Lisa Yuskavage Born 1962 in Philadelphia
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Announcement
Announcement 56 articles, 2016-05-25 18:01 1 venice architecture biennale: antarctic pavilion the pavilion will showcase visuals that underline possibilities of new (0.01/1) forms of architecture, planning, thinking for the vast tundra. 2016-05-25 10:40 1KB www.designboom.com 2 Lee Kit: Hold your breath, dance slowly “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to (0.01/1) nook, you find yourself doing just that: holding your... 2016-05-25 12:13 836Bytes blogs.walkerart.org 3 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors highlighting the french creative's meticulously practical approach to artistic design, the 'LM1 silberstein' is serious watchmaking. seriously playful. 2016-05-25 16:01 8KB www.designboom.com 4 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-25 13:00 972Bytes blogs.walkerart.org 5 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-25 17:13 12KB rhizome.org 6 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. -
Press Release
Press Release Abigail Lane Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) Victoria Miro Gallery, 4 October – 10 November 2001 The exhibition is organized by the Milton Keynes Gallery in collaboration with Film and Video Umbrella The Victoria Miro Gallery presents a major solo exhibition of work by Abigail Lane. Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) extends her preoccupation with the fantastical, the Gothic and the uncanny through a trio of arresting and theatrical installations which are based around film projections. Abigail Lane is well known for her large-scale inkpads, wallpaper made with body prints, wax casts of body fragments and ambiguous installations. In these earlier works Lane emphasized the physical marking of the body, often referred to as traces or evidence. In this exhibition Lane turns inward giving form to the illusive and intangible world of the psyche. Coupled with her long-standing fascination with turn-of-the-century phenomena such as séances, freak shows, circus and magic acts, Lane creates a “funhouse-mirror reflection” of the life of the mind. The Figment explores the existence of instinctual urges that lie deep within us. Bathed in a vivid red light, the impish boy-figment beckons us, “Hey, do you hear me…I’m inside you, I’m yours…..I’m here, always here in the dark, I am the dark, your dark… and I want to play….”. A mischievous but not sinister “devil on your shoulder” who taunts and tempts us to join him in his wicked game. The female protagonist of The Inclination is almost the boy-figment’s antithesis. -
© 2020 Kaitlyn Wentz All Rights Reserved
© 2020 KAITLYN WENTZ ALL RIGHTS RESERVED ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION A Thesis PresenteD to The GraDuate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts KAITLYN WENTZ May, 2020 ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION Kaitlyn Wentz Thesis ApproveD: AccepteD: ______________________________ ___________________________ Advisor School Director James Slowiak Dr. Marc ReeD ______________________________ ___________________________ Committee Member Interim Dean of the College ArnolD Tunstall Dr. LinDa Subich ______________________________ ___________________________ Committee Member Acting Dean of the GraDuate Courtney Cable School Dr. Marnie SaunDers ___________________________ Date ii ABSTRACT In a time of constant threat to funDing, elimination of the National EnDowment, anD competition over resources, philanthropy in the arts anD culture sector is inDispensable to the vibrancy anD economic Development of a city’s core. The arts anD culture sector is consiDereD to take away from an economy’s financial resources. However, it is the exact opposite. It is a thriving sector that contributes to the economy by creating jobs, spenDing money at local businesses, anD bringing in cultural tourists. FreD BiDwell anD Rick Rogers have a long history of philanthropy in this sector, anD their DemonstrateD support has leD to efforts of revitalization, vibrancy, anD Dollars spent in the cities of Akron anD ClevelanD. This thesis explores the history, issues, and successes of the two cultural proDucers’ philanthropy efforts in the sector anD the impact that their support has brought to the Northeast Ohio region. iii TABLE OF CONTENTS CHAPTER I. -
Stephen Willats
