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Where's the Criticality, Tracey? a Performative Stance Towards
Where’s the Criticality, Tracey? A Performative Stance Towards Contemporary Art Practice Sarah Loggie 2018 Colab Faculty of Design and Creative Technologies An exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Creative Technologies Karakia Timatanga Tukua te wairua kia rere ki ngā taumata Hai ārahi i ā tātou mahi Me tā tātou whai i ngā tikanga a rātou ma Kia mau kia ita Kia kore ai e ngaro Kia pupuri Kia whakamaua Kia tina! TINA! Hui e! TAIKI E! Allow one’s spirit to exercise its potential To guide us in our work as well as in our pursuit of our ancestral traditions Take hold and preserve it Ensure it is never lost Hold fast. Secure it. Draw together! Affirm! 2 This content has been removed by the author due to copyright issues Figure A-1 My Bed, Tracey Emin, 1998, Photo: © Tracey Emin/Tate, London 2018 R 3 Figure B-1, 18-06-14, Sarah Loggie, 2014, Photo: © Sarah Loggie, 2018 4 Abstract Tracey Emin’s bed is in the Tate Museum. Flanked by two portraits by Francis Bacon, My Bed (1998) is almost inviting. Displayed on an angle, it gestures for us to climb under the covers, amongst stained sheets, used condoms and empty vodka bottles - detritus of Emin’s life. This is not the first time My Bed has been shown in the Tate. The 2015-17 exhibitions of this work are, in a sense, a homecoming, reminiscent of the work’s introduction to the British public. -
Deconceptualizing Artists' Rights
Deconceptualizing Artists’ Rights STEVEN G. GEY* TABLE OF CONTENTS I. INTRODUCTION .................................................................................................... 38 II. THE NEW CASE AGAINST MORAL RIGHTS STATUTES ........................................... 41 A. The Theory and Justification of Moral Rights Protection .......................... 42 B. The Pragmatic Objections to Moral Rights ............................................... 45 1. Society’s Interest in Destroying Art .................................................... 46 2. Society’s Interest in Favoring Curatorial Decisions About Art ............................................................................................ 49 3. Society’s Interest in Allowing Others To Modify an Artist’s Work ................................................................................. 52 4. Society’s Interest in Recognizing Multiple Authorship ....................... 53 5. The Failure of Pragmatic Arguments Against Moral Rights .............. 54 III. MORAL RIGHTS AND THE END OF ART: THE UNEASY RELATIONSHIP BETWEEN ART THEORY AND THE LAW REGARDING ART .................................................................................................. 55 A. The End of Art or the Proliferation of Art? ................................................ 56 B. The End of Art and Destruction-as-Artistic-Creation ................................ 62 C. Reconceptualizing Moral Rights Statutes .................................................. 67 IV. WHY ART (AND ARTISTS) STILL -
Nature, Art and Indifference Rob Bartram
Nature, art and indifference Rob Bartram To cite this version: Rob Bartram. Nature, art and indifference. cultural geographies, SAGE Publications, 2005, 12 (1), pp.1-17. 10.1191/1474474005eu320oa. hal-00572144 HAL Id: hal-00572144 https://hal.archives-ouvertes.fr/hal-00572144 Submitted on 1 Mar 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. cultural geographies 2005 12: 1–17 Nature, art and indifference Rob Bartram Department of Geography, University of Sheffield This paper explores possibilities associated with contemporary explanations of nature through a con- sideration of the nature-based art of Damien Hirst. I argue that this art poses fresh and challenging questions with the potential to destabilize dominant explanations of nature. His art affords nature the transformative qualities that rupture both its unproblematical differentiation from society and the belief that nature can be represented as an objectified truth through art. We can best explore these ideas in relation to Hirst’s art by ‘using’ an interpretative strategy akin to Baudrillard’s ‘mysterious rules of indifference’ – the exploration of art’s capacity to activate and trigger metaphors, motifs and plays on meaning that form the ebb and flow of the cultural sign system, where attention is paid to the relational order between the components of meaning, rather than the material composition of specific objects. -
Jemima Stehli B
