4Oindependent Curators International Spring 2015
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2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones). -
Young Global Leaders Participant List
World Economic Forum Annual Meeting 2020 Young Global Leaders Participant List Davos-Klosters, Switzerland, 21-24 January Profile Country Akim Daouda Gabon Chief Investment Officer, Gabonese Sovereign Wealth Fund (FGIS) Chief Investment Officer of the Sovereign Wealth Fund of the Gabonese Republic. The mission of the fund is to transfer wealth across generations by transforming finite resources into sustainable financial assets. Passionate about unlocking value for the region and bridging inequalities; oversees the SWF’s full portfolio of more than 100 investments spanning several sectors. Also articulates the fund investment strategy and provides high-level leadership. Works closely with government leaders and ministries, as well as private sector champions on issues related to economic development, industrial growth and transformation. 2017, joined the “Choiseul 100 Africa” list by Institut Choiseul. Ranked among Young African Business Leaders under the age of 40 who are expected to play a major and transformative role in the continent’s economic development. Alisha Moopen UAE Deputy Managing Director, Aster DM Healthcare Alisha is the Executive Director of Aster DM Healthcare which is an integrated healthcare conglomerate of 30 years’ standing which spans 9 countries (UAE, Qatar, Saudi Arabia, Kuwait, Bahrain, Oman, India, Philippines, and Jordan). Aster provides primary, secondary, tertiary and quaternary care services, and now has more than 300 facilities. The Group employs more than 20,000 people, of which 2,000 are doctors and some 6,000 are paramedical and nursing staff. Alisha is a Chartered Accountant from the ICAS (Institute of Chartered Accountants of Scotland). and worked earlier with Ernst & Young. She has graduated from the University of Michigan, Ann Arbor with distinction in Finance & Accounting. -
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS & PROGRAMMING for the 26TH EDITION of the NEW YORK FAIR January
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS & PROGRAMMING FOR THE 26TH EDITION OF THE NEW YORK FAIR January 18 – January 21, 2018 The Metropolitan Pavilion, 125 West 18th Street, New York Bill Traylor, untitled (detail), 1939-1942, charcoal on cardboard, 14" x 8", collection Audrey Heckler, photo by Adam Reich NEW YORK, NY – Wide Open Arts, the New York-based organizer of the Outsider Art Fair – the premier event championing self-taught art, art brut and outsider art – is excited to announce its exhibitors for the 26th edition, taking place January 18-21, 2018 at The Metropolitan Pavilion. The fair will showcase 63 galleries, representing 35 cities from 7 countries, with 10 first-time exhibitors. Coming off of a successful 5th edition of Outsider Art Fair Paris, which posted a 24% gain in attendance over the previous year, the 26th edition of the New York fair will continue to highlight the global reach of its artists and dealers, including: ex-voto sculptures unique to Brazil’s Afro-Indigenous-European culture at Mariposa Unusual Art; and a collection of works by self-taught artists from Africa, Latin America and the Caribbean at Indigo Arts. Korea Art Brut and Beijing’s Almost Art Project will make their OAF debuts, as will Antillean, who will present work by three Jamaican artists, each of whom use found materials to evoke shanty village life. Drawings by New Zealand’s Susan Te Kahurangi King will be the subject of a solo presentation at Chris Byrne and the sensational ceramic sculptures of Shinichi Sawada will be shown in New York for the first time at Jennifer Lauren Gallery. -
FIELD MEETING Curatorial Statement and Lineup
