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Artist Resources – Jonas Wood (American, B. 1977)
Wood at Gagosian Gallery Wood at David Kordansky Gallery, Los Angeles Artist Resources – Jonas Wood (American, b. 1977) Over the course of 2009, Wood participated in a project organized By the Hammer Museum in LA, his first solo museum exhibition in the states, for which he painted a new series of abstracted still lifes that Built on previous images of potted plants and domestic scenes. Wood saw increasing recognition Between 2013 and 2015, with solo exhibitions at Anton Kern Gallery and the Lever House Collection, the first collaBorative shows with his wife in New York and Hong Kong, and interviews about his practice and the life that inspires his work. An extensive monumental still life adorned the exterior façade of LA’s Museum of Contemporary Art for a year in 2017, Bringing Wood’s dynamic, vivid representations of plants and ceramics in a series of mural panels that wrapped around the iconic Building. New landscapes and still lifes by Wood also filled all three galleries at David Kordansky’s Los Angeles space in 2017. Museum Voorlinden debuted Europe’s first dual exhiBition of Wood and his wife, ceramicist Shio Kusaka, in 2017. Though the couple maintains their own independent practices, they share a studio, and their work influences each other as Wood frequently incorporates Kusaka’s handmade vessels – which Build on traditional Japanese and American modernist motifs – into his paintings. Wood, 2017 Photography: Steven Perilloux Gagosian debuted Wood’s first solo print exhiBition in 2018 with 50 prints produced since 2004. Wood spoke with Art in Print about the exhibition, how printmaking informs his painting practice, and his own print house – WKS Editions. -
Tom Thayer B
! Tom Thayer b. 1970 in Chicago Heights, IL Lives and works in New Jersey Exhibitions / Performances 2019 Make a Pinch Pot Out of Your Mouth, Derek Eller Gallery, New York, NY 2018 Tom Thayer, BUREAU_AUDIO, Bureau Gallery, New York, NY, www.bureau.audio Tom Thayer: Witches and the Old West, Pocono Summmer Gathering, Mark Van Yetter Studio, Stroudsburg, PA 2017 Van Winkle’s Oblivion, Miko + Thayer, 11R, 195 Chrystie St, New York, NY 2016 Inaugural Exhibition, Romeo, New York, NY Corps of Discovery (for DEATH CULT Performance Festival), Lyles and King Gallery, New York, NY L.GRAY + T.THAYER present An Evacuation Music, (in collaboration with artist, Keith Connolly for his Issue Project Room artist residency, curated by Lawrence Kumpf, Artistic Director, Blank Forms), Issue Project Room, New York, NY Lucky Draw 2016 Spring Benefit, SculptureCenter, Long Island City, NY 2015 Officielle FIAC (art fair, Miko + Thayer, represented by 11R Gallery), Paris, France Afflict the Comfortable, (organized by Robert Boyers, editor, Salmagundi, and Ian Berry, Dayton Director, The Tang Museum), The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY Archetypes, Power and Puppetry: Jonathan Baldock, Anne Chu, My Barbarian, Tom Thayer, Kara Walker and Wayne White (curated by Kitty McManusZurko, Director/Curator, CWAM) College of Wooster Art Museum, Wooster, OH Tom Thayer IT’S HOUSE, (in collaboration with artist, Keith Connolly, organized by artist, Michael Krebber) Mousonturm, Frankfurt, Germany Abasement Vol.5: T.THAYER -
Press Release
David Ratcliff Basement Psychedelia 09 September — 21 October 2018 306 Windward Ave Team (bungalow) is pleased to present an exhibition of and photographs both employ stark shadow and contrast. new work by Los Angeles-based painter David Ratcliff. Compromised form and dimensionality corrupt the Entitled Basement Psychedelia, the exhibition will legibility of the sourced photographs, blending run from 09 September through 21 October 2018. representation and abstraction and obscuring boundaries Team (bungalow) is located at 306 Windward Avenue in between bodies, shadows, and shapes. The illustrations Venice, CA. more precisely transcribe image and process, with a quality of line that discloses the crisp surgery of the History is destined to repeat itself, though our ability stencil and dusty overspray of their painting. Mediated to record and process events is struggling to keep traces of origin such as the source material’s panel and pace with the increasingly rapid rate at which that page borders orchestrate an interplay of planar flatness repetition occurs. Drawing on an archive of pulp and and spatiality and breadth. subculture scraps, Basement Psychedelia captures a contemporary sense of dread; the anticipation, fear, Culled from a vast array