Jemima Stehli b. 1961, London, UK Education 1989-1991 MA Fine Art, Goldsmith’s College 1980-1983 BA Honours Fine Art, Goldsmith’s College, University of London Solo Exhibitions 2007 ‘Jemima Stehli’ Lisboa 20, Lisbon Portugal ‘Studio Double’, ARTRA, Milan, Italy 2004 ‘Put there’, Galerie Bernd Kluser, Munich, Germany 29 April – 23rd June ‘Jemima Stehli’, Centro de Artes Visuais, Coimbra, Portugal, 7th Feb – 21st March ‘Jemima Stehli / John Hilliard’, Artra Milan, Italy, 17 Feb – 30 March ‘Jemima Stehli / John Hilliard’, Artra Genova, Italy, 14 Feb – 30 March 2003 ‘mm Studio’, Contemporary Art Gallery, Vancouver, BC, Canada 9th May- 29th June ‘The Upsetting Table’, Jeffrey Charles Gallery, London 3- 31st May ‘Jemima Stehli’, Lisson Gallery, London, 26th March -3 May 2001-2 ‘Jemima Stehli’, ARTRA, Milan, Italy 2000 ‘Jemima Stehli’, Chisenhale Gallery, London ‘Karen 2000’, Artlab, Imperial College, London Selected Group Exhibitions 2007 Fotofestival, curated by Pedro J. Vicente Mullor, Centro de Historia, Zaragoza, Spain The Naked Self Portrait, curated by Martin Hammer, The Scottish National Portrait Gallery, Edinburgh Republic, L’est, London 2006 Kunst und Photographie, Galerie Bernd Kluser, Munich, 23rd May – 29th July, XX- Visoes no feminino, da colleccao dos Encontros deFotografia, Centro de Arte Visuais, Coimbra, Portugal, 1ST April – 28th May Filmperformance Modern Art Oxford, Oxford, 21st February – 24th February 2005 I Shot Norman Foster, The Architecture Foundation, Old Street, London, 16th November – 20th January 2006 Transmission -
Maxlounaxlehtoxduo.Pdf (768.7Kb)
Interpreting a Bed. A glance at the reception of Tracey Emin’s My Bed (1998) and the challenges of self-representation. Louna Lehto Master’s Thesis in History of Art Department of Philosophy, Classics, History of Art and Ideas Advisor: Anne Wichstrøm UNIVERSITETET I OSLO Autumn 2010 2 3 Summary In this dissertation I will be discussing one of the decisive periods of Tracey Emin’s career; the year 1999. I will approach this period through art criticism and a close reading of newspaper articles dealing with Emin’s work displayed at the Turner Prize exhibition. In addition I will discuss how the self-representation in her work, particularly in the installation My Bed (1998), and her performance in media is related to women’s self-representation in art in the late 20th century and how this may have reflected on the criticism. My primary sources for this dissertation will be critiques of Tracey Emin’s works in the Turner Prize exhibition at Tate Gallery in London from October 20th 1999 to December 31st 1999, published in British national newspapers during the period 1999-2000. I will be looking at 23 articles from the newspapers The Guardian, The Independent and The Times. These articles are critiques and commentaries of the exhibition, the candidates and commentaries to the announcement of the winner of the Turner Prize 1999. Emin’s work is clearly influenced by expressionism but it is also influenced by the 1970s feminist art in the use of personal experience and the use of techniques from crafts. I will discuss the themes of self-representation and subjectivity in the light of texts by Marsha Meskimmon and Sidonie Smith and Julia Watson. -
Encountering Mimetic Realism: Sculptures by Duane Hanson, Robert Gober, and Ron Mueck
Encountering Mimetic Realism: Sculptures by Duane Hanson, Robert Gober, and Ron Mueck by Monica Ines Huerta A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2010 Doctoral Committee: Associate Professor Patricia Simons, Co-Chair Associate Professor Rebecca Zurier, Co-Chair Associate Professor David T. Doris Professor Alexander D. Potts © Monica Ines Huerta All rights reserved 2010 To My Dad ii Acknowledgements Although it can at times feel like an isolating journey, a dissertation is never a solo adventure. There have been many people along the way that have contributed to the progress and completion of this project. I am grateful to my academic advisors who gave generously of their time and expertise. Rebecca Zurier, a supportive advisor, whose historical perspective continuously pushed me to creatively and critically think about the many permutations of realism. Patricia Simons, a wonderfully committed mentor, who asked the tough questions that helped me break through binaries in order to embrace more nuanced arguments. Alex Potts, whose early and ongoing support during my graduate career inspired me to delve deeper into the areas of modern and contemporary sculpture. And last be not least, David Doris, a most welcomed addition to my committee in the later stages of writing and whose creativity I will forever attempt to emulate. I would also like to extend a very warm thank you to the faculty and staff of the Department of the History of Art for their scholastic, financial, and logistical support. I am very thankful to the Ford Foundation for providing the necessary financial backing that allowed me to focus on the research and writing of this document during critical stages of its development. -