Wednesday, October 22 – Sunday, November 2, 2014 Asia Society will host ACAW 2014’s signature program FIELD MEETING: CRITICAL OF THE FUTURE, October 26th & 27th; keynote presentation by Tom Finkelpearl; commissioned performances from Haig Aivazian, Polit-Sheer-Form Office, Bavand Behpoor, and more; 35 art professionals to present latest projects and initiatives; highlighting individual practices, history and institution building in Asia, and subculture cross-pollination. Organized by ACAW director Leeza Ahmady and associate curator Xin Wang CURATORIAL STATEMENT AND LINE-UP INTRODUCTION Inspired by and born of the intense field work carried out by all practitioners of art, FIELD MEETING foregrounds the immediacy of these dynamic exchanges by bringing together over 40 artists, curators, scholars, and institutional leaders whose works variously relate to and problematize the cultural, political, and geographical parameters of contemporary Asia. As a curated platform, FIELD MEETING capitalizes on this fall’s citywide museum and gallery exhibitions shedding light on various aspects of contemporary Asian art through highlighting individual and regional practices; simultaneously, the intensive two-day forum facilitates another Sun Xun, Magician Party and Dead Crow, 2013, installation (wall painting, kind of exchange beyond established ink & color on paper, paper sculpture, and other materials). Courtesy of institutional representation and discourse the artist and Edouard Malingue Gallery, Hong Kong. to expose the field’s creative practices in a more timely and less mediated fashion. Through lectures, performances, discussions, and most crucially, the presence of the art practitioners both on stage and in the audience, FIELD MEETING presents contemporary art from Asia in its present tense and as a working process that dynamically interacts with creative energies worldwide while challenging its own boundaries. -
Asia Contemporary Art Week (ACAW) Thursday, October 5 - Thursday, October 26, 2017
Asia Contemporary Art Week (ACAW) Thursday, October 5 - Thursday, October 26, 2017 We are pleased to announce the 12th edition of Asia Contemporary Art Week (ACAW) planned for October 5 through October 26, 2017, with over 30 cutting- edge exhibitions, public programs & other evening festivities across ACAW Consortium Partner museums and galleries in New York City. Exhibition highlights at ACAW Consortium Partners include the largest survey of Chinese contemporary art in North America, retrospectives of major performance and photography works by artists from US, China, and India, along with timely symposiums, performances and discussions contextualizing significant solo and group exhibitions by artists living in China, India, Japan, Korea, Indonesia, Thailand, Turkey, and other countries of the Middle East, South and Southeast Asian regions. Working with cross-cultural aesthetic and conceptual inquiries, presented works reflect on today’s unstable climate through examining the role of religion, philosophy, popular culture, and political territories and history, with a special focus on socio-political issues such as colonialism, social and national movements, immigration, and inequality. This year ACAW Consortium Partner Japan Society is celebrating its th Asia Society, After Darkness: Southeast Asian Art in the Wake of 110 anniversary, marking an important milestone in the History. FX Harsono. Victim—Destruction I, 1997. Performance at the history of Japanese art in the United States. Summary of ACAW Alun-alun Selatan (Southern Square) during the opening for the Consortium Partner exhibitions & programs start on page 4 exhibition “Slot in the Box” at Cemeti Art House, 1997. Image courtesy of Cemeti Art House. The depth, breath and diversity of ACAW 2017’s programming and its community’s fresh milestone achievements will be celebrated in a special ACAW VIP Kick Off Party (on Thursday October 12th 8-10pm) with an inimitable installation of hors d'oeuvre and cocktails by experimental art duo HE & HU generously hosted by ACAW Consortium Partner Chambers Fine Art. -
FOCUS KAZAKHSTAN Thinking Collections: Telling Tales: a Survey Exhibition of Kyzyl Tractor Art Collective
