DOCSLIB.ORG

London W1K4HJ Liquidartsystem.Com R.S.V.P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
London W1K4HJ Liquidartsystem.Com R.S.V.P FREE 22 HOT & COOL ART WHO IS MAUREEN PALEY? DAFYDD JONES: MAUREEN PALEY AT SUDELEY CASTLE COVER v1.indd 1 07/09/2016 11:17 State_22R_Layout 1 08/09/16 23:42 Page 2 The director invites you to attend the exclusive P.V. during Frieze week The 6th of October 2016 from 7pm to 10pm 41-43 Brook Street, Mayfair London W1K4HJ liquidartsystem.com R.S.V.P. to [email protected] State_22R_Layout 1 08/09/16 23:42 Page 3 György Jovánovics Ma^K^eb^_%?khfPabm^mh;eZ\d >QAB;BMBHG=:M>L *-L>IM>F;>K&+1H<MH;>K+)*/ THE MAYOR GALLERY 4 to [email protected] State_22R_Layout 1 08/09/16 23:42 Page 4 State_22R_Layout 1 08/09/16 23:42 Page 5 CAPTURED BY DAFYDD JONES i SPY [email protected] VIOLET MANNERS ALICE MANNERS V & A Summer Party MEREDITH OSTRON EVGENY LEBEDEV KATE MOSS NICHOLAS COLERIDGE STEPHEN FRY V & A Summer Party V & A Summer Party ANISH KAPOOR Serpentine Pavilion PERCY GIBSON JOAN COLLINS EMMA MILLER GEORGIA COLERIDGE V & A Summer Party ELLEN VON UNWERTH Serpentine Pavilion PETITE MELLER V & A Summer Party TOMMY HILFIGER NAOMI CAMPBELL Serpentine Pavilion BJARKE INGELS’ SERPENTINE PAVILION CHESSIE KAY ELEESA DADIANI MEREDITH OSTRON MARTHA DOLAK Serpentine Pavilion Dadiani Gallery ADRIENN ALMASY CHESSIE KAY CARY MARTIN Serpentine Pavilion EMMA THYNN KELLY-ANNE DAVITT Serpentine Pavilion ELEESA DADIANI (b/g) RICHARD ROGERS JOHN DUNBAR JAMES BIRCH Dadiani Gallery Serpentine Pavilion Dadiani Gallery V & A MUSEUM, South Kensington. London. Summer Party. SERPENTINE PAVILION [designed by Bjarke Ingels] Kensington Gardens. London. Summer Party co-hosted by Tommy Hilfiger. DADIANI GALLERY, Cork St. London. Kelly-Anne Davitt Beach Balls and Melons. 6 STATE 22 www.state-media.com 06 DAFYDD V+A copy.indd 20 07/09/2016 11:13 State_22R_Layout 1 08/09/16 23:42 Page 7 >> DIARY NOTES COVER IMAGE WE’RE IN THE MONEY days as chief art critic for the New York IF YOU are reading this then – according Herald Tribune (1949 to 1966), this to our demographics – you are a maker, future Pulitzer Prize winner (for dealer, collector or otherwise consumer Criticism, 1974) tweaked the noses of of art or photography. And thus many emerging art stars to good effect. congratulations are in order. You are So irate was Clyfford Still over one contributing £10 million per hour to review that he bought and posted DAFYDD JONES the UK economy. The Department for Genauer a pair of child’s rubber pants Culture, Media & Sport has produced (pre-nappy era) along with an acerbic Maureen Paley figures that show the ‘creative industries’ note. These are now lovingly at Sudeley Castle 2016 (filmmakers, musicians, artists and preserved in the Smithsonian Archive. American born (1953) Maureen Paley attended Brown University (BA) and others) generate £84 billion a year – The one thing UK ART Ltd currently came to the Royal College of Art in 1977 for an MA. She launched Interim Art in 1984, initially as an artist herself, in Beck Road E8, originally an with the number of ‘jobs’ in ‘creative lacks is an independent, national Acme house. Paley has declared her inspiration as being the early 80’s industries’ up 20% since 2011 to 1.9 painter for $5 million in damages journal of informed criticism – no galleries of the East Village in her home town of New York. She did have a million. Secretary of State, John (surprise, surprise) and a declaration surprise there because, of course, no one brief remove to Dering Street in 1991, but has always been identified as an Whittingdale MP, waffled on: ‘That that the work is authentic. likes a party pooper. Today, more so early pioneer of London’s East End. The gallery survived in the early days thanks to Art Council (and other) funding but continued its programme of success is built upon the extraordinary than ever. supporting British Artists and Paley is today a much respected independent talent which exists in this country, an Peter Doig and his lawyers have already figurehead in the London art world. amazing cultural heritage, the English identified the real artist, a man named language and a tax system designed to Peter Edward Doige, who died in 2012, ETERNAL F[L]AME support and encourage growth in the and whose sister says he did serve time IN MUCH THE same way actors get creative sector.’ Presumably he is in Thunder Bay and also painted. confused with the parts they play by a referring to the lax benefits system, Furthermore, Marilyn Doige Bovard gullible public, artists currently enjoy which allows countless self-styled ‘artists’ said in a court declaration that the the same hagiographic attention. Back to survive well past their student days disputed desert scene appeared to show in 2013, Mason Currey wrote Daily HOT & COOL ART and natural ‘sell-by’ date. Just where a specific, recognisable area in Arizona Rituals: How Artists Work, listing the are all these economic giants from a where her mother moved after a daily routines of a number of historic, sector that also includes dancers, divorce. And there is more. The prison’s creative figures.