July-August 1996 CAA News
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CAROLEE SCHNEEMANN B
CAROLEE SCHNEEMANN b. 1939, Fox Chase, PA d. 2019, New Paltz, NY EDUCATION MFA, University of Illinois, Urbana, Illinois BA, Bard College, Annandale-On-Hudson, New York School of Painting and Sculpture, Columbia University, New York The New School for Social Research, New York La Universidad De Puebla, Mexico SOLO EXHIBITIONS 2022 Carolee Schneemann, Barbican Museum, London, UK (forthcoming) 2021 After Carolee: Tender and Fierce, Artpace, San Antonio, TX 2020 Liebeslust und Totentanz (Love’s Joy and Dance of Death), Bündner Kunstmuseum, Chur, Switzerland Off the Walls: Gifts from Professor John R. Robertson, Blanton Museum of Art, Austin, TX American Women: The Infinite Journey, La Patinoire Royale, galerie Valérie Bach, Saint-Gilles, Belgium All of Them Witches, curated by Dan Nadal and Laurie Simmons, Jeffrey Deitch, Los Angeles, CA Don’t Let this be Easy, Walker Art Center, Minneapolis, MN Barney, Scheemann, Shiraga, Tanaka, Fergus McCaffrey, Tokyo, Japan 2019 Carolee Schneeman, les Abattoirs, Toulouse, France Up to and Including Her Limits: After Carolee Schneemann, Museum Susch, Zernez, Switzerland Exhibition of Edition Works, Michele Didier, Paris, France Carolee Schneeman, mfc-michele Didier, Paris, France 2017 Kinetic Painting, Museum fur Moderne Kunst, Frankfurt, Germany; MoMA PS 1, Long Island City, NY More Wrong Things, Hales Gallery, London, United Kingdom 2016 Further Evidence – Exhibit A, P·P·O·W, New York, NY Further Evidence – Exhibit B, Galerie Lelong, New York, NY 2015 Kinetic Painting, Museum der Moderne Salzburg, Salzburg, -
Julie Heffernan
CAROLEE SCHNEEMANN ONE-PERSON EXHIBITIONS 2007 Hecho en Canada, MOCCA, Toronto, Canada. CEPA Gallery, Buffalo, NY. 2006 Presentation House Gallery, Vancouver, Canada. CORPOREAL – Photographic Works 1963-2005, P·P·O·W, New York, NY. 2005 Devour, Articule, Montreal, Canada. 2004 Infinity Kisses, Remy Toledo Gallery, New York, NY. 2002 Embodied, P·P·O·W Gallery, New York, NY. Gallerie Anne de Villepoix, Paris, France. 2001 Carolee Schneemann, Cornerhouse, Manchester, UK. More Wrong Things, White Box Gallery, New York, NY. 2000 Vespers Pool, Emily Harvey Gallery, New York, NY. 1999 Carolee Schneemann: Drawing Performance, Art Gallery at University of Southern Maine, Gorham, ME. Carolee Schneemann: Strike, Mark, Motion, Mabel Smith Douglass Galleries, Rutgers University, New Brunswick, NJ. 1997 Carolee Schneemann, New Museum of Contemporary Art, New York, NY. Schneemann in Bonn, Frauen Museum, Bonn, Germany. 1996 Fragments of Known/Unknown Plague Column, Galerie Samuel Lallouz, Montreal, Canada. Known/Unknown Plague Column, Elga Wimmer Gallery, New York, NY. 1995 Carolee Schneemann: Compositions with Interior Scroll, Mount Saint Vincent University Gallery, New York, NY; Kunstraum, Vienna, Austria. Something Special: Carolee Schneemann Recent Prints and Photographs, Galerie Krinzinger, Vienna, Austria. Recent Prints: Perceptual Pollution – Benday and Pixel, Fine Arts Center Gallery, University of Rhode Island, Wakefield, RI. 1994 Penine Hart Gallery, New York, NY. Syracuse University, New York, NY. 1992 Tangeman Fine Arts Gallery, Cincinnati, OH. Randolph St. Gallery, Chicago, IL. 1991 Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA. 1990 Emily Harvey Gallery, New York, NY. 1988 Self-Shot, Emily Harvey Gallery, New York, NY. 1986 Recent & Early Work, Henri Gallery, Washington DC. -
S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