FOCUS KAZAKHSTAN Thinking Collections: Telling Tales: A Survey Exhibition of Kyzyl Tractor Art Collective Signature Program of Asia Contemporary Art Week 2018 Mana Contemporary, Jersey City October 14– 30 November 30, 2018 Curated by Leeza Ahmady and Vladislav Sludskiy Opening Events: Sunday, October 14 Press walkthrough with the curators, 1:30-2:30PM Performance by Kyzyl Tractor, 3PM RSVP [email protected] Kyzyl Tractor Art Collective, Red Bridge of Kyzyl Tractor 2002, archival photo. As part of a documentary film shooting by B. Kairbekov. Courtesy of the artists & Asia Contemporary Art Week 2018 Thinking Collections: Telling Tales: A Survey Exhibition of Kyzyl Tractor Art Collective, a signature program of Asia Contemporary Art Week 2018 at Mana Contemporary, is part of Focus Kazakhstan, a landmark initiative celebrating the art of Kazakhstan through four thematic presentations in London, Berlin, Suwon and Jersey City. This unprecedented survey reunites Kyzyl Tractor collective, known for their feverish experimentations in the mid 1990’s and early 2000’s, after almost two decades of working both separately and occasionally together. The exhibition highlights each artist’s individual practice and contextualizes their work from all periods interacting with one another. The group is acclaimed for reorienting nomadic, Sufi, and Shamanistic philosophies as a new artistic language in juxtaposition with the region’s seismic socio- economic and political shifts. The show comprises two monumental sculptural works - one newly conceived and a reproduction of an older destroyed work - alongside numerous archival photos of the collective’s earlier performances, sculptures, paintings, drawings, found objects and other paraphernalia. On October 14, the opening day of the exhibition, the collective will reenact one of their legendary performance rituals entitled Purification. -
Teaching and Mentoring Experience
TEACHING AND MENTORING EXPERIENCE 2018 Parsons School of Design, Adjunct Professor, Graduate Advisor, Spring 2017 Parsons School of Design, Adjunct Professor, Graduate Advisor, Fall 2016 Parsons School of Design, Adjunct Professor, Graduate Advisor, Spring Parsons School of Design, Adjunct Professor, Fiber Arts, Undergraduate Program, Spring 2015 Parsons School of Design, Adjunct Professor, Graduate Advisor, Fall 2014 Parsons School of Design, Adjunct Professor, Core Studio 5, Spring 2013 Parsons School of Design, Adjunct Professor, Core Studio 5, Fall Parsons School of Design, Adjunct Professor, First Year Integrative Studio 1, Fall Parsons School of Design, Adjunct Professor, Core Studio 4, Spring Montclair State University, NJ, Visiting Artist/Graduate Advisor, Spring 2012 School of the Art Institute of Chicago, Chicago, IL, Graduate Advisor Interdisciplinary Projects, (2011 – 2012) Parsons School of Design, BFA Critiques, Fall Montclair State University, Montclair, NJ, Visiting Artist, Spring and Fall Designed and taught a course for undergraduate and graduate students in installation art. Working closely with students, I guided them through the management and production of a large scale installation. The piece was presented in Montclair, NJ at the Montclair Art Museum. 2010 Real Art Ways/The University of Hartford, Hartford, CT, Visiting Artist, Fall/Spring Designed and taught a course for undergraduate students in performance choreography. This course required students to participate in all aspects of the creative process of a performative project. The piece was presented at Real Art Ways in Hartford, CT. 2009 University at Buffalo, Buffalo, NY, Visiting Artist, Spring Designed and taught a course for undergraduate students in installation art and dance choreography. This course required students to participate in all aspects of the creative process of a performative project. -
“Prospect 3: Notes for Now,” Or P.3, The