(1) Here we read EDITOR Lyle Owerko choreographers and [now] programmers former art teacher recognised a Beethoven obsessed about his coffee – Mike von Joel NEW YORK and software developers? In our photograph of Ms Bovard’s brother as while Balzac drank some 50 cups a day. [email protected] Anne Chabrol experience, the vast majority of art world the man who had been in his class Flaubert spoke with his mother PUBLISHERS PARIS fodder can barely scrape a living out of and whom he had watched make the continuously. Daily walks helped Freud, David Tidball their passions and dedication to uncritical painting (teacher’s affidavit). Dickens, Tchaikovsky, Darwin, and Karl Skogland BERLIN self-expression – and neither is this UNBELIEVEABLY, Chicago Judge John Milton – whereas vigorous exercise [email protected] impacted by achieving one of the myriad Gary Feinerman of the United States satisfied Le Corbusier and Victor Hugo. Elizabeth Crompton arts (creative, visual & performance) District Court for Northern Illinois For Kim Kardashian refer to the Daily MELBOURNE Jeremy Levison degrees that tempt the innocent. The decided this dispute could be resolved Mail. The obsession with the minutiae [email protected] Complete University Guide says graduate only at a trial. If this bozo knew of celebrity life has now reached DEPUTY EDITOR ADMINISTRATION starting salaries in professional posts anything about the art trade, he could epidemic proportions, so news that Anna McNay Julie Milne dropped 11% (down to £21,702) have saved all concerned time and a permanent plaque was unveiled [email protected] [email protected] between 2007-12, but that anyone with money because even if the judgment outside the former Bowery home of an ‘art & design’ degree can expect had gone against Peter Doig (no ‘e’) Jean-Michel Basquiat no doubt met EDITORIAL PUBLISHED BY just £14,451 pa – the same research not a single auctioneer or dealer would with dancing in the streets. The marker ASSISTANT State Media Ltd. suggesting that many of today’s more touch the painting – already deemed is part of the Greenwich Village Society Silvia Maietta LONDON [email protected] honest grads will still be repaying virtually worthless! Four years later the for Historic Preservation’s (GVSHP) [email protected] student debts when they reach their 50s. court agreed and kicked Fletcher’s fatuous Historic Plaque Program, a partnership CORRESPONDENTS However, digital designers are much in claim out in part after Ms Bovard’s with a local pizza business. Basquiat Clare Henry PRINTED BY demand (ref: the online shift) meaning damning testimony. Only in America! lived at 57 Great Jones Street for just Ian McKay Garnett Dickinson a graduate starter could earn pay of five years until his overdose death in Rotherham S63 5DL William Varley £17,000 - £23,000 pa. Deborah R Gerhardt, a law professor at 1988. How long art heroes will last if the University of North Carolina has Artevera succeeds is anyone’s guess. WHEN NO MEANS NO commented: ‘So much of the value of This Siena based company has STATE MAGAZINE is available through selected WHILE ON the subject of high rolling art turns on the brand name of the allegedly developed a printing artists, Peter Doig has enjoyed big bucks artist and artists really like to control technique for ‘cloning’ artworks that galleries, libraries, art schools, museums and as a darling of the auction rooms. But the quality that their names are associated replicates the surface, brush strokes and other art venues across the UK. lest the low earning graduate painters with’. If Feinerman had sided with the exact colouring of any painting – (see above) think he has had it all his plaintiffs in this most rare case, it would putting ‘identical’ copies of any work Totally free, STATE is about new own way, take note of Doig’s recent have opened a can of worms whereby a into the hands of the proletariat at a manoeuvres in painting and the brush with what is laughingly called living artist is no longer the final arbiter fraction of the original cost. Over to visual arts – combined with f22, America’s justice system. In a nutshell: on the authenticity of his own output. Judge Gary Feinerman perhaps? a supplement on developments in a former guard at the Thunder Bay the fusion of art & photography. Correctional Center, about 15 hours YOU’RE JUST TERRIFIC AND FINALLY. Tired of being asked north of Toronto, says Doig created HAVE YOU noticed that there are no for Leonard Cohen’s autograph, our It is not a review magazine – it a work there as a youthful inmate.
