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Awards in the Visual Arts 4 ^'^""'Li
Awards in the Visual Arts 4 ^'^""'li. F36 Digitized by the Internet Archive in 2015 https://archive.org/details/awardsinvisualar04sout Awards in the Visual Arts 4 Awards in the Visual Arts 4 an exhibition of works by recipients of the fourth annual Awards in the Visual Arts Bert Brouwer James Croak John Buck Sidney Goodman JoAnne Carson Jon Imber Peter Charles Luis Jimenez Don Cooper Ana Mendieta 11 May through 23 June 1985 Albright' Knox Art Gallery Buffalo, l^ew York 2 August through 29 September 1985 Southeastern Center for Contemporary Art Winston-Salem, North Carolina 12 December 1985 through 26 January 1986 Institute of Contemporary Art University of Pennsylvania Philadelphia, Pennsylvania 6 Published by the Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, on the occasion of the "Awards in the Visual Arts 4" exhibition which was organized by the Southeastern Center for Contemporary Art. Library of Congress Catalog Card Number: 84-50289 ISBN: 0-9611560-1-5 Copyright 1985 by the Southeastern Center for Contemporary Art, 750 Marguerite Drive, P.O. Box 11927, Winston-Salem, North Carolina 27116-1927. All rights reserved. Catalogue design: Lee Hansley Printing: Wooten Printing Company, Inc. Price: $10 The Awards in the Visual Arts Program is funded by The Equitable Life Assurance Society of the United States, New York, New York; The Rockefeller Foundation, New York, New York; and the National Endowment for the Arts, federal agency, Washington, D.C. The program is administered by the Southeastern Center for Contemporary -
Beautiful Penis
BEAUTIFUL PENIS Quelle merveille que les hommes existent ! Une exposition de Barbara Polla et Jenny Mannerheim A la Galerie NUKE à Paris, du 12 mai au 14 juillet 2012 11rue Saint Anastase Paris 3è Dans son livre récemment publié chez Odile Jacob, intitulé Tout à fait Femme, Barbara Polla s’interroge, entre autres, sur la créativité fémi- nine, et cherche à explorer les raisons pour lesquelles, tout au long de l’histoire de l’art, les représentations glorieuses du corps et du sexe masculin par les artistes femmes sont si peu nombreuses, alors que les hommes auront représenté, et représentent encore, avec passion, le corps féminin et ses attributs sexuels. Jenny Mannerheim partage ces questionnements, et il en est issu cette exposition, qui présente une sélection – arbitraire comme le sont toutes les sélections –, de douze femmes artistes d’aujourd’hui qui travaillent sur le thème : Vanessa Beecroft (Italie), Leslie Deere (USA), Tracey Emin (Angleterre), Dana Hoey (USA), Katerina Jebb (Angleterre), Elena Kovylina (Russie), Sarah Lucas (Angleterre), Joanna Malinowska (Pologne), Maro Michalakakos (Grèce), Sabine Pigalle (France), Michaela Spiegel (Autriche) et Ornela Vorpsi (Albanie). Tracey EMIN, TOO BIG, Appliquéd and emboidered calico, 38 9/16 x 33 11/16 in. (98 x 85.5 cm), 2001 © The artist, Courtesy White Cube Pascal Quignard, dans Le sexe et l’effroi, souligne combien « la vision du sexe masculin est terrifiante, même dans les sociétés où son osten- tation la rend banale et sa fréquence dérisoire » et explore la dualité mentula / fascinus (pénis/phallus) chez les Romains, cette « sémantique des deux états » concrétisée chez les romains par la distinction entre l’homo (homme) et le vir (l’homme en érection, l’homme dans le désir), sémantique abondamment reprise par Bruce Nauman. -
We Went to No Man's Land: Women Artists from the Rubell Family Collection
We Went to No Man’s Land: Women Artists from The Rubell Family Collection 12/22/15, 11:06 AM About Features AFC Editions Donate Sound of Art Search Art F City We Went to No Man’s Land: Women Artists from The Rubell Family Collection by Paddy Johnson and Michael Anthony Farley on December 21, 2015 We Went To... Like 6 Tweet Mai-Thu Perret with Ligia Dias, “Apocalypse Ballet (Pink Ring) and “Apocalypse Ballet (3 White Rings,” steel, wire, papier-mâché, emulsion paint, varnish, gouache, wig, flourescent tubes, viscose dress and leather belt, 2006. No Man’s Land: Women Artists from The Rubell Family Collection 95 NW 29 ST, Miami, FL 33127, U.S.A. through May 28, 2016 Participating artists: Michele Abeles, Nina Chanel Abney, Njideka Akunyili Crosby, Kathryn Andrews, Janine Antoni, Tauba Auerbach, Alisa Baremboym, Katherine Bernhardt, Amy Bessone, Kerstin Bratsch, Cecily Brown, Iona Rozeal Brown, Miriam Cahn, Patty