DOCSLIB.ORG

Barbara Kruger Believe + Doubt 19|10|2013- 12|01|2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Barbara Kruger Believe + Doubt 19|10|2013- 12|01|2014 KUB 2013.04 | Press release Barbara Kruger Believe + Doubt 19|10|2013- 12|01|2014 Curators of the exhibition Yilmaz Dziewior and Rudolf Sagmeister Press Conference Thursday, October 17, 2013, 12 noon The exhibition is opened for the press at 11 a.m. Opening Friday, October 18, 2013, 7 p.m. Page 1 | 24 Few artists have succeeded in treating the ambivalent ef- fects of the mass media and their powers of persuasion in impressive works of art so cogently and variously as Bar- bara Kruger has done for more than four decades now. So it is no surprise that she is represented in major museum collections worldwide and enjoys broad public attention through exhibitions at renowned institutions. She has had large-scale solo exhibitions, for example, at the Museum of Contemporary Art (MOCA) in Los Angeles, the Whitney Museum of American Art in New York, and the Moderna Museet in Stockholm. In addition, she participated in documenta 7 (1982) and documenta 8 (1987) in Kassel, and she received the »Golden Lion« at the 51 st Venice Biennale 2005 for her life’s work. It is all the more surpris- ing then that the exhibition covering three floors of the Kunsthaus Bregenz is her first major institutional solo show in Austria. Not that Barbara Kruger is a newcomer to Bregenz. In summer 2011 she participated in the Kunsthaus Bregenz solidarity action for Ai Weiwei by designing a poster con- sisting of white lettering on a red ground asking »Why Weiwei«—and adding, in smaller lettering below, her familiar formula: »Belief + Doubt = Sanity.« Before this, in the same year, for the KUB group exhibition That’s the way we do it , she produced an almost 20 meter long by 4 meter high digital print that addressed the issues around so called »intellectual property« and the distributional powers of the internet. The new solo exhibition especially designed by the artist for the Kunsthaus gives visitors a chance to explore the wide range of her artistic practice in different media. Alongside a host of her celebrated photocollages from the 1980s and a four-channel video work of 2004, she is for the most part presenting new installations in Bregenz that have been especially conceived for the unique Kunsthaus architecture. Through emphasizing different architectural elements in turn (façade, wall, floor, ceiling) and deliberate changes of media, she creates a varied trajectory that sensitizes the viewer to the specific details of Peter Zumthor’s building no less than to the fundamental im- portance that Barbara Kruger attaches to art’s presenta- tional context. What makes her videos, installations, col- lages, posters, and photographs compelling, among other things, is how she consciously reflects the art system—its hierarchies and strategies as well as its presentational and distributional relations. Again and again, Barbara Kruger breaks out of this system’s closed circuit by conceiving projects for magazines, poster walls, or other media and sites in public space. Page 2 | 24 These include permanent and temporary projects that refer specifically to particular buildings, or which emerge at sites in urban space in the form of designs for buses and posters. It is worth noting here that Barbara Kruger was already using illustrations she found in mass media geared to a wide audience for her b&w photocollage works at the start of her career in the 1970s. Her first intensive involvement with print media occurred shortly after she had finished studying art and design, when she was employed as a graphic artist and picture editor by Condé Nast Publica- tions in New York. Among the magazines she worked on were Mademoiselle and House and Garden . Her insights there into the power of images, both to deter and to se- duce, were an early influence on the artist’s work. Throughout her career, Barbara Kruger has reflected on or augmented the formal, thematic, and visual messages of these specific communication strategies, often unmasking their problematic ambiguity in the process. Just as the distribution and presentation sites she has used (e.g. maga- zines, posters) are characterized by a certain transience and intensified circulation, so too Kruger often insists on the ephemeral physical status of her works, since her wall and large-scale spatial installations are usually destroyed at the end of an exhibition. That they can be installed again in the same or in a different form on another occa- sion is just one of the ways in which the artist comments, with relish and wit, on the complex commodity character of art. Ultimately Barbara Kruger’s works are characterized by a high level of social commitment, advocating women’s rights, freedom of opinion, a critical awareness of the se- ductions of consumer culture, and of how power, or the lack of it, determines the feel of our days and nights. These—in the best sense of the word—striking works are captivating for their immediacy, their directness of address involving the viewer by means of questions or clear-cut statements. Depending on their message, her text-image designs provoke the viewer to contradict, endorse, laugh, or ponder. No one is left cold. Page 3 | 24 Messages that Barbara Kruger has used in various contexts are already legendary, for instance: »I shop, therefore I am,« »Your body is a battleground,« or »We don’t need another hero.