Load more

Recommended publications
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • Arts Council England Grant-In-Aid and Lottery Distribution Annual Report and Accounts | |
    13 14 Arts Council England Grant-in-Aid and Lottery distribution annual report and accounts | | Arts Council England Grant-in-Aid and Lottery distribution annual report and accounts 2013/14 Presented to Parliament pursuant to sections 34(3) and 35(5) of the National Lottery etc Act 1993 (as amended by the National Lottery Act 1998 and National Lottery Act 2006). Ordered by the House of Commons to be printed 10 July 2014 HC 176 | CONTENTS 20 REVIEW OF THE YEAR 40 THE CREATIVE ECONOMY 41 CHAIR’S REPORT 71 CHIEF EXECUTIVE’S REPORT 02 ACHIEVING GREAT ART AND CULTURE FOR EVERYONE 04 EQUALITY AND DIVERSITY 44 HIGHLIGHTED INFORMATION © Arts Council England copyright 2014 67 GRANT-IN-AID ACCOUNTS 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 110 LOTTERY DISTRIBUTION ACCOUNTS any format or medium provided that it is reproduced accurately and not in a misleading context. 130 NATIONAL LOTTERY REPORT The material must be acknowledged as Arts Council England copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to National Director, Advocacy & Communications, Arts Council England, The Hive, 49 Lever Street, Manchester M1 1FN This publication is available at www.gov.uk/government/publications Print ISBN 9781474100908 Web ISBN 9781474100915 Printed in the UK by the Williams Lea Group on behalf of the Controller of Her Majesty’s Stationery Office ID 12031401 07/14 Printed on paper containing 75% recycled fibre content minimum 1 Review of the year 4 Lottery distribution accounts | | 2 Highlighted information 5 National Lottery report 3 Grant-in-Aid accounts ReVIEW OF 1 THE YEAR Peter Grimes opera on the beach, Aldeburgh Music in Suffolk.
    [Show full text]
  • Press Release: 27 March 2018 the HEPWORTH WAKEFIELD ANNOUNCES NEW CHAIR of the BOARD
    Press Release: 27 March 2018 THE HEPWORTH WAKEFIELD ANNOUNCES NEW CHAIR OF THE BOARD The Trustees of The Hepworth Wakefield have appointed internationally acclaimed design critic, Alice Rawsthorn OBE as the new Chair of The Hepworth Wakefield. Rawsthorn will take up the role in May 2018 when the gallery’s first Chair, David Liddiment steps down after a seven year term. David Liddiment, current Chair of The Hepworth Wakefield Board, said: “On behalf of The Hepworth Wakefield Board, I am delighted to announce Alice Rawsthorn as its new Chair. Alice has a wealth of experience and knowledge both as a Chair and Trustee of arts organisations that will be hugely beneficial to realising the gallery’s ambitious plans in the coming years.” On being appointed as Chair of The Hepworth Wakefield, Alice Rawsthorn said: “As a proud northerner, who is passionate about the arts I am thrilled to be taking on the role of Chair of The Hepworth Wakefield. The gallery has achieved so much in such a short time, and I am delighted by the prospect of being able to contribute to its future development and growth.” Rawsthorn has broad experience in arts governance, working for seven years as a trustee of Arts Council England, and serving on the board of the Whitechapel Gallery for over 20 years. She currently chairs the boards of trustees of Chisenhale Gallery and the contemporary dance group Michael Clark Company. Born in Manchester, Rawsthorn graduated in art history from the University of Cambridge. Awarded an OBE for services to design and the arts, she is an honorary senior fellow of the Royal College of Art and has an honorary doctorate from the University of the Arts.