PRESS RELEASE STEPHEN WILLATS THE WORLD AS IT IS AND THE WORLD AS IT COULD BE 7 May - 12 June 2010 From the 1960's until today, London-based conceptual artist Stephen Willats has concentrated on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organization. Stephen Willats has situated his pioneering practice at the intersection between art and other disciplines such as sociology, cybernetics, systems research, learning theory, communications theory and computer technology. Victoria Miro is delighted to present new and unseen works by Stephen Willats in THE WORLD AS IT IS AND THE WORLD AS IT COULD BE. This exhibition furthers Willats' interrogation of social interactions and the polemics of contemporary life in urban society. Through his ongoing preoccupation with developing a new graphic language that establishes continuity between film, photography, text and drawings, here Willats takes the idea of a journey through two parallel realities, the world as it is - the world we live in - and its transformation into the world as it could be. Via this strategy, Willats explores the idea of art as something that motivates people to change their perceptions of reality, to embrace the notion that the world in which they live could be quite different, that one can effect change. The exhibition features a large new installation Cybernetic Still Life (2010), comprised of a monumental wall drawing that incorporates film projections, as well as several photographic and text based works. Employing a diagrammatic framework to express fluidity and transience in relationships - concepts that define the locus of production and exchange of information - these new works explore the very human side of perceptions, our relationships to each other and our tendency to stereotype and make instant assumptions based on brief glimpses into the lives of others. -
Conrad Shawcross
CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA 2017 Beijing Canopy, Guo Rui Square, Beijing, China 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK Paradigm, Francis Crick Institute, curated by Artwise, London, UK 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, UK 2009 Axiom (Tower), Ministry of Justice, London, UK 2007 Space Trumpet, Unilever House, London, UK Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK Escalations, Château la Coste, Le Puy-Sainte-Réparade, France Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury, -
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 -
For Immediate Release
For Immediate Release: As Is Is George Condo, John Currin, Chris Johanson, Emily Wardill, Lynette Yiadom-Boakye with a film program curated by Mary Helena Clark & Josh Minkus including Tony Buba, Jem Cohen, Kevin Jerome Everson, Liz Magic Laser, Saul Levine, Joan Logue, Anne McGuire May 7 – June 27, 2015 Opening reception May 7, 5:30 – 7:30 p.m. In 1874, the photographer Julia Margaret Cameron went to work on a series of photographic illustrations for Alfred Tennyson’s Arthurian series of poems, Idylls of the King. Cameron was neighbors with Tennyson on the Isle of Wight, and often enlisted him to sit for her. Cameron once complained, “I want to do a large photograph of Tennyson, and he objects! Says I make bags under his eyes.” In one picture, now one of the indelible images of the poet, Tennyson, outfitted in monastic robes, appears reflective, pious, and in need of a nap. Tennyson dubbed the photograph “The Dirty Monk.” In 1957, Richard Avedon was contracted to photograph the Duke and Duchess of Windsor. The media savvy couple arrived at Avedon’s studio prepared for a stock photo shoot. Knowing they were avid pug lovers (they kept several– Mr. Disraeli, Mr. Chu, Trooper, Imp, Davy Crockett) Avedon, intent on disrupting their carefully composed media face, told them that on his way over his taxi had run over a dog. While they winced in horror he snapped the now famous picture. In 1984, Don Bachardy painted the official gubernatorial portrait of Jerry Brown. One legislator described the work as looking like it was painted with “spilled ketchup and soy sauce.” The portrait proved so unpopular that it was moved to a third floor landing in the state capitol building, far from the other official portraits. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
JOHN CURRIN: New Paintings
G A G O S I A N G A L L E R Y October 23, 2010 PRESS RELEASE GAGOSIAN GALLERY 980 MADISON AVENUE T. 212.744.2313 NEW YORK NY 10075 F. 212.772.7962 GALLERY HOURS: Tue - Sat 10:00am - 6:00pm JOHN CURRIN: New Paintings Thursday, November 4 – Thursday, December 23, 2010 Opening reception for the artist: Thursday, November 4th, from 6 to 8 pm The people I paint don’t exist. The only thing that is real is the painting. It’s not like a photograph where there’s another reality that existed at a certain moment in time in the past. The image is only happening right now and this is the only version of it. To me, that’s fascinating. It’s an eternal moment. --John Currin Gagosian Gallery is pleased to present new paintings by John Currin. Currin’s depictions of the female figure enchant and repel, often in equal measure. Labeled as mannerist, caricaturist, radical conservative or satirist, Currin continues to confound expectations and evade categorization. While his meticulous and virtuosic technique is indebted to the history of classical painting, the images themselves engage startlingly contemporary ideas about the representation of the human figure. With inspirations as diverse as Old Master portraits, pin-ups, and mid-twentieth century B-movies, Currin continues to paint ideational yet challengingly perverse images of female subjects, from lusty nymphs to more ethereal feminine prototypes. With his uncanny ability to locate the point at which the beautiful and the grotesque are held in perfect balance, he continues to produce subversive portraits of idiosyncratic women in conventional settings. -