Bright Prospects Linda Yablonsky October 31, 2014 Artforum International THERE’S ALWAYS A GOOD REASON to be in New Orleans. Last weekend, the draw was “Prospect 3: Notes for Now,” or P.3, the resonant third edition of the international biennial that Dan Cameron created in 2007, two years after Hurricane Katrina doused city and spirit. Under artistic director Franklin Sirmans, P.3 opened with work by fi fty-eight artists from the Americas, Asia, Europe, and the Middle East planted in eighteen venues around town. On Thursday, October 23, a few visiting dealers and collectors joined a veritable congress of American museum curators to track them down. During a press conference at the Ashé Cultural Arts Center, where Sirmans and P.3 executive director Brooke Davis Ander- son introduced the biennial, the fi rst people I saw were the Mu- seum of Modern Art’s Stuart Comer and Thomas Lax. Spread across the room were the Whitney’s Christopher Lew, Andy Warhol Museum director Eric Shiner, Bronx Museum director Holly Block, and Carnegie Museum curator Dan Byers. The Artist Tavares Strachan Speed Museum curator Miranda Lash, ICA Philadelphia exhibi- tion director Ingrid Schaff ner, and Jewish Museum deputy director Jens Hoff mann would soon appear, along with both Rita Gonzalez and Christine Y. Kim of the Los Angeles County Museum of Art, where Sirmans heads the department of contemporary art. All gave the same reason for being there: “Franklin.” Despite the support, Sirmans seemed nervous when he spoke of the anchors for his citywide show: Walker Percy’s 1961 New Orleans novel of displacement, The Moviegoer; a Gaugin-in-Tahiti painting; and the cultural cannibalism of the early twentieth-century, Brazilian Antropofágico movement. -
Taking It to the Streets
TAKING it to the STREETS Lorraine O’Grady, Art Is . , photo still, public performance during the African American Day Parade, Harlem, New York, 1983. Courtesy Alexander Gray Associates, New York Journal of Contemporary African Art • 34 • Spring 2014 60 • Nka DOI 10.1215/10757163-2415213 © 2014 by Nka Publications TAKING it to the STREETS African Diasporic Public Ceremonial Culture Then and Now Claire Tancons Tancons Nka • 61 n this article I wonder not “How do collabora- highlights individual artists, or at least artists who tives created by cultural practitioners of African have been credited as such, but whose practices have I descent provide new perceptions, understandings, been concerned with, or in some instances created, and forms of practice?” — the question asked by the black collectivities. conference conveners — but, rather, “Why make this First, the bold assertion of a black collective iden- inquiry now?” Why should we focus on black col- tity summons up the idea of the black radical tradi- lectivities at a time when black artists have entered tion. According to David Scott, “Part of the attrac- the mainstream art market, having established their tiveness, perhaps, of the idea of a tradition that is names and the value of their work, particularly over ‘black’ and ‘radical’ is the way in which it offers an the last decade, which might be called “the F decade,” idiom of belonging, a vantage point from which to one inaugurated by the Studio Museum in Harlem in narrate a shared past and a perspective from which 2001 with Freestyle and ending, maybe, with the 2012 to imagine a common future.”1 Further, African dia- Fore exhibition focused on performance? sporic aesthetic and political practices epitomize the My article will not, of course, entirely answer this notion of the collective, which is nowhere more vis- question; that, to my mind, is the collective endeavor ible and audible than in mass displays, sometimes of this conference. -
The Studio Museum in Harlem Ma∂Azine/Summer 2008
Studio/ Summer 2008 The Studio Museum in Harlem Ma∂azine/ Summer 2008 SMH Board of Introducin∂ From the Director Trustees turin∂ Alani Bass , Mi∂uel Calderon, Target Free Cat Chow and Felicia Me∂∂inson; Chairman Sundays! StudioSound with Rich Medina; and Raymond J. McGuire See pa∂es Eye Notes, featurin∂ the work of Vice-Chair our youn∂est “artists in residence,” Carol Sutton Lewis 36–38! the hi∂h school participants of our Treasurer Expanding the Walls pro∂ram. Re∂inald Van Lee Secretary The Studio Museum in Harlem Ma∂azine / Summer 2008 Anne B. Ehrenkranz year, Leslie Hewitt, Tanea Richard- Gayle Perkins Atkins son and Saya Woolfalk ener∂ize the Jacqueline L. Bradley Museum’s ∂alleries (and the pa∂es Kathryn C. Chenault 02 What’s Up / Kehinde Wiley / R.S.V.P. / New Intuitions / A Portrait of the Artists / Eye Notes / Harlem Postcards / Gordon J. Davis of this