    [Show full text]
  • Fundraiser Catalogue As a Pdf Click Here
    RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to
    [Show full text]
  • David Thorpe : a Rare Beast Maureen Paley
    David Thorpe : A Rare Beast Maureen Paley 8 June - 22 July 2012 Review by Henry Little Libidinous, bulbous plants, groaning patterned monoliths, crafted vertebrae and a fleshy length of oak: David Thorpe’s exhibition marries Victorian artisanal creed with the science-fiction, fantasy landscapes of previous years. Earlier works from the middle of the last decade depicted precarious architecture and emblematic civilisations in the wilderness, alone, but romantic and picturesque. Here, we see this peculiar world up close. A monument on eight wooden legs, just tall enough to make you feel small, occasionally asserts itself with a low groan. This seems strange, emanating from a rustic, ornate wall facsimile, devotedly inlaid with looping foliage patterns and constructed in antiquated wattle and daub. Its near neighbour, an upright screen with domestic dark brown tiles with a white foliage pattern, is comparably emphatic in its love of Victorian design. Like the highly influential nineteenth-century writer and critic John Ruskin (1819 - 1900), Thorpe’s current body of work foregrounds a fascination with the relationship between art and nature. And, more specifically, the tension and difference between imitating and recording nature. Ruskin was a keen advocate of botanical illustration, in fact championing these humble craftsmen as artists, not merely ‘illustrators’, and was an avid water-colourist himself. In Thorpe’s botanical watercolours, we see this same impetus to record accurately, but instead of known plants we are presented with fantastical specimens derived, as we may suppose, from the artist’s own universe. These works, if you are so inclined, are truly exceptional. ‘Ecstatic Hangings’ (2012) bears the erotic fruit of the work’s title.
    [Show full text]
  • Art REVOLUTIONARIES Six Years Ago, Two Formidable, Fashionable Women Launched a New Enterprise
    Art rEVOLUtIONArIES SIx yEArS AgO, twO fOrmIdAbLE, fAShIONAbLE wOmEN LAUNchEd A NEw ENtErprISE. thEIr mISSION wAS tO trANSfOrm thE wAy wE SUppOrt thE ArtS. thEIr OUtSEt/ frIEzE Art fAIr fUNd brOUght tOgEthEr pAtrONS, gALLErIStS, cUrAtOrS, thE wOrLd’S grEAtESt cONtEmpOrAry Art fAIr ANd thE tAtE IN A whIrLwINd Of fUNdrAISINg, tOUrS ANd pArtIES, thE LIkES Of whIch hAd NEVEr bEEN SEEN bEfOrE. hErE, fOr thE fIrSt tImE, IS thEIr INSIdE StOry. just a decade ago, the support mechanism for young artists in Britain was across the globe, and purchase it for the Tate collection, with the Outset funds. almost non-existent. Government funding for purchases of contemporary art It was a winner all round. Artists who might never have been recognised had all but dried up. There was a handful of collectors but a paucity of by the Tate were suddenly propelled into recognition; the national collection patronage. Moreover, patronage was often an unrewarding experience, both acquired work it would never otherwise have afforded. for the donor and for the recipient institution. Mechanisms were brittle and But the masterstroke of founders Gertler and Peel was that they made it old-fashioned. Artists were caught in the middle. all fun. Patrons were whisked on tours of galleries around the world or to Then two bright, brisk women – Candida Gertler and Yana Peel – marched drink champagne with artists; galleries were persuaded to hold parties into the picture. They knew about art; they had broad social contacts across a featuring collections of work including those by (gasp) artists tied to other new generation of young wealthy; and they had a plan.