SFAQ free JD Beltran Paule Anglim Julio C. Morales Gallery Paule Anglim: Paule Anglim - JD Beltran: Vice President SF Arts Commission - Queen’s Nails Projects: Julio Cesar Morales - Romer Young Gallery: Vanessa Blaikie, Joey Piziali Electric Works: Richard Lang - Hatch Gallery: Adam Hatch - Collector’s Corner: Marx and Zavattero: Heather Marx & Steve Zavattero, Alan Bamberger - California Art History: Paul Karlstom - May, June, July 2011 Event Calendar - West Coast Residency Listing SAN FRANCISCO ARTS QUARTERLY ISSUE.5 ban 6 BAY AREA NOW 6 Yerba Buena Center for the Arts is pleased to announce the sixth edition of its signature triennial event, Bay Area Now, a celebration of local artists across an array of disciplines—from performance to visual art, fi lm/video and community engagement. BAN6: PART I—IDEAS highlights six areas of intellectual curiosity and creative energy that have fueld experimentation and innovation in Bay Area culture, through a series of roundtable conversations with Bay Area experts in each fi eld. FREE and open to the public (also available via podcast at ybca.org), these monthly roundtable events aim to convene artists from all fi elds and to give them an opportunity to converse around current Bay Area ideas and trends F������� 19 F���: From Produce to Production: New Traditions in Bay Area Food Culture (w/ Bryant Terry, Novella Carpenter and Lief Hedendal) M���� 5 F�������: New Economic Models for a Thrivable Future (w/ Neal Gorenfl o and Marina Gorbis) A���� 2 C�������� A�������: From Grassroots to Netroots, (w/ Jeff -
11Th Anniversary Issue
New England's Premier Culture Magazine 3 4 17 11TH ANNIVERSARY ISSUE BEAUTY, HISTORY AND TRANSIENCE: THE CAA’S ANNUAL MEMBERS PRIZE SHOW THE SYRIAN HOMELAND CONNECTION: MOHAMAD HAFEZ AT LANOUE GALLERY AND GROTON SCHOOL | STRETCHING THE BOUNDARIES OF PERCEPTION: SOO SUNNY PARK AT THE CURRIER | UNLOADED AT THE ICA AT MAINE COLLEGE OF ART | PRINTMAKING REIMAGINED AT WHEATON COLLEGE ELEVEN FOR OUR ELEVENTH: ROYA AMIGH | DONALD BEAL | DUKEN DELPE | HARRIET DIAMOND | RON FORTIER | ELIZABETH GODDARD | BARBARA OWEN | JANE PARADISE | DAVID ROHN | BRIAN WALTERS | KRZYSZTOF WODICZKO March/April 2017 Free or $5.99 mailed copy Mark Cooper a site-specific 2016–2017 (DETAIL), installation Uncertainty UNCERTAINTY March 18 – April 15, 2017 Reception for the artist: Thursday, March 30, 6 – 8pm Roberts Gallery | Lunder Arts Center | 1801 Massachusetts Avenue | Porter Square, Cambridge Open Monday–Wednesday, Friday: 9 – 5 | Thursday: 9 – 8 | Saturday + Sunday: 12 – 5 | www.lesley.edu/galleries | 617.349.8002 LESLEY UNIVERSITY COLLEGE OF ART AND DESIGN LUCAD-Cooper-Artscope.indd 1 2/15/17 1:07 PM New England on Paper Contemporary Art in the Boston Athenæum’s Prints & Photographs Collection Mark Cooper Alex de Constant, Moonlight, Rye on the Rocks, 2011. Reduction woodcut, Boston Athenæum. a site-specific 2016–2017 (DETAIL), installation Uncertainty UNCERTAINTY April 6—September 3, 2017 March 18 – April 15, 2017 Reception for the artist: Thursday, March 30, 6 – 8pm Roberts Gallery | Lunder Arts Center | 1801 Massachusetts Avenue | Porter Square, Cambridge -
CV CLARISSA SLIGH Born in Washington, D.C. in 1939. EDUCATION Howard University