« The images she combines with these and other sentences have been fished out of the pool of visual social memory, and for her words and statements she also normally draws on what is already there. In both cases, she deliberately shuns any hierarchy of high and low to create the works that are to an equal extent political, iconic, and poetic, for which she is widely known. Text: Yilmaz Dziewior Page 4 | 24 KUB Billboards Barbara Kruger 07 | 10 | 2013 – 12 | 01 | 2014 Seestraße Bregenz Barbara Kruger has selected text works for the six KUB Billboards along Seestraße between the train station and Kunsthaus Bregenz. Her iconic text-images directly address passersby with short poetic-philosophical statements and inquiries, occasionally also utilizing the German language, so as to more closely engage the local public. Page 5 | 24 The Seismographs of Architecture From Model to Reality November 8 to November 11, 2013 Kunsthaus Bregenz in cooperation with Peter Ebner—3M futureLAB at UCLA + futureLAB at HUD The symposium The Seismographs of Architecture is being orginised as a platform for a dialogue at the interface be- tween art, architecture, and society. The principle of per- meating boundaries will itself become a subject of the symposium. Internationally renowned experts are being invited from a wide range of fields, including architects, construction engineers, urban planners, designers, and artists, who all share a desire to experiment as well as an interest in current and new developments. Friday, November 8 3.45 pm Welcome Yilmaz Dziewior Director Kunsthaus Bregenz 3.55 pm Welcome Peter Ebner | 3M futureLAB at UCLA + futureLAB at HUD 4 pm Heatherwick Studio —Ole Smith | Architect, Designer, Great Britain 5 pm CAt —Kazuhiro Kojima & Kazuko Akamatsu | Architects, Japan 7 pm Urban-Think Tank —Alfredo Brillembourg & Hubert Klumpner | Architects, Urban Planners, Venezuela|Switherland 8 pm Preston Scott Cohen | Architect, USA Saturday, November 9 3 pm Ron Arad Studio —Asa Bruno | Designer, Architect, Great Britain 4 pm Jan Knippers | Construction Engineer, Germany|USA 5 pm Edouard François | Architect, France 7 pm Tomás Saraceno | Artist, Architect, Germany|Argentina 8 pm MAD architects —Ma Yansong | Architect, China|USA Page 6 | 24 Architectural Tour—Vorarlberg’s Art of Construction Saturday, November 9 – 9 am to 2 pm This half-day architectural tour, accompanied by an expert guide, will be visiting some recent examples of contempo- rary architecture in Vorarlberg, such as the Altach Islamic Cemetery (Bernardo Bader, 2012), which was nominated for the Mies van der Rohe Award, and the Werkraumhaus (Peter Zumthor, 2013). Fee: 40 Euros | 34 Euros (including travel by coach, guided tours, and free entrance). Booking: vai, Vorarlberger Architektur Institut, [email protected], +43-5572-511 69-9542 Entry price for the symposium 9.– EUR | Reductions 6.50 EUR For symposium enquiries, please contact Lidiya Anastasova | Ext. -415 [email protected] Reservations in advance are unfortunately not possible. Simultaneous translations into German will be available for talks in English. Page 7 | 24 KUB Publication Barbara Kruger Barbara Kruger’s pictures and words engage issues of power, pleasure, money, love, and death. Her photographs, large scale textual installations, and immersive multi- channel video work address the viewer through a kind of intensely spatialized visual display. The œuvre, which has been continuously developed over several decades, will be examined from differing perspec- tives in an in-depth conversation between the artist, Beatriz Colomina (architectural theorist and historian), and Mark Wigley (architect and architectural theorist). The con- cept of the exhibition at Kunsthaus Bregenz, and the new work which has been especially produced for it, will be examined in Yilmaz Dziewior’s introductory essay. The catalog’s comprehensive documentation of the installa- tion in generous photographic spreads, designed in close cooperation with the artist, demonstrates the enormous currency of the statements as well as the powerful forms of address within Barbara Kruger’s work. Barbara Kruger Edited by Yilmaz Dziewior; With an essay by Yilmaz Dziewior and a conversation between Beatriz Colomina, Mark Wigley, and Barbara Kruger German|English, approx. 136 pages, 22 x 30 cm, Hardcover with dust jacket, date of publication: December 2013 42.– EUR KUB Online-Shop www.kunsthaus-bregenz.at Page 8 | 24 KUB Artist’s Edition Barbara Kruger Exclusive special editions for the Kunsthaus Bregenz are a result of close collaboration with artists and their produc- tion processes.