    [Show full text]
  • Quarters Kathryn Tully Compare How the Artists’ Areas in the Two Cities Have Changed Over Time
    4 ART AND THE CITY ART TIMES ART DISTRICTS London and New York are the two powerhouses of the international art world, Artist’s supporting galleries, auction houses, museums and, of course, artists. The areas where the latter congregate quickly gain a reputation for style, innovation and creativity – prompting the arrival of dealers and property developers. Based in London and New York respectively, Ben Luke and quarters Kathryn Tully compare how the artists’ areas in the two cities have changed over time LONDON (YBAs), and gathered in a then un- that the character of the place and the It is astonishing that until 2000, when likely crucible for cultural renaissance It is important to try to strike a things that made it successful as an area Tate Modern opened, London lacked – the East End districts of Shoreditch of regeneration can remain in some a national museum of modern art. and Hoxton. balance between ensuring that form, but without stultifying it and Instead, 20th-century art was housed In Lucky Kunst, his memoir of the trying to keep it as a museum.” alongside British art in the Tate Gallery, YBA era, Gregor Muir, now director of the character of the place and the Mirza is particularly focused on now Tate Britain, on Millbank. When it the contemporary gallery Hauser and the area around the 2012 Olympic arrived, Tate Modern shone as a beacon Wirth, remembers arriving as a pen- things that made it successful as an Park. “Hackney Wick has the largest for London’s newfound conviction in niless critic in a Shoreditch suffering concentration of artists anywhere in the kind of art that had long been the from the economic inequalities of the area of regeneration can remain in Europe.
    [Show full text]
  • News Release
    News Release Wednesday 27 June 2018 FINAL COMMISSIONED PORTRAIT OF MICHAEL JACKSON BY ARTIST KEHINDE WILEY GOES ON PUBLIC DISPLAY FOR FIRST TIME IN UK New and previously unseen works unveiled in major new exhibition exploring the influence of Michael Jackson on contemporary art Kehinde Wiley in front of his painting, Equestrian Portrait of King Philip II, 2009 photograph by Jorge Herrera; Equestrian Portrait of King Philip II (Michael Jackson) by Kehinde Wiley 2010. Olbricht Collection, Berlin. Photo by Jeurg Iseler. Courtesy of Stephen Friedman Gallery, London and Sean Kelly Gallery, New York © Kehinde Wiley Michael Jackson: On the Wall National Portrait Gallery, London: 28 June – 21 October 2018 Sponsored by BOSS and Sony Music The final commissioned portrait of Michael Jackson by the artist Kehinde Wiley is to go on public display for the first time in the UK in a major new exhibition, Michael Jackson: On the Wall, opening at the National Portrait Gallery, London on Thursday 28 June 2018. The exhibition, which explores the influence of Michael Jackson on some of the leading names in contemporary art, also includes 11 new works made specifically for the exhibition by contemporary artists including Njideka Akunyili Crosby, Dara Birnbaum, Michael Craig-Martin, Graham Dolphin, Yan Pei Ming and Donald Urquhart. Other works going on display for the first time in the UK include American artist and activist Faith Ringgold’s story quilt Who’s Bad?,a series of collages by Isaac Julien made in 1984 and Jackson’s ‘dinner jacket’ covered with forks, spoons and knives made by costume designer Michael Lee Bush.
    [Show full text]
  • Modernist Frontiers
    PRESS RELEASE Modernist Frontiers – Then and now Avantgarde Kommunikation mbH is pleased to announce that its EXPO 2017 cooperation partner Garage will host the international architectural conference at EXPO 2017 | 22 – 23 July (Munich/Astana, 19 July 2017) On the occasion of the EXPO 2017 in Kazakhstan, this weekend the two- day international conference will take place at the Astana Contemporary Art Center. Initiated by Garage, the conference has been called to provide a context for discussion on Almaty’s modernist architecture (1960s–1980s), presenting it to the international expert community and launching a conservation campaign for this extremely important part of the former Kazakh capital’s architectural history. The Garage Museum of Contemporary Art, Moscow and the Parisian museum Réunion des musées nationaux – Grand Palais are cooperation partners of the international creative agency Avantgarde, which was commissioned with execution and overall coordination for the Astana Contemporary Art Center (ACAC). In an effort to bring together different points of view and create an interdisciplinary environment for the study of modernist architecture in Almaty, researchers from a range of countries and different academic communities will speak at the conference. It will present various views on both the history of postwar modernist architecture and on contemporary problems in the restoration of such architecture and its adaptation to new functions. The program The first day of the conference, “The Regional Specifics of Soviet Modernism,” will set the historical and theoretical context for the discussion of Soviet architectural heritage in the former republics of the USSR. The first session will contrast shared aspects of Soviet heritage with regionally unique traits in the architecture of the former Soviet republics.