Clarissa Sligh CV Page 1 CV CLARISSA SLIGH Born in Washington, D.C. in 1939. EDUCATION Howard University, Washington, DC, MFA, 1999. University of Pennsylvania, Philadelphia, PA, MBA, 1973. The Skowhegan School of Art, Skowhegan, ME, summer 1972. Howard University, Washington, DC, BFA, 1972. Hampton Institute, Hampton, VA, BS, 1961. TEACHING APPOINTMENTS Adjunct Professor, New York University, Tisch School of the Arts, NYC, (Photography), 2006-2007. Lecturer, University of Pennsylvania, School of Design, Philadelphia, PA, (Photography), 2006-2007. Adjunct Professor, The School of Visual Arts, NYC, Graduate Photography and Related Media, 2002-2004. Artist in Residence, New York University, Tisch School of the Arts, NYC, (Photography-Constructed Image), 2003. Adjunct Professor, New York University, Tisch School of the Arts, NYC, (Photography), 2003. Instructor, Intl. Center for Photography/NYU Graduate Seminar, NYC, 2001. Teaching Assistant, Howard University, Washington, DC, (Photography), 1998-99. Adjunct Professor, Collin County Community College, Plano, TX, (Three Dimensional Photography), 1997. Instructor, The Lower Eastside Printshop, NYC, (Alternative Photographic Processes), 1988-1990. Instructor, The City College of New York, NYC, (Photography) 1986-1987. AWARDS/FELLOWSHIPS/GRANTS Shlenker Block Fund, Houston Jewish Community Foundation, 2013. Montana Artists Refuge Artist Residency Fellowship, Basin, MT, 2008. Hambidge Artist Residency Fellowship, Rabun Gap, GA, 2008. New York University Adjunct Faculty Development Grant, 2007. Leeway Foundation Art and Change Grant, 2006. Printmaking Residency, Brandywine Workshop, Philadelphia, PA, 2006. New York Foundation for the Arts Fellowship in Artists’ Books, 2005. Visual Studies Workshop, Artist in Residence, Rochester, NY, 2005. Women's Studio Workshop, Artist in Residence, Rosendale, NY, 2004. Anonymous Was A Woman Award, 2001. -
Why There Are Great Women Artists in Ukrainian Art
УДК 75-055.2(477)=111 Published on the occasion of the exhibition Ж72 “A Space of One’s Own” and within the framework of the PinchukArtCentre Research Platform Why There Are Great Women Artists in Ukrainian Art. — К. : Publish Pro, 2019. — 224 p. ISBN 978-617-7765-07-2 The book Why There Are Great Women Artists in Ukrainian Art marks one of the first attempts to tell the history of Ukrainian art through the lens of gender, covering the period from the end of the 19th century to the artistic experiments of the early 21st century. This story is made up of unknown pages from biographies of Ukrainian female artists, where one can see the names of those who have been forgotten or remain little known to the general public along with those of the key figures of Ukrainian art. The book shows how the possibilities of creative self-fulfillment by female and male artists changed over time, how the artists overcame the obstacles on the way to professional recognition, and how the awareness of bodily experience was transformed in their work. The archival documents dealing with the role and place of women in art, which we have collected, are particularly valuable. This book is not recommended for minors. Author-compiler Kateryna Iakovlenko Texts by: Lidiia Apollonova, Kateryna Badianova, Lizaveta German, Halyna Hleba, Olena Hodenko, Tatiana Kochubinska, Kateryna Mishchenko, Vlada Ralko, Valeriia Schiller, Kateryna Iakovlenko, Tetiana Zhmurko Translated from Ukrainian to English Taras Shulha English editor Svitlana Biedarieva Design and layout Aliona Solomadina Correction of color Iana Staryk Photo credits: Lidiia Apollonova, Maksym Bilousov, Oleksandr Burlaka, Volodymyr Bysov, Serhii Filimonov, Mykhailo Frantsuzov, Boris Gradov, Oleg Golosii, Anastasiia Kanarska, Dmytro Kavsan, I. -
A WORLD of ART, RESEARCH, CONSERVATION, and PHILANTHROPY | Summer 2019 PRESIDENT’S MESSAGE