Load more

Recommended publications
  • Barbara Kruger Born 1945 in Newark, New Jersey
    This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek
    [Show full text]
  • Visual Narratives of Heterosexual Female Sexuality.Docx
    Running Head: Visual Narratives of Heterosexual Female Sexuality Visual Narratives of Heterosexual Female Sexuality By Angie Wallace Masters in Interdisciplinary Studies Southern Oregon University 2018 Visual Narratives of Heterosexual Female Sexuality 2 Table of Contents Abstract Page 3 Introduction Page 4 Research Questions Page 6 Literature Review Page 7 Methods Page 22 IRB Page 25 Results Page 25 Figures 1, 2, and 3 Page 30 - 31 Discussion Page 31 Research based Art Piece Page 37 Figures 4, 5, 6, and 7 Page 41 - 42 References Page 43 Visual Narratives of Heterosexual Female Sexuality 3 Abstract This paper explores the social construction of heterosexual female sexuality through visual social narratives in the form of advertisements and artistic photographs. The purpose of this study it to produce an art piece based on my findings. The problems I encountered during my research include my own bias and limited subjects. Since, I am a woman who identifies as heterosexual I have my own preconceived ideas along with personal experiences. In addition, the limited data set provides its own drawbacks. If I were to broaden my scope, the data may or may not have revealed other themes. That being said, for my purposes the themes that have emerged include the following; (1) the male gaze, (2) gender performance, (3) body as a commodity, and (4) sexual harassment. Through the process of visual ethnography and methodology, my design study is to analyze these images as a heterosexual female and combine this analysis with the literature. During this process, I have concluded that heterosexual female sexuality is contingent on how we recognize and interpret visual culture.
    [Show full text]
  • Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’S Diploma Thesis
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. Katarína Belejová Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Bc. Katarína Belejová Acknowledgement I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Dr., for his encouragement, patience and inspirational remarks. I would also like to thank my family for their support. Table of Contents Introduction .................................................................................................................... 5 1. Postmodern Art, Conceptual Art and Social Criticism .............................................. 7 1.1 Social Criticism as a Part of Postmodernity ..................................................................... 7 1.2 Postmodernism, Conceptual Art and Promotion of a Thought .................................. 9 1.2. Importance of Subversion and Parody ........................................................................... 12 1.3 Conceptual Art and Its Audience ...................................................................................... 16 2. American context ..................................................................................................... 21 2.1 The 1980s in the USA .........................................................................................................
    [Show full text]
  • MOCA Masks (#Mocamasks) Are a Collection of Limited-Production, Artist-Designed Face Masks for Kids and Adults
    MOCA Masks (#MOCAmasks) are a collection of limited-production, artist-designed face masks for kids and adults. Each purchase directly supports The Museum of Contemporary Art. MOCA Masks are designed by Virgil Abloh, Mark Grotjahn, Alex Israel, Barbara Kruger, Yoko Ono, Catherine Opie, Pipilotti Rist, Hank Willis Thomas, and The Andy Warhol Foundation for Visual Arts. Each mask is handmade in Los Angeles, California, and is carefully crafted to combine art and safety. We remain committed to making art accessible and encouraging the urgency of contemporary expression. #MOCAmasks @moca @mocastores moca.org/masks “Still Speaks Loudly” VIRGIL ABLOH 2020 Virgil Abloh (b. 1980, Rockford, Illinois) is an artist, architect, engineer, creative director, and fashion designer. After earning a degree in Civil Engineering from the University of Wisconsin- Madison, he completed a Master's degree in Architecture at the Illinois Institute of Technology. It was here that he learned not only about design principles but also crafted the principles of his art practice. He studied a curriculum devised by Mies van der Rohe, on a campus he designed. Currently, he is the Chief Creative Director and founder of Off-White™ and the Artistic Director of Menswear at Louis Vuitton. Untitled (Creamsicle Covid 19) MARK GROTJAHN 2020 Mark Grotjahn (b. 1968, Pasadena, California) combines gesture and geometry with abstraction and figuration in visually dynamic paintings, sculptures, and works on paper. Each of his series reflects a range of art-historical influences and unfolds in almost obsessive permutations. He received a BFA from the University of Colorado at Boulder and an MFA from the University of California at Berkeley.