of sources, Ratcliff’s found and anxiety of the present moment as defined by an material gathers an associative collection of evidence endless cycle of an American imperative defined by male and information, the disjointed clues from a crime-scene entitlement, insatiable indulgence, and immediate read more immediately by your gut than your head. The gratification. subjects of history painting are traditionally Cory Arcangelcommunicated through narrative depiction, whereas SamBasement Psychedelia McKinniss presents a new body of contemporary Ratcliff’s works suture together fragmentary and history paintings animated by a frenzied energy and a open-ended aesthetic impressions untethered from a time newly colorful palette. -
English in Subtitles
International Artist Residencies The following is a transcript of the International Artist Residencies panel, co-hosted by the Asian Cultural Council, Beijing Contemporary Art Foundation, and La MaMa Experimental Theatre Club on October 12, 2018 as part of Creative China Festival 2018. The hosting organizations share the belief that international cultural exchange is essential to fostering understanding and respect in the world. This immersive international exchange holds the potential for powerfully transformative experiences that benefit the individual artists involved, the communities in the exchange country, and the artists’ communities at home. Focusing primarily on residency programs committed to the exchange of artists between China and the United States, International Artist Residencies gathered arts professionals who design and run residencies alongside artists who have participated in such programs for a three-panel discussion: Artist Residencies and Community Engagement, The Experience of the Residency, and After the Residency. Representatives from programs in China and the United States presented a range of residency models that employ varying strategies to facilitate community engagement, maintain alumni networks, and provide artists access to global artistic communities. To build on the momentum of this panel, Beijing Contemporary Arts Foundation has compiled a list of artist residency programs and resources in the U.S. and China. Please refer to the link at： https://bcaf.org.cn/International-Artist-Residencies Please note -
Robert Janitz's First Solo Exhibition at Team Gallery, Titled “Stick Shift Heaven,” Included 13 New Works and Displayed A
Robert Janitz’s first solo exhibition at Team Gallery, titled “Stick Shift Heaven,” included 13 new works and displayed all three strands of the artist’s recent output: broad, gestural abstractions thickened with cold wax and flour; brushy portraits of the backs of people’s heads; and plant sculptures made of sheet metal and Coroplast. Born in Germany in 1962, Janitz moved to New York in 2009 after more than a decade living and showing in Paris. He is a true cosmopolitan with a love of dance, poetry, language, fashion, and food. I met up with him at his Bushwick studio to discuss his career thus far, his approach to work, and the difference between Europe and the US. NOAH DILLON I’m curious about the work you did in Europe and whether you think being in New York has affected what you’re doing now. ROBERT JANITZ I was starting to get a sense of New York in 2004, when I was at a Cooper Union summer residency and had been coming to New York on-and-off. But I only felt I was really connecting to anything in 2009, when I moved here. What prompted your move? You know, Paris is a very nice place but it’s very claustrophobic and they hate painting. Not that I was considering myself a painter… What does that mean? Because I was working with paint on a canvas I was a painter. And because I was a painter I was outside the Duchampian dialogue. I was a foreigner in a side wing of the dominant French discourse. -
Robert Janitz Kerckhoffs’ Principle 10 September – 25 October 2015 83 Grand Street
