Sherrie Levine Born 1947 in Hazleton, Pennsylvania
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9780230341449 Copyrighted Material – 9780230341449
Copyrighted material – 9780230341449 THE (MOVING) PICTURES GENERATION Copyright © Vera Dika, 2012. All rights reserved. First published in 2012 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the World, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–0–230–34144–9 Library of Congress Cataloging-in-Publication Data Dika, Vera, 1951– The (moving) pictures generation : the cinematic impulse in downtown New York art and film / Vera Dika. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 978–0–230–34144–9 1. Art and motion pictures—New York (State)—New York— History—20th century. 2. Art, American—New York (State)— New York—20th century. 3. Experimental films—New York (State)—New York—History—20th century. I. Title. N72.M6D55 2012 709.0407—dc23 2011039301 A catalogue record of the book is available from the British Library. Design by Integra Software Services First edition: April 2012 10987654321 Printed in the United States of America. Copyrighted material – 9780230341449 Copyrighted material – 9780230341449 Contents -
(Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice. -
Artistic Subversions: Setting the Conditions of Display (Amsterdam, 2-4 Feb 17)
Artistic Subversions: Setting the Conditions of Display (Amsterdam, 2-4 Feb 17) Amsterdam, Feb 2–04, 2017 Deadline: Aug 30, 2016 Katja Kwastek Preceding the Stedelijk Museum Amsterdam’s ‘Lose Yourself! – A Symposium on Labyrinthine Exhibitions as Curatorial Model’(03.-04.02.2017) this young researchers’ colloquium (02.02.2017) at the Vrije Universiteit Amsterdam will consider the strategies and methods by which artists take control over the space of installation. Without the artist’s permission Triple Candie, an exhibition space in New York, featured a retro- spective of Maurizio Cattelan. Entitled Maurizio Cattelan is Dead: Life & Work, 1960-2009 (2009), the show did not include a single work by the artist. Instead, it brought together a selection of pho- tocopied images from previous exhibitions with (vaguely recognizable) replicas of works by the artist. Cattelan, still very much alive, urged the Deste Foundation – established by Dakis Joannou, a prodigious collector of Cattelan’s work – to acquire the entirety of the show. In the foundation in Athens it was later installed in a room expressly selected by the artist. By repositioning the show in a new space of his own devise, Cattelan altered the conditions of its setting thereby incorporat- ing the complete exhibition into his oeuvre. This anecdote demonstrates a blurring of authorship between the artist and the curator, but it is also indicative of the significance of the setting of art, or its context, to its interpretation. This shift in emphasis to the conditions of display can be traced at least as far back as the Exposition Internationale du Surréalisme (1938). -
Robert Longo
ROBERT LONGO Born in 1953 in Brooklyn, New York Lives in New York, New York EDUCATION 1975 BFA State University College, Buffalo, New York SELECTED ONE-PERSON EXHIBITIONS 2021 A House Divided, Guild Hall, East Hampton, New York 2020 Storm of Hope, Jeffrey Deitch, Los Angeles 2019 Amerika, Metro Pictures, New York Fugitive Images, Metro Pictures, New York When Heaven and Hell Change Places, Hall Art Foundation | Schloss Derneburg Museum, Germany 2018 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Deichtorhallen Hamburg Them and Us, Metro Pictures, New York Everything Falls Apart, Capitan Petzel, Berlin 2017 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Brooklyn Museum (cat.) Sara Hilden Art Museum, Tampere, Finland (cat.) The Destroyer Cycle, Metro Pictures, New York Let the Frame of Things Disjoint, Thaddaeus Ropac, London (cat.) 2016 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Garage Museum of Contemporary Art, Moscow (cat.) Luminous Discontent, Galerie Thaddaeus Ropac, Paris (cat.) 2015 ‘The Intervention of Zero (After Malevich),’ 1991, Galerie Hans Mayer, Düsseldorf 2014 Gang of Cosmos, Metro Pictures, New York (cat.) Strike the Sun, Petzel Gallery, New York 2013 The Capitol Project, Aldrich Contemporary Art Museum, Ridgefield, Connecticut Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg, Austria 2012 Stand, Capitain Petzel, Berlin (cat.) Men in the Cities: Fifteen Photographs 1980/2012, Schirmer/Mosel Showroom, Munich 2011 God Machines, Galerie Thaddaeus Ropac, Paris (cat.) Mysterious Heart Galería -