    [Show full text]
  • Women Artists in the Collection
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2010 Women Artists in the Collection Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons "Women Artists in the Collection" (2010). Sheldon Museum of Art Catalogues and Publications. 85. https://digitalcommons.unl.edu/sheldonpubs/85 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Women Artists in the Collection This special exhibition of the permanent collection focuses exclusively on the contributions of American women artists. The fact of women's historical exclusion from the art world is part of the exploration, "Why have there been no great women artists?"-art historian Linda Nochlin famously asked in a 1971 essay. Her findings pointed to the past exclusion of women from working with male nude models, hence apprenticeships, then professions and academies, to which we add commercial gallery exhibitions, art criticism, and art history. Over the centuries this vicious cycle has shaped the current phenomenon: the predominance of male artists in museum collections . The expression" better half" historically referred to a wife or lover, acknowledging the significance of the
    [Show full text]
  • Cindy Sherman (American, B. 1954) – Artist Resources Sherman at Gagosian Gallery
    Cindy Sherman (American, b. 1954) – Artist Resources Sherman at Gagosian Gallery Sherman at Metro Pictures Gallery, New York Sherman at the Walker Art Center In 1998, MoMA celebrated their acquisition of Sherman’s seminal Untitled Film Stills, her first exhibited series, begun in 1977, in which she posed for her own camera in the guise of female archetypes inspired by movies from the 1940s-60s. Interview Magazine plays 20 Questions with Sherman in 2008, creating a conversation between the photographer and 20 of her creative contemporaries. Sherman talks with Art21 in a 2009 video interview about her love of costume and character, and the controversy of ambiguity throughout her portraits. New York Times profile of Sherman in honor of her self-titled 2012 retrospective at MoMA. “None of the characters are me,” she explains, “They’re everything but me. If it seems too close to me, it’s rejected.” The San Francisco Chronicle interviewed Sherman in conjunction with her MoMA Sherman, 2012 retrospective. Photograph: Sherman/New York Times The Walker Art Center celebrated Sherman in the eponymous 2013 retrospective featuring over 160 photographs from key series tracing her prolific career from the 1970s. “I am not trying to obliterate myself and completely hide within the images like I used to. I am a little more comfortable now in letting parts of myself show through,” Sherman tells The Gaurdian in a 2016 interview about her childhood, love of costume, and aging as a female contemporary artist. The Gentlewoman reminisced with Sherman in 2019 about her career trajectory and role as both subject and photographer as she Sherman, 2019 ages.
    [Show full text]
  • Frieze London and Masters Find a Common Future for Contemporary
    ARTSY EDITORIAL BY ALEXANDER FORBES OCT 4TH, 2017 7:18 PM critical dialogue and market trends that have increasingly blurred the distinction between "old" and "new." Take "Bronze Age c. 3500 BC-AD 2017," Hauser & Wirth's thematic booth at Frieze London, curated in collaboration with hipster feminist hero and University of Cambridge classics professor Mary Beard, whose fairly tongue-in-cheek descriptions of the works are worth a look. The mock museum brings together historic works by artists like Marcel Duchamp, Louise Bourgeois, and Henry Moore with contemporary artists from the gallery's program (Phyllida Barlow, who currently represents the U.K. at the Venice Biennale, made her first-ever piece in bronze, Paintsticks, 2017, for the occasion). These are interspersed with antiquities Beard helped source from regional museums and around 50 purported artefacts that Wenman bought on eBay. "Part of the irony is that it looks like a Frieze Masters booth," said Hauser & Wirth senior director Neil Wenman. "I wanted to bring old things but the lens is contemporary. It's about the way we look at objects," and how a given mode of display can ascribe value to those objects. The gallery hasn't leveraged the gravitas of its ethnographic museum vitrines to sell Wenman's eBay finds at a steep margin, but it is offering80 artworks for sale (out of the roughly 180 objects on display). For those on a budget, they've also created souvenirs sold from a faux museum gift shop that will run you £ 1-£9; proceeds will go to the four museums that lent pieces for the show.