A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY | Summer 2019 PRESIDENT’S MESSAGE Summer 2019 theGETTY n the 1960s and 1970s, women won many battles against sexism in American society. They fought for stron- TABLE OF President’s Message 3 Iger status in the art world too: Eleanor Antin, Carolee Schneemann, Sylvia Sleigh, Barbara T. Smith, and Faith CONTENTS New and Noteworthy 4 Wilding, among others, pioneered performance art and video, appropriated Western painting’s trope of the female nude, Five Breakthrough Women Artists 6 and generally shocked the art world to protest not only sex- of the 1960s and 1970s ism, but also racism and the Vietnam War. Our cover story explores these artists’ transformative work, and browses Mapping the Past 12 through the Getty Research Institute’s substantial and grow- ing archival resources related to feminism—timely reading, Out of the Ashes 16 given this summer’s 100th anniversary of women winning the right to vote, not to mention the new legal threats to hard-won One Size Does Not Fit All 20 victories made by feminists decades ago. Another way the history of art is addressing modernity Book Excerpt 23 is through digital technology such as the Pompeii Artistic Landscape Project (PALP), one of four digital mapping New from Getty Publications 24 projects funded through the Getty Foundation’s Digital Art Jim Cuno History initiative. As you’ll read in our second feature, PALP New Acquisitions 26 will let scholars search, map, and display historic sites and objects in an integrated online environment—in other words, Getty Events 28 researchers will soon combine previously siloed data in one easy-to-use platform, bringing complex connections between From the Vault 31 artworks to light. -
Jennifer Way, Ph.D. Professor of Art History, 1945 to the Present
1 Jennifer Way, Ph.D. Professor of Art History, 1945 to the present Department of Art History and Art Education, College of Visual Arts and Design University of North Texas P. O. Box 305100, Denton, Texas 76203-5200 [email protected] [email protected] Website https://jenniferwayphd-arthistory.com EDUCATION 1997, PhD, Art History, University of Texas, Austin, Texas. Dissertation: “Painting Signs in the Fifties: Material Surface in the Art and Culture of the United States and Great Britain” (Chair: Richard Shiff; Committee: Ann Reynolds, Linda Henderson, John Clarke, Jeff Meikle) 1989, MA, Art History, Vanderbilt University, Nashville, Tennessee. Thesis: “Antonio Sant'Elia's Architectural Drawings and the Problem of Modernism for Early Twentieth-Century Italy” (Committee: Leonard Folgarait, Vivien Green Fryd) 1984, BA, Art History, Moore College of Art, Philadelphia, Pennsylvania. Senior Paper: “The Non-Art Object in Twentieth-Century Art” (Supervisor: Janet Kaplan) ACADEMIC POSITIONS 2014- Professor, Art History, College of Visual Arts and Design, UNT 2004-2014 Associate Professor, Art History, College of Visual Arts and Design, UNT 1998-2004 Assistant Professor, Art History, College of Visual Arts and Design, UNT 1997-1998 Visiting Assistant Professor, Art History, College of Visual Arts and Design, UNT 1994-1995 Assistant Instructor, Department of Art History, University of Texas, Austin 1991-1994 Teaching Assistant, Department of Art History, University of Texas, Austin DIRECTOR/CREATOR – UNIVERSITY-COMMUNITY-PROFESSIONAL -
Transfigurations Exhibition Catalog