The British Museum Annual Reports and Accounts 2019
The British Museum REPORT AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2020 HC 432 The British Museum REPORT AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2020 Presented to Parliament pursuant to Section 9(8) of the Museums and Galleries Act 1992 Ordered by The House of Commons to be printed on 19 November 2020 HC 432 The British Museum Report and Accounts 2019-20 © The British Museum copyright 2020 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as British Museum copyright and the document title specifed. Where third party material has been identifed, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to us at [email protected]. This publication is available at www.gov.uk/ofcial-documents. ISBN 978-1-5286-2095-6 CCS0320321972 11/20 Printed on paper containing 75% recycled fbre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Ofce The British Museum Report and Accounts 2019-20 Contents Trustees’ and Accounting Ofcer’s Annual Report 3 Chairman’s Foreword 3 Structure, governance and management 4 Constitution and operating environment 4 Subsidiaries 4 Friends’ organisations 4 Strategic direction and performance against objectives 4 Collections and research 4 Audiences and Engagement 5 Investing -
TERENCE KOH Born 1980, China
TERENCE KOH Born 1980, China. Lives and works in NY. SELECTED GROUP EXHIBITIONS 2003 Attack – The Kult 48 Klubhouse, K48 and Deitch Projects, NYC, NY. Today’s Man, Hiromi Yoshii, Tokyo, Japan. Game Over, Grimm/Rosenfeld, Munich, Germany. Mixer 03, Monique Meloche Gallery, Chicago, Illinois. Now Playing, D’Amelio Terras, NYC, NY. Today’s Man, John Connely Presents, NYC, NY. DL: The Down Low in Contemporary Art, Longwood Art Gallery, Bronx, New York. Retreat, Peres Projects, Los Angeles, California. Hovering, Peres Projects, Los Angeles, California. 2004 Such things I do just to make myself more attractive to you, Peres Projects, Los Angeles, California. Biennial Exhibition, Whitney Museum of American Art, NYC, NY. Get Off! Exploring the Pleasure Principle, Museum of Sex, NYC, NY. Do a Book: Asian Artists Summer Project 2004, Plum Blossoms, NYC, NY. The Black Album, Maureen Paley/Interim Art, London, England. The Temple of Golden Piss, Extra City - Center for Contemporary Art, Antwerp, Belgium. Harlem Postcards Fall 2004, The Studio Museum in Harlem, NYC, NY. Phiiliip: Divided By Lightening, Deitch Projects, NYC, NY. 2006 Log Cabin, Artists Space, NYC, NY. No Ordinary Sanctity, Kunstraum Deutsche Bank, Salzburg, Austria. (curated by Shamim Momin) The Zine UnBound: Kults, Werewolves and Sarcastic Hippies, Yerba Buena Center for the Arts, San Francisco, California. Blankness Is Not a Void, Standard, Oslo, Norway. (curated by Gardar Eide Einarsson) SELECTED SOLO EXHIBITIONS 2011 Mary Boon Gallery, NYC, NY. 2009 Flowers for Baudor Baudelaire, Vito Schnabel Gallery, NYC, NY. ansonias, Galerie Thaddaeus Ropac, Paris, France. Auta no Tama Raku, Domanus Gallery, Port-au-Prince, Haiti 2008 Captain Buddha, Schirn Kunsthalle, Frankfurt, Germany Love for Eternity, MUSAC, Museo de Arte Contemporáneo de Castilla y León, Leon, Spain. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
Richard Prince Born in 1949, in the Panama Canal Zone, USA Biography Lives and Works in Upstate New York, USA
Richard Prince Born in 1949, in the Panama Canal Zone, USA Biography Lives and works in upstate New York, USA Solo Exhibitions 2019 'Richard Prince: Portrait', Museum of Contemporary Art Detroit, Detroit, USA 2018 'Richard Prince - Works from the Astrup Fearnley Collection', Astrup Museet, Olso, Norway 'Untitled (Cowboy)', LACMA, Los Angeles, USA 2017 'Super Group Richard Prince', Galerie Max Hetzler, Berlin, Germany 'Max Hetzler', Berlin, Germany 2016 The Douglas Blair Turnbaugh Collection (1977-1988)’, Edward Cella Art & Architecture, Los Angeles, USA Sadie Coles, London, UK 2015 'Original', Gagosian Gallery, New York, USA 'New Portraits', Blum & Poe, Tokyo, Japan 2014 'New