Chris, Steve, and Yinka: We Run Tings 3
1 Chris, Steve, and Yinka: We Run Tings 3 Until the 90s, there were hardly any black students at British art colleges. Ofili’s success showed that, if you have the intelligence, savvy and ambition, being an artist is a career option. Someone has to pave the way. And it was clear from the first not just how ambitious Ofili was, but how individual his take on painting was – once he’d ditched his student style of narrative figura- tion (funny how things make their return, and are never entirely lost). Rather than living up to his reputation, he is now more concerned to push his art forward. One of Ofili’s earlier solo shows was called Freedom One Day: let’s see where freedom leads him.2 N ONE OF R ASHEED ARAEEN’S ESSAYS FOR THE OTHER STORY cata- logue,3 one passage stands out as being particularly pithy. It was a com- I ment on the British art scene, which stood accused, by Frank Bowling, of flagrant disregard for his accomplishments, when as a young painter he was overlooked for an important exhibition, The New Generation, held at the Whitechapel Art Gallery in 1964.4 The exhibition, wrote Araeen, “featured all 1 “We Run Tings” was a popular late-1990s reggae record, by an artist known as Red Dragon, which featured in the 1999 Jamaican film Third World Cop. Assuming the voice of a no-nonsense, street-tough police officer, the song expressed the senti- ment that certain persons (“We”) were in control, in charge, rulers of their own destiny and masters, rather than victims, of circumstance – a blessed state owing much to de- termination, self-confidence, and fortitude. -
Further Reading
Andrea Büttner Grids,Vases,and Plant Beds July 17 – August 28, 2021 [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 ` David Kordansky Gallery is pleased to present Grids, Vases, and Plant Beds, an exhibition of new work by Andrea Büttner, on view July 17 through August 28. The exhibition features several new bodies of work, including a group of hand-blown glass vases based on floral bulb forms; a series of photographs of former plant beds at the Dachau Concentration Camp Memorial Site; a monumental painting installation housed in an aluminum structure; reverse glass paintings; and Karmel Dachau, a video about a convent of Carmelite nuns established on land that abuts the Dachau memorial. Andrea Büttner uses different mediums, materials, and conceptual approaches to explore a range of inter-related themes. Her exhibitions are places where emotions and intellect are synthesized in highly visual, often tactile, works that are notable for their rich colors and formal directness. Projects born of historical research exist alongside those in which the presence of the artist’s hand is the most prominent element. In the exhibition, nine new glass vases combine several of these tendencies and are a notable addition to Büttner’s overall project. Their forms recall Delftware and other vases designed to hold flowers grown from bulbs, such as tulips. They also respond to the organic shapes of flowers. Many feature globular protrusions; on three of the works, the protrusions function as feet. These elements are in turn reflective of Büttner’s own watercolor sketches, as well as her long-standing interest in humble, natural things like potatoes, stones, and moss. -
JESSICA STOCKHOLDER Born: 1959, Seattle, WA Located: Chicago, IL
JESSICA STOCKHOLDER Born: 1959, Seattle, WA Located: Chicago, IL EDUCATION 1983-85 Yale University, New Haven, CT; sculpture, painting, MFA-1985 (Studied with: Jake Berthot, Judy Pfaff, Ursula von Rydingsvard, David von Schlegell & George Trakas) 1980-82 University of Victoria, Victoria, BC, Canada; BFA-1982 (Studied with: Mowry Baden & Roland Brenner) 1978-80 University of British Columbia, Vancouver, BC, Canada; Fine Arts & academic course work (Studied with: Judy Williams & Geoffrey Smedley) 1977-79 The Camden School of Art, London, England; four month program University of British Columbia, Vancouver, BC, Canada; Fine Arts & academic course work (Studied with: Judith Lodge) SELECTED SOLO AND TWO ARTIST EXHIBITIONS 2021 what is normal, Raffaella Cortese Gallery, Milan, Italy (forthcoming) 2020 Intimate, Galeria Max Estrella, Madrid, Spain Digital Thoughts, 1301PE, Los Angeles, CA 2019 Save on select landscape & outdoor lighting: Song to mind uncouples, The Contemporary Austin, Laguna Gloria, Austin, TX Slip Slidin’ Away, Kunstplatz Garben, Kunst im öffentlichen Raum Wien, Vienna Assist: Rider, Croeselaan, Centraal Museum, Utrecht, Netherlands Save on select landscape & outdoor lighting: Song to mind uncouples, The Contemporary Austin, Austin, TX 2018 Relational Aesthetics, The Contemporary Austin, Austin, TX Play on Surfaces & Surfing, Regenstein Library, University of Chicago, Chicago, IL Three Squared on the River Bank, Parcours, Art Basel, Switzerland 2016 The Guests All Crowded into the Dining Room, Mitchell-Innes & Nash, New York, -