www.teamgal.com For Immediate Release: Robert Janitz Kerckhoffs’ Principle 10 September – 25 October 2015 83 Grand Street Team (gallery, inc.) is pleased to announce a solo show by the New York-based, German painter Robert Janitz. The exhibition will run from 10 September to 25 October 2015. Team (gallery, inc.) is located at 83 Grand Street, between Greene and Wooster, on the ground floor. Concurrently, our 47 Wooster Street space will house an exhibition of new work by Gardar Eide Einarsson. For this exhibition, Janitz presents a group of his “reverse portraits,” modestly scaled paintings that depict in abstruse terms the backsides of heads. With this body of work, the artist slyly controverts the dichotomy of figurative versus non-representational painting by probing the metamorphosis – or confabulation – of abstract marks into an identifiable figure. Here, the divergent treatment of portraiture – among Western art history’s most abiding and entrenched genres – quietly begets a kind of painterly exegesis, directing attention to the fact of the canvas, the image’s constituent brushstrokes and the composition and preparation of materials. The exhibition’s title refers to Auguste Kerckhoffs’ principle of cryptography, which states that a perfect cryptosystem is secure even when all its aspects but its key are publically known. Codes – lingual and visual – are central to the artist’s practice and choice of subject matter. His paintings investigate and interrogate the abstract underpinnings of painterly image-making. The theorist Max Mueller posits that mythology is a “disease of language,” transforming ideas and feelings into beings and stories; Janitz extends this theory to image making by winnowing the individually ambiguous, corrupted marks that, together, form a picture. -
Robert Janitz
www.teamgal.com Robert Janitz 1962 Born in Germany Lives in New York Solo Exhibitions: 2017 Team Satellite, Venice, CA, Hypothetical Types of Biochemistry Meyer Riegger, Berlin, Germany, Erst mit diesem Lack wird Unerhörtes richtig spannend 2015 Team Gallery, New York, NY, Kerckhoffs’ Principle Meyer Riegger, Karlsruhe, Germany, Nicht Üben, Machen! 2014 Meyer Riegger, Berlin, Germany, Oriental Lumber Team Gallery, New York, NY, Stick Shift Heaven 2013 Galerie Sobering, Paris, LE TRA VERSEUR DE LA TLAN TIC! 2012 Shoot The Lobster, New York, NY, How I Learned To Love The F C L E A R I N G, Brussels, A SHOE THAT FITS VARIOUS FEET 2011 C L E A R I N G, New York, NY, TO FALLOW (with Koenraad Dedobbeleer) Centre d’Art Domaine de Kerguehennec, France, EN REGARDS (with Pierre Tal-Coat) Bretagne, France, Art Dans Les Chapelles L’H du Siège, PARCOURS, Valenciennes, France, PARCOURS 2008 Galerie Bernard Ceysson, France, FAIRE TRACE, France Espace d’Art Contemporain, Atelier Blanc, Villefranche sur Rouergue, France Maison Art Contemporain Chailloux, Paris (with catalog) 2006 Leroy Merlin, Paris, DRIVE BY PAINTING, Moments Artistiques, Paris, NOLENS VOLENS PINXIT RJ, Moments Artistiques Galerie La Girafe, Berlin Centre Regional Art Contemporain Le 10-neuf, Montbéliard, France (with catalog) 2005 AS220, Providence, RI, PCP.05 2002 Galerie du Haut-Pavé, Paris (with catalog) 1996 Galerie Valleix, Paris, Huiles sur toile Team gallery, inc., 83 grand st New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.teamgal.com Selected Group Exhibitions 2017 -
Datebook-Ca-Graphic-Design- Lacma-20180928-Story.Html
http://www.latimes.com/entertainment/arts/miranda/la-et-cam-datebook-ca-graphic-design- lacma-20180928-story.html Datebook: Avant-garde graphic design, untold stories of California slavery and poetry in the sky By Carolina A. Miranda Sep 28, 2018 It’s another busy weekend of art openings around Los Angeles, with shows on design, activism, abstraction, the grotesque and dark episodes in California history. Plus: an 8-mile-long street party, a musical happening and storytelling event. Here are more than a dozen exhibitions and events to check out in the coming week: “West of Modernism: California Graphic Design, 1975-1995,” at the Los Angeles County Museum of Art. A show drawn from LACMA’s growing collection of design objects looks at a transformative moment in graphic design, when individual designers were becoming more high- profile, the home computer was shaking up the ways in which design could be produced and images were becoming increasingly fragmented and layered. Opens Sunday and runs through April 21. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org. “California Bound: Slavery on the New Frontier, 1848-1865,” at the California African American Museum. The Fugitive Slave Act of 1850 required that escaped slaves be returned to their masters — even if those slaves were in states in which slavery was not legal. In that same year, California joined the union. California was not a slave state, but it enforced the law — albeit erratically. Employing photographs, historical documents and other ephemera, this exhibition examines California’s history in connection with slavery. Through January 21. 600 State Dr., Exposition Park, Los Angeles, caamuseum.org. -
Mead Annual Report 2018-2020