    [Show full text]
  • 1 Barbara Kruger's Conceptual Power
    Barbara Kruger’s Conceptual Power: “Signed, sealed, and delivered.” Ginger Bartush Dr. Ann Marie Leimer Midwestern State University Barbara Kruger created conceptual artwork in the 1980s that addressed issues of sexuality, gender, identity, and consumerism. During this time, President, Ronald Reagan, promoted wealth, political conservatism, and the “trickle-down” effect; he encouraged the wealthy to strive for the “American Dream,” hoping that mass consumerism would even-out the economy and support businesses. Amidst this chaotic, postmodern environment, Barbara Kruger witnessed the empty feelings of lost individuals who sought to build their identities upon commodities. Meanwhile, the threat of the Cold War loomed over Americans, and Reagan put the nation deeper into debt. Fittingly, during this controversial period, Kruger’s artwork received—and still receives—controversial feedback from audiences and critics alike. As a postmodern artist, she challenges social stereotypes by appropriating found images, reminiscent of mid-19th century advertisements; she creates new meanings by deconstructing the images’ original purposes. Armed with her personal color and composition combination, she creates iconic art pieces that strongly impact all artists, critics, scholars, and passersby of the current postmodern society. Her art will demand the attention and interpretations of future generations; indeed, the conceptual artist and her work require present and future audiences to closely study and analyze her meanings and importance. This paper investigates how Barbara Kruger captures America’s postmodern, consumer culture through appropriation, and demonstrates how Kruger uses rhetoric and visual representation to address issues of gender and identity in her pieces, Untitled (I shop therefore I am) (1987) and Untitled (Your gaze hits the side of my face) (1981).
    [Show full text]
  • Resources for BEING THERE Art Assignment # 1
    Resources for BEING THERE Art Assignment # 1 Please watch and read the selected videos and articles about the artists Barbara Kruger and Jenny Holzer. These resources will provide you with context about their work before you begin answering the next set of questions. Sampling and Appropriation Video https://www.youtube.com/watch?v=6dIQW4DRrp8 Barbara Kruger: In Her Own Words Video https://www.youtube.com/watch?v=8xi9qQb2SHU SUPREME and Barbara Kruger Video https://www.youtube.com/watch?v=z9NZSt-r6BI Barbara Kruger Article https://awarewomenartists.com/en/artiste/barbara-kruger/ Jenny Holzer Article https://www.thecut.com/2018/10/women-and-power-jenny- holzer.html Jenny Holzer ART 21 Video https://art21.org/artist/jenny-holzer/ Jenny Holzer Nowness Video https://www.youtube.com/watch?v=pKIQNbuIqpE Please consider these questions before engaging with the forthcoming worksheet on Barbara Kruger and Jenny Holzer. 1. How does Barbara Kruger’s use of advertising styles critique the motivations of contemporary consumer culture? 2. If advertising asks questions to compel us to consume more products, what might Kruger’s work compel us to think about? 3. What is the definition of a “truism”? 4. Jenny Holzer once said, “I used language because I wanted to offer content that people—not necessarily art people—could understand.” Many of Jenny Holzer’s public works use language resembling the style of commercial signs on the street and on the internet. How does Holzer’s style compare and contrast to Kruger’s? 5. Have you ever borrowed text from another piece of writing, such as a song, a poem, or a reference book, to place in a work of art? If so, how did you incorporate it? 6.