Gagosian Gallery, at Its Beverly Hills Outpost (Through February 17), Makes That Abundantly Clear
Vogue January 13, 2018 GAGOSIAN In L.A., Rachel Feinstein Finds Inspiration in the Victoria’s Secret Runway Show Dodie Kazanjian Rachel Feinstein studio image, 2017 Photo: Robert McKeever / Courtesy of Gagosian / © Rachel Feinstein It’s an understatement to say that the artist Rachel Feinstein is an over-the-top maximalist. Everything about her is larger than life, and “Secrets,” her debut show with the Gagosian gallery, at its Beverly Hills outpost (through February 17), makes that abundantly clear. This is also her first solo show in Los Angeles, and there’s not one iota of stage fright here. On view are eight life-size figurative sculptures made of high-density foam, 11 collage mirror paintings, and one large, all-white majolica figure made in the famous Nymphenburg porcelain factory in Munich. (She’s already working with the factory on making her L.A. sculptures in porcelain, for her next show.) Rachel’s love of the Rococo and the Baroque, mashed up with her inner, Coral Gables self-assurance that anything and everything goes, have given birth to some of the most insane figurative sculptures you’ll ever see: eight “Angels” based on Victoria’s Secret models, with names like Butterfly, Fireworks, Ballerina, Icicle, and Feathers—fantastical grotesque beauties, pinup girls gone wild. The sculptures are like animals, circus beasts, clowns, tragicomic confections. They wear wildly colorful baby doll lingerie, skimpy thongs, and gem-encrusted underthings. The luxurious plays ball with the gritty, romance with pornography, ostentatious chic with Rachel’s signature raw and goofy awkwardness, which flirts with but never quite tips into vulgarity. -
Jack Hanley Gallery
JACK HANLEY GALLERY Margaret Lee (b. 1980) lives and works in New York, NY Solo and Two Person Exhibitions 2018 Shouting in a Bucket Blues, The Green Gallery, Milwaukee, WI ...banana in your tailpipe, Marlborough Contemporary, London, UK 2017 ...banana in my tailpipe, Misako & Rosen Gallery, Tokyo, Japan 2016 It’s not that I’m not taking (this) seriously, Jack Hanley Gallery, New York, NY Having It Both Ways, The Window at Barneys, New York, NY Duddell’s x DMA: Concentrations HK: Margaret Lee, curated by Gabriel Ritter, Duddell’s, Hong Kong, China de, da, do...da, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA 2015 You Can Teach an Old Zebra New Tricks, Margaret Lee and Emily Sundblad, Hannah Hoff- man Gallery, Los Angeles, CA 2014 Reading into Things, Team Bungalow, Venice, CA Sometimes Maybe, The Green Gallery, Oak Park, Chicago, IL Closer to wrong than right/ closer to right than wrong, Jack Hanley Gallery, New York, NY 2013 Für die Kinder Düsseldorfs, with Emily Sundblad, Off Vendome, Dusseldorf, Germany 2012 MHML: Margaret Lee and Matthew Higgs, The Green Gallery East, Milwaukee, WI MLMH: Margaret Lee and Matthew Higgs, Murray Guy, New York, NY Waiting for ####, Jack Hanley Gallery, New York, NY Group Exhibitions 2020 For a Dreamer of Houses, Dallas Museum of Art, Dallas, TX 2017 Oomingmak, Capital Gallery, San Francisco, CA 30th Anniversary Exhibition Attics of My Life, Jack Hanley Gallery, New York, NY Sea Sick in Paradise, DEPART Foundation, Los Angeles, CA 2016 Her Crowd: New Art by Women from Our Neighbors’ -
The Cindy Sherman Effect
*FE Cindy Sherman Feb 2012_2008 FEATURE TEMPLATE 1/4/12 5:39 PM Page 2 LEFT Cindy Sherman, Untitled Film Still #7 , 1978. OPPOSITE Cindy Sherman, Untitled #474 , 2008. The Cindy Sherman Effect BY INVENTING HER OWN GENRE, CINDY SHERMAN HAS INFLUENCED THE WAY GENERATIONS OF ARTISTS THINK ABOUT PHOTOGRAPHY, PORTRAITURE, NARRATIVE, AND IDENTITY BY PHOEBE HOBAN K R O Y W E N , S E Starting with the game-changing black-and-white “Untitled Film Stills” she created in R U T C the late 1970s, Cindy Sherman has shown herself to be the ultimate master of self-morphing, utilizing I P O everything from old-fashioned makeup and prosthetics to digital technology, inventing and portraying R T E extraordinary alter egos and multiple identities that brilliantly reflect our image-saturated culture—and M D N in the process inventing her own genre. A T S I Call it the Cindy Sherman effect. Whether it’s those iconic stills of faux cinema moments or her more T R A recent scary-funny clown series, the tragicomic coven of aging society women or the larger-than-life E H T Y S E Phoebe Hoban is a New York –based writer who covers art and culture for a variety of publications. Her biography T R U O Alice Neel: The Art of Not Sitting Pretty was published by St. Martin’s Press in 2010. C 76 February 2012 ARTnews *FE Cindy Sherman Feb 2012_2008 FEATURE TEMPLATE 1/4/12 5:39 PM Page 4 ABOVE Ryan Trecartin, P.opular S.ky (section ish) , 2009, HD-video still.