Chang, Natalie Czech, Mira Dancy, DAS INSTITUT, Karin Davie, Cara Despain, Charlotte Develter, Rineke Dijkstra, Thea Djordjadze, Nathalie Djurberg, Lucy Dodd, Moira Dryer, Marlene Dumas, Ida Ekblad, Loretta Fahrenholz, Naomi Fisher, Dara Friedman, Pia Fries, Katharina Fritsch, Isa Genzken, Sonia Gomes, Hannah Greely, Renée Green, Aneta Grzeszykowska, Jennifer Guidi, Rachel Harrison, Candida Höfer, Jenny Holzer, Cristina Iglesias, Hayv Kahraman, Deborah Kass, Natasja Kensmil, Anya Kielar, Karen Kilimnik, Jutta Koether, Klara Kristalova, Barbara Kruger, Yayoi Kusama, Sigalit Landau, Louise Lawler, Margaret Lee, Annette Lemieux, Sherrie Levine, Li Shurui, Sarah Lucas, Helen Marten, Marlene McCarty, Suzanne McClelland, Josephine Meckseper, Marilyn Minter, Dianna Molzan, Kristen Morgin, Wangechi Mutu, Maria Nepomuceno, Ruby Neri, Cady Noland, Katja Novitskoval Catherine Opie, Silke Otto-Knapp, Laura Owens, Celia Paul, Mai-Thu Perret, Solange Pessoa, Elizabeth Peyton, R.H. -
New Work: Christopher Wool
[HRl�TOPHf R WOOl NEW WORK SAN FRANCISCO MUSEUM OF MODERN ART NEW WORK: CHRISTOPHER WOOL JULY 6 - SEPTEMBER 3, 1989 Although he has explored other art forms, including film,what Christopher Wool considers his mature work began with paintings he made in 1984. At that time, he was dissatisfied with the work he was producing (for example, a painting called Bigger Questions, which was simply a question mark on its side). Like many artists before him, he began to investigate the basic processes of painting itself, "strug gling to find some kind of meaningful imagery."1 A work he called Zen Exercise con sisted of three large, violent pours of paint. Looking back today he considers this work crucial because the pours were random, and he was "looking for location:• In the following year, with an enamel on plywood painting entitled Houdini, Wool continued his arbitrary paint application by dripping and spattering white paint onto a black surface. At first glance, Houdini looks like a Jackson Pollock achieved by recourse to the methods of John Cage: the evidently random drops of paint occasionally coalesce into larger, driplike patterns. One suspects that this adventitious painterliness was both too lush and too ambiguous for the artist, because for the next two years he produced paintings in which the application of paint was rigorously even. The result was paintings with allover compositions that although random were everywhere uniform, with no runs and only occasional larger dots of paint where one drop collided with another: Standing before such paintings for the first time is a curious experience. -
Info Fair Resources
………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out -
TRASH CONVERTER: the Process of Contemporary Alchemy Collecting, Copying and Arranging in Sculptural Forms
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2018 TRASH CONVERTER: The Process of Contemporary Alchemy Collecting, copying and arranging in sculptural forms Sarah Goffman University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Goffman, Sarah, TRASH CONVERTER: The Process of Contemporary Alchemy Collecting, copying and arranging in sculptural forms, Doctor of Creative Arts thesis, School of the Arts, English and Media, University of Wollongong, 2018. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Thomas Demand Roxana Marcoci, with a Short Story by Jeffrey Eugenides
Thomas Demand Roxana Marcoci, with a short story by Jeffrey Eugenides Author Marcoci, Roxana Date 2005 Publisher The Museum of Modern Art ISBN 0870700804 Exhibition URL www.moma.org/calendar/exhibitions/116 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art museumof modern art lIOJ^ArxxV^ 9 « Thomas Demand Thomas Demand Roxana Marcoci with a short story by Jeffrey Eugenides The Museum of Modern Art, New York Published in conjunction with the exhibition Thomas Demand, organized by Roxana Marcoci, Assistant Curator in the Department of Photography at The Museum of Modern Art, New York, March 4-May 30, 2005 The exhibition is supported by Ninah and Michael Lynne, and The International Council, The Contemporary Arts Council, and The Junior Associates of The Museum of Modern Art. This publication is made possible by Anna Marie and Robert F. Shapiro. Produced by the Department of Publications, The Museum of Modern Art, New York Edited by Joanne Greenspun Designed by Pascale Willi, xheight Production by Marc Sapir Printed and bound by