    [Show full text]
  • Going Everywhere and Nowhere from Moscow to the Urals – How Curatorial Delusions of Global Grandeur Betray Russian Art
    GOING EVERYWHERE AND NOWHERE FROM MOSCOW TO THE URALS – HOW CURATORIAL DELUSIONS OF GLOBAL GRANDEUR BETRAY RUSSIAN ART BY SIMON HEWITT I : A MOSCOW MIRED IN MEMORIES A BANNER was dangling from the giant triumphal portico of VDNKh, beneath the two collective farmworkers brandishing their bale of straw. It advertised the 6th Moscow Biennale – the number 6 allotted spiralling arms to resemble a Catherine Wheel. But the banner was challenged by a bigger hoarding wheeled on to the piazza below, blowing the trumpet of a separate festival called Circle of Light . The Biennale’s main show was taking place just behind Lenin in VDNKh’s Central Pavilion (also known as Pavilion N°1), erected in 1954 and topped by a 350-foot spire modelled on the St Petersburg Admiralty. The Biennale was meant to open at noon. I tried to find the entrance but couldn’t. There were no signs. No information about where and when the Biennale could be visited. Yuri Albert’s immortal line breezed through my mind: The Biennale cannot and will not take place . The 6 th Moscow Biennale had been having well-publicized financial problems. Was it so bankrupt that it had ceased to exist, morphing instead into a Conceptualist joke? VDNKh, six miles north of Red Square, was the sixth venue for the Moscow Biennale’s main exhibition. It had previously been held in the former Lenin Museum near Red Square; the under-construction Federation Tower at Moscow City; the newly restored Garage (now Jewish) Museum during its brief Abramovich/Zhukova tenancy; the renovated ArtPlay cultural and commercial complex; and, in 2013, the Manezh.
    [Show full text]
  • Russian Meddling in Western Elections, 2016-2017: a Preliminary
    RUSSIAN MEDDLING IN WESTERN ELECTIONS, 2016-2017: A PRELIMINARY PROBE By Guillermo Lopez Sanchez A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in International Studies May 2018 Committee Members: Dennis J. Dunn, Chair Ronald Angelo Johnson Sandhya Rao COPYRIGHT by Guillermo Lopez Sanchez 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Guillermo Lopez Sanchez, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I express my gratitude to Dr. Dennis J. Dunn, Professor of History and Director of the Center for International Studies at Texas State University. His dedication, knowledge, and support since I began the Master of Arts with a major in International Studies were invaluable. In addition, my appreciation is extended to Dr. Ronald Angelo Johnson, Associate Professor in the Department of History; and Dr. Sandhya Rao, Professor in the Department of Mass Communication, for their outstanding advice and assistance. Collectively, they strengthened my resources, asked probing questions that helped me sharpen my focus, and provided valuable insights that benefitted my research. I also wish to express my appreciation to Jeremy Pena, Coordinator of Academic Programs at the Center for International Studies, for his administrative support.
    [Show full text]
  • WITHIN a REALM of DISTANCE LAWRENCE WEINER at BLENHEIM PALACE 10 OCTOBER – 21 DECEMBER 2015 Press Preview
    WITHIN A REALM OF DISTANCE LAWRENCE WEINER AT BLENHEIM PALACE 10 OCTOBER – 21 DECEMBER 2015 Press Preview: 9 October 2015 Blenheim Art Foundation is delighted to announce a new exhibition by American artist and founding figure of Conceptual Art, Lawrence Weiner. Opening at Blenheim Palace on 10 October, the exhibition will showcase works conceived by the artist over the last several decades, in addition to significant, site-specific works, created especially for the Palace. Integrated throughout the ornately furnished Palace rooms, as well as the monumental exterior of the 18th century building, the exhibition is a continuation of the artist‟s practice, using language as a medium to create a multitude of sculptural forms for this UNESCO World Heritage site. Lawrence Weiner is regarded as one of the most influential artists working today with a career spanning over fifty years. Within a Realm of Distance, conceived by the artist in close collaboration with Blenheim Art Foundation and co-curator Christian Gether, Director, ARKEN Museum of Modern Art, will feature a new and ambitious body of work presented in a building that dates back to 1704 and which famously became the birth place of British Prime Minister Sir Winston Churchill in 1874. Existing as an idea rather than a physical object, Weiner invites visitors to experience his work in tandem with the rich heritage of the Palace, using the building‟s historic collections as a support structure for his artistic vision. Within a Realm of Distance is the second exhibition by Blenheim Art Foundation, a programme of contemporary art, which sees exhibitions presented at the Palace by internationally acclaimed contemporary artists, and follows the inaugural exhibition Ai Weiwei at Blenheim Palace (2014).
    [Show full text]