Transfigurations.'Documents and lmagesfrom ContemporaryFeminist Art frorn NYFAIReflections Exhibit, 1985 October14, 1996to January16, 1gg7 SpecialCollections and UniversityArchives Gallery ArchibaldStevens Alexander Library Introduction Transfigurations:Documents antl Image.rfrom ContemporatyFeminisi Art is one of three exhibitions celebratingthe twenty-fifth anniversaryof the Mary H. Dana Women Ariists Series at tlre Mabel Smith DouglassLibrary. It is being held in conjunctionwith Twent,v-JiveYears of Feminism, TwenN-fiveYears of lt/omen'sArt, a retrospectiveof works by the artists who have shown in the series,at the Mason GrossSchool of the Arts Galleries,and an exhibition of the arfists' portraits and statementsat the Mabel Smith DouglassLibrary. Contemporaryfeminist art originatedin about1970, inspired by the Women'sl,iberation N{ovementwhich was sweepingthe country at this time. Women artistsbegan to focus on the fact that so ferv women were representedin gallery and museum shows, not to mention the exclusionof rvomenartists from the art history canon. Furthermore,very felv women taught on the facultiesof art schools,in spiteof the fact thatthe majorityof art studentswere women. In the early 1970s,women artistsand acti,ristsaddressed these issues through demonstrations at muserunsand exposingthe practicesof galleriesand art schools.Originally dcminated by white women,the movementeventually encompassed the concernsof African-American,Hispanic and otherminoriry rvomenartists, Feministartists sought more, however, than equal representation. They believedthat their art could help bring aboutsocial and politicalchange. The porverof art to changethe self and societyis the tansfigurationto which the exhibition'stitle refers. Feministartists introduced both new subject matter and formats in their work, which, unlike the critically-validated Modernistart of the period,was heavily content-based.Although feministart was extremelv diverse,certain broad themes are apparent,the most universalbeing the use of autobiography. -
116 January 30-March 26, 2017 Pannell Gallery Sweet Briar College
116 January 30-March 26, 2017 On 9 February 1901 the Commonwealth of Virginia granted a corporation charter to Sweet Briar Institute. One hundred and sixteen years later, having rejuvenated herself after the near-closure crisis of 2015, Sweet Briar College is poised for growth and an exciting future. The exhibition on view, “116”, was conceived as a way to mark the two-year anniversary of the wrenching announcement but also, more importantly, to celebrate the College’s renewal and to look forward with a firm understanding of those 116 years. To that end, the exhibition displays 116 objects, a collective testimony to the community’s foundational excellence and lively spirit. With two exceptions—a book of board minutes borrowed from the Office of the President, and a photograph borrowed from Cochran Library archives— everything on view is selected from the College’s permanent art collection or the holdings of the Sweet Briar Museum. On the side walls artworks tell the story of the art collection’s growth in terms of the styles and subjects chosen, the artists selected, and the media included. A visitor will note an early emphasis on traditional painting and innocuous subjects such as landscape, and reliance on well-known male artists in acquisitions up to the 1980s. For the past quarter-century, though, the collection’s curators and patrons have turned their vision firmly to the work of modern and contemporary women and have been unafraid of bringing works into the collection that deal with feminism, racism, sexual orientation, and the sweep of human tragedy. -
Retrospective Catalog of the Mary H. Dana Women Artists Series