ANNUAL REPORT DOUBLE ISSUE 2018–2019 2019–2020 Paneled room with light-filled stained-glass background; sculpted figure with a world globe as a head wears a mul- ticolored dress and stands on one leg, a stack of books balanced on the other C O N T E N T S 5 Foreword Paul Schnell 6 Introduction Nichole Bridges 8 Letter from the Director David E. Little PART 1: 2018–19 10 Education 22 Exhibitions On the cover: 40 Engagement Matthew Day Jackson (American, born 1974). Sacajawea (American Martyr Series) (detail), 2005. Anonymous Gift Learn about the artwork » ACQUISITIONS 54 2018–19 This page: Rotherwas Project 89 2019–20 No. 4: Yinka Shonibare CBE, 92 Trinkett Clark Memorial The American Library Student Acquisition Project Collection (Activists). PART 2: 2019–20 100 Education 114 Exhibitions 134 Engagement 146 Staff News and Notes 152 Financial Report 155 Advisory Board 156 Friends of the Mead F O R E W O R D Today, the Museum crackles with vitality—an energy one can sense Paul Schnell, ’76 P’11 whether visiting in person or Chair of the Mead Advisory Board connecting online. The Mead has become integral to the curriculum and to building community at the College. It is recognized as one of I have felt a strong connection to the Mead Art Museum the leading, most innovative college since my first year at Amherst, when I lived a few “ steps away in Stearns Hall. Back then, I thought of the art museums in the country." Museum as a quiet, underutilized and underappreciated place. -
Artists for the Hammer Museum
NEW YORK NEW ARTISTS FOR THE HAMMER MUSEUM FOR ARTISTS NEW YORK | 16 & 17 MAY 2019 16 & 17 MAY 2019 N0N10069 & N10070 N0N10069 2019 16 & MAY 17 2 SOTHEBY’S 3 4 SOTHEBY’S 5 TABLE OF CONTENTS 8 INTRODUCTION 14 HAMMER HISTORY 22 CONTEMPORARY ART EVENING 34 CONTEMPORARY ART DAY 6 SOTHEBY’S 7 DIRECTOR’S MESSAGE FROM ANN PHILBIN I came to the Hammer in 1999. From the outset, The story of Los Angeles’ arrival as a global arts we established some guiding principles that have capital is by now well told. This city has long been since become the DNA of the museum. We set out home to artists, many of whom studied or taught to make the Hammer a place that would nurture at outstanding schools like UCLA, CalArts, Otis, or young talent; bring new voices to the table; create a ArtCenter. In order to be taken seriously, the story welcoming space for our community; serve as a public goes, artists left L.A. to find their careers in New platform for the extraordinary riches of UCLA; and York. But in recent decades that changed, as more tackle the most urgent issues of the day. and more artists chose instead to stay put. That Those are our core values and our daily choice has had a ripple effect as the city’s institutions, touchstones. In particular, we have long believed galleries, alternative spaces, and collectors have that a museum can have a viewpoint, that it can take proliferated and matured in the twenty-first century. positions—often progressive and controversial. -
Art Works Grants
National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops. -
Leading Contemporary Artists to Donate Works for Auction at Sotheby's Supporting The
New York | +1 212 606 7176 | Darrell Rocha | [email protected] | Melanie Brister | [email protected] Sotheby’s to Present ARTISTS FOR THE HAMMER MUSEUM Leading Contemporary Artists to Donate Works For Auction at Sotheby’s Supporting the Creation of A New Artist Fund at the Hammer Museum at UCLA *Participating Artists Include* Mark Bradford | Cecily Brown | Vija Celmins | Jimmie Durham Charles Gaines | Mark Grotjahn | Jim Hodges | Rashid Johnson Barbara Kruger | Glenn Ligon | Laura Owens | Ed Ruscha Henry Taylor | Mary Weatherford | Ai Weiwei | Jonas Wood And More To Be Offered across Sotheby’s Marquee May Auctions of CONTEMPORARY ART In New York Mark Bradford Mark Grotjahn Barbara Kruger Jonas Wood Scratch Pink Untitled (Poppy Red Untitled (Avoid eye contact) Shio Butterfly Still Life Estimate $2/3 million and Yellowed Orange Estimate $200/300,000 Estimate $300/400,000 Butterfly 50.94) Estimate $600/800,000 Public Exhibitions Los Angeles (UTA Artist Space): 17 - 20 April New York (Sotheby’s): 3 - 16 May NEW YORK, 28 March 2019 – Sotheby’s is thrilled to announce that important works by nearly 40 celebrated artists with strong ties to the Hammer Museum at UCLA have been donated for auction this May at Sotheby’s New York. Under the visionary direction of Ann Philbin, the Los Angeles institution has emerged over the past two decades as one of the most vibrant and influential museums in America. This historic sale will support the creation of a new Artist Fund, which will directly support the museum’s pioneering exhibition program and work with emerging artists.