ma∂azine) with their new work Susan Fales-Hill Four Decades 18 Projects on View / Rich Medina / Black is Beautiful 20 Upcomin∂ Exhibitions / Barkley L. Hendricks in New Intuitions. I am thrilled that In these pa∂es you will see addi- Dr. Henry Louis Gates, Jr. they share the ∂alleries this sum- tional excitin∂ features hi∂hli∂htin∂ Sandra Grymes 24 Feature / Allison Saar’s Swing Low 26 Elsewhere / Phantom Sightings / Salad Days / 1968: Then and Now / Yoruba / VanDerZee Mussenden Donna Courtesy / 1932 / Summer 2008 Studio mer with The World Stage: Africa, alumni of our foundational pro∂ram, Joyce K. Haupt A People’s Geography / Nicholas Hlobo / The 7th Gwan∂ju Biennale / RECOGNIZE! / The Poetics of Cloth / The Essential Lagos ~ Dakar, a solo exhibition by includin∂ Alison Saar (1983–84) and Arthur J. -
Mariam Ghani [email protected] Kabul-Reconstructions.Net/Mariam 372 Dekalb Ave
Mariam Ghani [email protected] kabul-reconstructions.net/mariam 372 DeKalb Ave. #3I Brooklyn, NY 11205 tel 718.638.9867 fax 718.398.0894 cell 917.676.8322 E D U C A T I O N & D I S T I N C T I O N S May 2002 MFA summa cum laude in Photography, Video & Related Media, School of Visual Arts Areas of Specialization: Video & the Moving Image; Installation; Computer Arts Distinctions: Aaron Siskind Memorial Scholarship, 2001. January 2000 B.A. summa cum laude with honors in Comparative Literature, New York University. Areas of Specialization: Italian Literature, Visual Studies, Middle Eastern Studies Junior Year Abroad: University of Florence, Italy (Indirizzo: Italianistica) Distinctions: Sir Harold Acton Memorial Scholarship, National Merit Scholarship, Dean’s Undergraduate Research Grant, Italian Departmental Award for Best Student, elected to Phi Beta Kappa in junior year. F E L L O W S H I P S , A W A R D S & R E S I D E N C I E S Akademie Schloss Solitude Fellowship, 2005-07. Smack Mellon Artist in Residence, 2005-06. NYFA Fellowship in Computer Arts, 2005. Eyebeam Atelier Artist in Residence, 2004. Turbulence.org Net Art Commission, 2004. Lower Manhattan Cultural Council Artist in Residence, Woolworth Building, 2003-04. Artist in the Marketplace, Bronx Museum of the Arts, 2002-03. Soros Fellowship for New Americans, 2001-03. R E L E V A N T P R O F E S S I O N A L E X P E R I E N C E Fall 05 Visiting Artist, Art & Technology, Stevens Institute of Technology, Hoboken, NJ. -
Ai Weiwei BIO FINAL
AI WEIWEI Present Lives and works in Beijing, China 2012 Pavilion for the London Olympics, collaboration with Herzog and de Meuron, Serpentine Gallery, London, UK 2008 Collaborated on design for Bird’s Nest, Beijing National Stadium for 2008 Summer Olympics 1994 Founded China Art Archives and Warehouse, Beijing, China 1993 Returned to China 1983 Attended Parsons School of Design, New York, NY 1981-93 Lived in New York, NY 1978 Enrolled in Beijing Film Academy 1957 Born in Beijing, China Solo Exhibitions 2013-2012 Ai Weiwei: According to What?, Indianapolis Museum of Art, Indianapolis, Indiana Ai Weiwei. Resistance and Tradition, CAAC, Seville, Spain Ai Weiwei. Louisiana Museum, Humlebaek, Denmark Fragments, Arthur M. Sackler Gallery, Washington, DC Ai Weiwei: According to What?, Hirshorn Museum and Sculpture Garden, Washington, DC 2012 Ai Weiwei: Perspectives, Freer and Sackler Galleries, Smithsonian Institution, Washington, DC Ai Weiwei, Museum de Pont, Tilburg, The Netherlands 2011-2012 Ai Weiwei: Interlacing, Fotomuseum Winterthur, Switzerland; Jeu de Paume, Paris, France Ai Weiwei: Circle of Animals, Somerset House, London, UK; Pulitzer Fountain Central Park, New York; Los Angeles County Museum of Art, CA; Hirshhorn Museum and Sculpture Garden, Washington, D.C. 2011 Ai Weiwei: Absent, Taipei Fine Arts Museum, Taipei, Taiwan Ai Weiwei: Dropping the Urn, Victoria & Albert Museum, London, UK Ai Weiwei: New York Photographs 1983-1993, Asia Society, New York, NY Ai Weiwei: Art/Architecture, Kunsthaus Bregenz, Bregenz, Austria Ai Weiwei: Sunflower Seeds, Kunsthalle Marcel Duchamp, Cully, Switzerland 2010 A Few Works from Ai Wei Wei, Alexander Ochs Gallery, Berlin, Germany; Beijing, China The Unilever Series: Ai Weiwei.