Figures', Almine Rech Gallery, Paris, France 'It's a Free Concert', Kunsthaus Bregenz, Austria 'Canal Zone', Gagosian Gallery, New York, USA 2013 Sadie Coles, London, UK 'Monochromatic Jokes', Nahmad Contemporary, New York, USA 'Protest Paintings', Skarstedt Gallery, London, UK 'Untitled (band', Le Case d'Arte, Milan, Italy 'New Work', Jürgen Becker, Hamburg, Germany 'Cowboys', Gagosian, Beverly Hills, USA 2012 ‘Prince / Picasso’, Museo Picasso Malaga, Spain 'White Paintings', Skarstedt Gallery, New York, USA 'Four Saturdays', gagosian Gallery, New York, USA '14 Paintings', 303 Gallery, New York, USA 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris [email protected] 2011 - ‘The Fug’, Almine Rech Gallery, Brussels, Belgium Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles ‘Covering Pollock’, The Guild Hall Museum, East Hampton, USA [email protected] -
Performing Documentation
ORE Open Research Exeter TITLE Documenting the user experience AUTHORS Giannachi, G JOURNAL Revista de Historia da Arte DEPOSITED IN ORE 12 October 2015 This version available at http://hdl.handle.net/10871/18428 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication REVISTA DE HISTÓRIA /04DA ARTE PERFORMING DOCUMENTATION IN THE CONSERVATION OF CONTEMPORARY ART JOURNAL DIRECTORS (IHA/FCSH/UNL) Raquel Henriques da Silva Joana Cunha Leal Pedro Flor PUBLISHER Instituto de História da Arte EDITORS Lúcia Almeida Matos Rita Macedo Gunnar Heydenreich AUTHORS Teresa Azevedo | Alessandra Barbuto Liliana Coutinho | Annet Dekker | Gabriella Giannachi | Rebecca Gordon | Hélia Marçal Claudia Marchese | Irene Müller | Andreia Nogueira Julia Noordegraaf | Cristina Oliveira | Joanna Philips Rita Salis | Sanneke Stigter | Renée van de Vall 3 5 193 Vivian van Saaze | Glenn Wharton REVIEWERS Heitor Alvelos | Maria de Jesus Ávila EDITORIAL DOSSIER BOOK Marie-Aude Baronian | Helena Barranha Lúcia Almeida Matos REVIEWS Lydia Beerkens | Martha Buskirk Rita Macedo Alison Bracker | Laura Castro Gunnar Heydenreich Carlos Melo Ferreira | Joana Lia Ferreira Tina Fiske | Eva Fotiadi | Claudia Giannetti Amélie Giguère | Hanna Hölling | Ysbrand Hummelen Sherri Irvin | Iris Kapelouzou | Claudia Madeira Julia Noordegraff | Raquel -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
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, -
018-245 ING Primavera CORR 24,5 X 29.Qxp
Under the High Patronage of the President of the Italian Republic !e Springtime of the Renaissance. Sculpture and the Arts in Florence – Florence, Palazzo Strozzi, March– August Paris, Musée du Louvre, September – January With the patronage of Concept by Website Ministero degli Affari Esteri Beatrice Paolozzi Strozzi Netribe Ministero per i Beni e le Attività Culturali Marc Bormand Ambassade de France en Italie Programming for families, youth and adults Curated by Fondazione Palazzo Strozzi Beatrice Paolozzi Strozzi Promoted and organized by Marc Bormand School groups and activities Sigma CSC With the collaboration of Ilaria Ciseri Exhibition reservation office Sigma CSC Realized by Fondazione Palazzo Strozzi Exhibition and ticket office staff TML Service Scholarly and editorial coordination and accompanying texts in the exhibition Multichannel ticket office Ludovica Sebregondi TicketOne Installation design Audioguide Luigi Cupellini START with the collaboration of Carlo Pellegrini Insurance Exhibition installation AON Artscope Galli Allestimenti Lloyd’s Atlas e Livelux Light Designers CS Insurance Service Stampa in Stampa Alessandro Terzo Transportation Franco Bianchi Arterìa Installation and condition report works on paper with Julie Guilmette Head of security Ulderigo Frusi Exhibition graphics and communication design RovaiWeber design Head of prevention and protection service Translation of accompanying texts in the exhibition Andrea Bonciani Stephen Tobin (Italian–English) Lara Fantoni (English–Italian) Electrical system assistance Xue Cheng (Italian–Chinese) and maintenance Mila Alieva (English–Russian) Bagnoli srl Gabrielle Giraudeau (Italian–French) Alarm system assistance Family itinerary and maintenance James M. Bradburne Professional Security srl Cristina Bucci Chiara Lachi Air-conditioning/heating system assistance and and maintenance Communication and promotion R.S.