RUTGERS UNIVERSITY LIBRARIES 1 RETROSPECTIVE CATALOG OF THE MARY H. DANA WOMEN ARTISTS SERIES COMPILED BY KAREN MCGRUDER Journal of the Rutgers University Libraries, Vol. LIV, No.l, pp. 37-89 Copyright 1992 by the Rutgers University Libraries. All rights reserved. RUTGERS UNIVERSITY LIBRARIES 39 JOAN SNYDER 1971-1972* Biography Born: April 16, 1940 Highland Park, New Jersey DouglasEducatios Collegen , BA; Rutgers University, MFA Selected Solo Exhibitions Ann Jaffe Gallery, Bay Harbor Islands, FL , 1991 Nielsen Gallery, 1991 Hirschl & Adler Modern, New York, 1990 Compass Rose, Chicago, IL, New Paintings by Joan Snyder, 1989 Selected Group Exhibitions Proctor Art Center, Bard College, Annandale, New York, "Drawings By," Curated by John Lees Vrej Baghoomian Gallery, New York, "Figuring Abstraction," 1991 Bibliography Pacheco, Patrick, "The New Faith in Paintin Art and Antiques, April 1991 "Goings on About Town," The New Yorker, February 26, 1990 Smith, Roberta, "Joan Snyder," review, New York Times, February 23, 1990 Temin, Christine, "Abstraction Puts on a New Face in the 80s," Boston Globe, March 23, 1990 Stapen, Nancy, "Abstract is Back," Boston Herald, April 5, 1990 Jones, Bill, "Joan Snyder," Arts, Summer 1990 Cotter, Holland, "Joan Snyder," Art in America, October 1990 * Dates indicate year artist appeared in the series. 40 THE JOURNAL OF THE "Fertile Goddess, " 1991, Carved and painted wood with gold and silver leaf, 28 " x 19 " x 11 ", (Erik Landsberg Photography of Artworks) RUTGERS UNIVERSITY LIBRARIES 41 NANCY AZARA 1972-1973 Statement Nancy Azara is a sculptor and book artist who shows at the A.I.R. Gallery. Her sculpture, carved, assembled, and highly painted wood with gold and silver leaf is concerned with the visual description of female energy and power, and the magical qualities and healing properties inherent in art making. -
Networking: the Net As Artwork – Tatiana Bazzichelli
Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Tatiana Bazzichelli Networking The Net as Artwork Preface by Derrick de Kerckhove Digital Aesthetics Research Center www.digital-aestetik.dk Layout and front cover by Jonas Frankki Cover image: “Giovanotti Mondani Meccanici” by Antonio Glessi-Andrea Zingoni, published in “Frigidaire” issue 42, May 1984, Primo Carnera Edition. Italian editing by Simonetta Fadda English translation of chapters 1, 2, 7, Acknowledgements, Webliography, Captions and Afterword by Maria Anna Calamia, editing by Grace Wright English translation of chapters 3, 4, 5, 6 by Helen Pringle First proofreading by Jonas Frankki Last proofreading by Helen Pringle Copyright © Italian edition 2006, costlan editori s.r.l., Milan Copyright © English edition 2008, Digital Aesthetics Research Center, Aarhus University, and the author ISBN 87-91810-08-6 To Musti, Sergio and Bepi EAN 9788791810084 and to the infinite possibilities of being This research is part of the Digital Urban Living research centre, partly funded by the Danish Council for Strategic Research grant number 2128-07-0011 GNU Free Documentation License. Version 1.3, 3 November 2008 Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. http://www.gnu.org/licenses A copy of the book can be found at www.digital-aestetik.dk Other reference materials on the subject: www.networkingart.eu 136 Hacker Ethics and Shared Networks Table of Contents Social Hacking , 136 Independent Magazines and Radical Websites, 149 Hackmeetings and Hacklabs, 163 The Netstrike, 170 179 Art on the Net and for the Net Net.art and Hacktivism, 179 8 Acknowledgements The Craftsmen of the Code, 188 Beyond the Limits of the Net, 197 Network vs.