, NY, July 9, 2013—This fall, The Studio Museum in Harlem is thrilled to present The Shadows Took Shape, a dynamic interdisciplinary exhibition exploring contemporary art through the lens of Afrofuturist aesthetics. Coined in 1994 by writer Mark Dery in his essay “Black to the Future,” the term “Afrofuturism” refers to a creative and intellectual genre that emerged as a strategy to explore science fiction, fantasy, magical realism and pan-Africanism. With roots in the avant-garde musical stylings of sonic innovator Sun Ra (born Herman Poole Blount, 1914–1993), Afrofuturism has been used by artists, writers and theorists as a way to prophesize the future, redefine the present and reconceptualize the past. The Shadows Took Shape will be one of the few major museum exhibitions to explore the ways in which this form of creative expression has been adopted internationally and highlight the range of work made over the past twenty-five years. On view at The Studio Museum in Harlem from November 14, 2013 to March 9, 2014, the exhibition draws its title from an obscure Sun Ra poem and a posthumously released series of recordings.
    [Show full text]
  • Direct Democracy, 2013, Curated By
    DIRECT DEMOCRACY 1 2 DIRECT DEMOCRACY DIRECT DEMOCRACY Laylah Ali Hany Armanious Natalie Bookchin A Centre for Everything DAMP Destiny Deacon Alicia Frankovich Will French Gail Hastings Alex Martinis Roe Andrew McQualter John Miller Alex Monteith Raquel Ormella Mike Parr Simon Perry Carl Scrase Milica Tomić Kostis Velonis Jemima Wyman Curator: Geraldine Barlow Monash University Museum of Art | MUMA 26 April – 6 July 2013 7 Milica Tomic cover, back cover and pages 2-9 ‘One Day, Instead of One Night, a Burst of Machine-Gun Fire Will Flash, if Light Cannot Come Otherwise’ (Oskar Davico – fragment from a poem). Dedicated to the members of the Anarcho-Syndicalist Initiative – Belgrade, 3 September 2009 2009 8 9 10 11 12 13 John Miller pages 10-15 Tour scrums: Protesting black and blue 2007 14 15 16 17 18 19 Jemima Wyman page 16 Combat 02 2008 page 19 Combat 06 2008 page 20 Combat 08 2008 page 21 Combat drag 2008 20 21 22 23 24 25 Alicia Frankovich page 22 Slow dance 2011 page 23 Girl with a pomegranate 2012 pages 24-27 Bisons 2010 26 27 28 29 30 Kostis Velonis page 28 detail of hammers collected for Who might rebuild 2013 page 30 A sea of troubles (sail the red ship to the south) 2012 page 31 Untitled (life without tragedy) 2009 31 32 33 34 35 Hany Armanious pages 33, 35, 37 Mystery of the plinth 2010 36 37 38 39 40 A Centre for Everything (Will Foster & Gabrielle de Vietri) page 38 event documentation: Neighbourhood mapping, pesto and La révolution surréaliste 2013, top Show & tell, Ethiopian cuisine and verbal geography 2013, middle Bat talk,
    [Show full text]
  • Lawrence University
    Lawrence University a college of liberal arts & sciences a conservatory of music 1425 undergraduates 165 faculty an engaged and engaging community internationally diverse student-centered changing lives a different kind of university 4 28 Typically atypical Lawrentians 12 College should not be a one-size-fits-all experience. Five stories of how Find the SLUG in this picture. individualized learning changes lives (Hint: It’s easy to find if you know at Lawrence. 10 what you’re looking for.) Go Do you speak Vikes! 19 Lawrentian? 26 Small City 20 Music at Lawrence Big Town 22 Freshman Studies 23 An Engaged Community 30 Life After Lawrence 32 Admission, Scholarship & Financial Aid Björklunden 18 29 33 Lawrence at a Glance Find this bench (and the serenity that comes with it) at Björklunden, Lawrence’s 425-acre A Global Perspective estate on Door County’s Lake Michigan shore. 2 | Lawrence University Lawrence University | 3 The Power of Individualized Learning College should not be a one-size-fits-all experience. Lawrence University believes students learn best when they’re educated as unique individuals — and we exert extraordinary energy making that happen. Nearly two- thirds of the courses we teach at Lawrence have the optimal (and rare) student-to-faculty ratio of 1 to 1. You read that correctly: that’s one student working under the direct guidance of one professor. Through independent study classes, honors projects, studio lessons, internships and Oxford-style tutorials — generally completed junior and senior year — students have abundant
    [Show full text]
  • DILEXI GALLERY Multi-Venue Retrospective
    DILEXI GALLERY Multi-Venue Retrospective Taking place at: Brian Gross Fine Art / San Francisco Crown Point Press / San Francisco Parker Gallery / Los Angeles Parrasch Heijnen Gallery / Los Angeles The Landing / Los Angeles with a related exhibition at: Marc Selwyn Fine Art / Los Angeles The Dilexi Multi-Venue Retrospective The Dilexi Gallery in San Francisco operated in the years and Southern Californian artists that had begun with his 1958-1969 and played a key role in the cultivation and friendship and tight relationship with well-known curator development of contemporary art in the Bay Area and Walter Hopps and the Ferus Gallery. beyond. The Dilexi’s young director Jim Newman had an implicit understanding of works that engaged paradigmatic Following the closure of its San Francisco venue, the Dilexi shifts, embraced new philosophical constructs, and served went on to become the Dilexi Foundation commissioning as vessels of sacred reverie for a new era. artist films, happenings, publications, and performances which sought to continue its objectives within a broader Dilexi presented artists who not only became some of the cultural sphere. most well-known in California and American art, but also notably distinguished itself by showcasing disparate artists This multi-venue exhibition, taking place in the summer of as a cohesive like-minded whole. It functioned much like 2019 at five galleries in both San Francisco and Los Angeles, a laboratory with variant chemical compounds that when rekindles the Dilexi’s original spirit of alliance. This staging combined offered a powerful philosophical formula that of multiple museum quality shows allows an exploration of actively transmuted the cultural landscape, allowing its the deeper philosophic underpinnings of the gallery’s role artists to find passage through the confining culture of the as a key vehicle in showcasing the breadth of ideas taking status quo toward a total liberation and mystical revolution.
    [Show full text]
  • Film Culture in Transition
    FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.
    [Show full text]
  • The Pennsylvania State University the Graduate School College Of
    The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
    [Show full text]