    [Show full text]
  • WAR PRESS Kitfinal
    !WOMEN ART REVOLUTION (!W.A.R.) Directed by Lynn Hershman Leeson Theatrical Booking Contact: Clemence Taillandier, Zeitgeist Films 212-274-1989 x18 • [email protected] Festival Booking & Marketing Contact: Nadja Tennstedt, Zeitgeist Films 212-274-1989 x15 • [email protected] A ZEITGEIST FILMS RELEASE !WOMEN ART REVOLUTION (!W.A.R.) SHORT SYNOPSIS An entertaining and revelatory “secret history” of Feminist Art, !Women Art Revolution deftly illuminates this under-explored movement through conversations, observations, archival footage and works of visionary artists, historians, curators and critics. Starting from its roots in 1960s antiwar and civil rights protests, the film details major developments in womenʼs art through the 1970s and explores how the tenacity and courage of these pioneering artists resulted in what is now widely regarded as the most significant art movement of the late 20th century. For more than forty years, filmmaker and artist Lynn Hershman Leeson (Teknolust, Strange Culture) has collected a plethora of interviews with her contemporaries—and shaped them into an intimate portrayal of their fight to break down barriers facing women both in the art world and society at large. With a rousing score by Sleater-Kinneyʼs Carrie Brownstein, !W.A.R. features Miranda July, The Guerilla Girls, Yvonne Rainer, Judy Chicago, Marina Abramovic, Yoko Ono, Cindy Sherman, Barbara Kruger, B. Ruby Rich, Ingrid Sischy, Carolee Schneemann, Miriam Schapiro, Marcia Tucker and countless other groundbreaking figures. !WOMEN ART REVOLUTION (!W.A.R.) LONG SYNOPSIS Artist and filmmaker Lynn Hershman Leesonʼs documentary is more than four decades in the making. !Women Art Revolution (!W.A.R.) draws from hundreds of hours of in-the- moment interviews with her contemporaries—visionary artists, historians, curators and critics—to present an intimate portrayal of their fight to break down barriers facing women both in the art world and society at large.
    [Show full text]
  • Press Release
    NEWS FROM THE GETTY news.getty.edu | [email protected] FOR IMMEDIATE RELEASE MEDIA CONTACT: November 1, 2018 Amy Hood Getty Communications (310) 440-6427 [email protected] GETTY RESEARCH INSTITUTE AWARDED A “SAVE AMERICA’S TREASURES” GRANT TO PROCESS AND DIGITIZE ARCHIVES OF THE WOMAN’S BUILDING The grant, administered by the National Park Service and the Institute of Museums and Library Services, supports a two-year project for work on 11 collections related to the Woman’s Building, which operated in Los Angeles for nearly two decades LOS ANGELES – The Getty Research Institute (GRI) has been awarded a grant through the Save America’s Treasures program to process and preserve 11 archives in the GRI’s collections related to the Woman’s Building, a feminist art institution that operated in downtown Los Angeles from 1973 to 1991. Outside the Woman’s Building, 1975. Photo: Maria Karras. The Save America’s The Getty Research Institute, 2018.M.16. Gift of Maria Karras. © Maria Karras, BFA, RBP, MA. Treasures program is an interagency federal initiative led by the National Park Service and the Institute of Museum and Library Services. The $284,400 grant supports the processing, preservation, and digitization of GRI holdings related to the Woman’s Building, including several artists’ archives. The grant makes up approximately half of the budget for the project. “Partnerships like this allow us to accelerate the important work of providing broad access to these crucial materials. The Getty Research Institute is a rich repository for the study of art and feminism, and a cornerstone of our holdings are the archives related to the Woman’s Building and the artists who activated that space,” said Andrew Perchuk, acting director of the Getty Research Institute.
    [Show full text]
  • Embodied Representations in Contemporary Art
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 5-3-2017 12:00 AM Skin Portraiture: Embodied Representations in Contemporary Art Heidi Kellett The University of Western Ontario Supervisor Dr. Joy James The University of Western Ontario Graduate Program in Visual Arts A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Heidi Kellett 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Contemporary Art Commons Recommended Citation Kellett, Heidi, "Skin Portraiture: Embodied Representations in Contemporary Art" (2017). Electronic Thesis and Dissertation Repository. 4567. https://ir.lib.uwo.ca/etd/4567 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract In recent years, human skin has been explored as a medium, metaphor, and milieu. Images of and objects made from skin flesh out the critical role it plays in experiences of embodiment such as reflexivity, empathy, and relationality, expanding conceptions of difference. This project problematizes the correlation between the appearance of the epidermis and a person’s identity. By depicting the subject as magnified, fragmented, anatomized patches of skin, “skin portraiture”—a sub-genre of portraiture I have coined—questions what a portrait is and what it can achieve in contemporary art. By circumnavigating and obfuscating the subject’s face, skin portraiture perforates the boundaries and collapses the distance between bodies.
    [Show full text]