Dr. Cantz'sche Druckerei, Ostfildern, Germany This book is typeset in Univers. The paper is 200 gsm Lumisilk. © 2005 The Museum of Modern Art, New York "Photographic Memory," © 2005 Jeffrey Eugenides Photographs by Thomas Demand, © 2005 Thomas Demand Copyright credits for certain illustrations are cited in the Photograph Credits, page 143. Library of Congress Control Number: 2004115561 ISBN: 0-87070-080-4 Published by The Museum of Modern Art, 11 West 53 Street, New York, New York 10019-5497 (www.moma.org) Distributed in the United States and Canada by D.A.P./Distributed Art Publishers, New York Distributed outside the United States and Canada by Thames & Hudson Ltd., London Front and back covers: Window (Fenster). -
Art in the Twenty-First Century Screening Guide: Season
art:21 ART IN2 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON TWO SEASON TWO GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Two of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities. -
Papers of Surrealism, Issue 8, Spring 2010 1
© Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination. -
Liz Deschenes
MIGUEL ABREU GALLERY LIZ DESCHENES Born in Boston, MA, 1966 Lives and works in New York EDUCATION 1988 Rhode Island School of Design B.F.A. Photography, Providence, RI SOLO EXHIBITIONS 2016 Campoli Presti, Paris, France Institute of Contemporary Art, Boston, MA 2015 Gallery 4.1.1, MASS MoCA, North Adams, MA 2014 Gallery 7, Walker Art Center, Minneapolis, MN Stereographs #1-4 (Rise / Fall), Miguel Abreu Gallery, New York 2013 Bracket (Paris), Campoli Presti, Paris, France Bracket (London), Campoli Presti, London, UK 2012 Secession, Vienna, Austria 2010 Shift / Rise, Sutton Lane, Brussels, Belgium 2009 Right / Left, Sutton Lane, Paris, France Chromatic Aberration (Red Screen, Green Screen, Blue Screen - a series of photographs from 2001 - 2008), Sutton Lane, London, UK Tilt / Swing, Miguel Abreu Gallery, New York 2007 Photographs, Sutton Lane, London, UK Registration, Miguel Abreu Gallery, New York 2001 Blue Screen Process, Andrew Kreps Gallery, New York 1999 Below Sea Level, Andrew Kreps Gallery, New York 1997 Beppu, Bronwyn Keenan Gallery, New York 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com SELECTED GROUP & TWO-PERSON EXHIBITIONS 2017 Sol Lewitt & Liz Deschenes, Fraenkel Gallery, San Fransisco, CA PhotoPlay: Lucid Objects, Paris Photo, Grand Palais, Paris, France The Coffins of Paa Joe and the Pursuit of Happiness, The School | Jack Shainman Gallery, Kinderhook, NY Paper as Object, curated by Richard Tinkler, Albert Merola Gallery, -
Christopher Wool Bibliography
G A G O S I A N Christopher Wool Bibliography Selected Books and Catalogues: 2018 Wool, Christopher. Yard. Berlin: Holzwarth Publications. 2017 Siegel, Katy and Christopher Wool. Painting Paintings (David Reed) 1975. New York: Gagosian. Wool, Christopher. Westtexaspsychosculpture. Berlin: Holzwarth Publications. 2013 Brinson, Katherine et al. Christopher Wool. New York: Guggenheim Museum Publications. 2012 Cherix, Christophe. Print/Out: 20 Years in Print. New York: The Museum of Modern Art. Corbett, John and Fabrice Hergott. Christopher Wool. Berlin: Holzwarth Publications. ----------. The Painting Factory: Abstraction After Warhol. Los Angeles: The Museum of Contemporary Art. 2011 ----------. Art in the Streets. New York: Skira Rizzoli Publications, Inc. in association with the Museum of Contemporary Art, Los Angeles. Barrett, Terry. Making Art: Form and Meaning. New York: McGraw Hill Companies, Inc. ----------. Defining Contemporary Art – 25 Years in 200 Pivitol Artworks. London: Phaidon Press Limited. Doring, Jurgen. Power to the Imagination: Artists, Posters and Politics. Munich: Hirmer Verlag GmbH. Holzwarth, Hans Werner, and Laszlo Taschen, eds. Modern Art Volume 2: 1945-2000. Cologne: Taschen, 2011. Molesworth, Helen. This Will Have Been: Art, Love & Politics in the 1980s. New Haven and London: Museum of Contemporary Art Chicago and Yale University Press. Pincio, Tommaso. Christopher Wool: Roma Termini. New York: Gagosian Gallery. ----------. Peace Press Graphics: Art in the Pursuit of Social Change. Long Beach: University Art Museum, California State University. 2010 Bondaroff, Aaron, Glenn O’Brien, and James Jebbia. Supreme. New York: Rizzoli International Publications. Cooke, Lynne, Douglas Crimp, and Kristin Poor. Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Madrid: Museo Nacional Centro de Arte Reina Sofia.