Pollock Liquid Culture, the Art of Life and Dancing with Tracey Emin
This is a repository copy of Liquid culture, the art of life and dancing with Tracey Emin: A feminist art historian/cultural analyst’s perspective on Bauman’s missing cultural hermeneutics. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/149510/ Version: Accepted Version Article: Pollock, G orcid.org/0000-0002-6752-2554 (2020) Liquid culture, the art of life and dancing with Tracey Emin: A feminist art historian/cultural analyst’s perspective on Bauman’s missing cultural hermeneutics. Thesis Eleven, 156 (1). pp. 10-26. ISSN 0725-5136 https://doi.org/10.1177/0725513619898284 © The Author(s) 2020. This is an author produced version of a paper published in Thesis Eleven. Reprinted by permission of SAGE Publications. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Liquid Culture, The Art of Life and Dancing with Tracey Emin: A feminist art historian/cultural analyst’s perspective on Bauman’s missing cultural hermeneutics Griselda Pollock In 1994, I handed Zygmunt a small book I had written titled Avant-Garde Gambits 1888-93: Gender and the Colour of Art History (Pollock, 1993). -
Review of the Decade: Adrian Searle on Visual Art
The Guardian December 7, 2009 GAGOSIAN GALLERY Review of the decade: Adrian Searle on visual art Bigger was better in the noughties – and nothing summed up the art world's decade of bling more aptly than a skull encrusted with diamonds. Adrian Searle The Guardian, Monday 7 December 2009 The light at the end of the tunnel … Olafur Eliasson's 2003 installation in the Turbine Hall of the Tate Modern. Photograph: Dan Chung The new century never got going till September 2001, with an audacious attack that seemed to change everything. Not long after 9/11 I was in New York, and found myself at an exhibition documenting the disaster. This ramshackle, ad-hoc show included photographs of wrecked lobbies clogged with rubble, a snowfall of dust covering restaurant tables set for lunch, the folded knitwear in a downtown boutique mired in filth. There was amateur footage of the twin towers burning and collapsing, bodies falling through space; this was played and replayed, like a personal trauma running through your head. It wasn't until 2005 that Gerhard Richter painted one of the only really telling responses to this dismal moment. Called simply September, the painting shows a generic image of the towers, sun-struck in the autumn morning and seething with smoke. There's that characteristic Richter blur: it feels like the mind won't focus. Overlaying the image are a few brusque swipes across the canvas, a gauzy smear of thin white paint, as if something had passed between us and the painting. Impatience, perhaps, or an acknowledgement that painting can't deal with more than appearances. -
Chris Ofili – Full
CHRIS OFILI – FULL BIOGRAPHY 1968 Born in Manchester, United Kingdom 1988 - 91 Chelsea School of Art, London (BA Fine Art) 1991 - 93 Royal College of Art, London (MA Fine Art) Lives and works in Trinidad SELECTED SOLO EXHIBITIONS 2017 Weaving Magic, The National Gallery, London 2014 Night & Day, The New Museum, New York, travelling to Aspen Art Museum, Colorado (2015) 2012 to take and to give, Victoria Miro, London. 2010 Afrotranslinear, The Arts Club of Chicago, Illinois 2010 Chris Ofili, Tate Britain, London 2009 Afro Margin, David Zwirner Gallery, New York 2007 Devil’s Pie, David Zwirner Gallery, New York 2006 The Blue Rider Extended Remix, Kestnergesellschaft, Hanover 2005 The Upper Room, Tate Britain, London The Blue Rider, Contemporary Fine Arts, Berlin Afro Muses, The Studio Museum in Harlem, New York 2003 Within Reach, British Pavilion, Venice Biennale 2002 Freedom One Day, Victoria Miro Gallery, London 2001 Chris Ofili Watercolours, Gallery Side 2, Japan 2000 Chris Ofili Drawings, Victoria Miro Gallery, London 1999 Afrobiotics, Gavin Brown’s Enterprise, New York Watercolours, Le Case d’Arte, Milan 1998 Chris Ofili, Southampton City Art Gallery, Southampton, travelling to Serpentine Gallery, London and Whitworth Art Gallery, London 1997 Pimpin Ain’t Easy But It Sure Is Fun, Contemporary Fine Arts, Berlin 1996 Afrodizziac, Victoria Miro Gallery, London 1995 Chris Ofili, Gavin Brown’s Enterprise, New York 1993 Shit Sale, Strasse 17 Juni, Berlin Shit Sale, Brick Lane, London 1991 Paintings and Drawings, Kepler Gallery, London SELECTED