Howardena Pindell
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DIE KÜNSTLER DES Di DANIEL SPOERRI
FONDAZIONE »HIC TERMINUS HAERET« Il Giardino di Daniel Spoerri ONLUS Loc. Il Giardino I - 58038 Seggiano GR L I E fon 0039 0564 950 026 W www.danielspoerri.org T T [email protected] O R T S DIE KÜNSTLER DES N U K M U R O F m i GIARDINO « i r r e o p S l di DANIEL SPOERRI e i n a D GLI ARTISTI DEL GIARDINO DI DANIEL SPOERRI i d o n i d r a i G s e d r e l t s n ̈ u K e i D » g n u l l e t s s u A r e d h c i l s s ä l n a t n i e h c s r e t f e H s e s e i D LOC. IL GIARDINO | I - 58038 SEGGIANO (GR) www.danielspoerri.org Impressum FORUM KUNST ROTTWEIL Dieses Heft erscheint anlässlich de r Ausstellung Friedrichsplatz Die Künsetrl des Giardino di Daniel Spoerri D - 78628 Rottweil im FORUM KUNST ROTTWEIL fon 0049 (0)741 494 320 Herausgeber fax 0049 (0)741 942 22 92 Jürgen Knubben www.forumkunstrottweil.de Forum Kunst Rottweil [email protected] Kuratoren Jürgen Knubben ÖFFNUNGSZEITEN / ORARIO Barbara Räderscheidt Dienstag, Mittwoch, Freitag / martedi, mercoledi, venerdi Daniel Spoerri 14:00 – 17:00 Susanne Neumann Donnerstag / giovedi Texte 17:00 – 20:00 Leda Cempellin Samstag und Sonntag / sabato e domenica Jürgen Knubben 10:00 – 13:00 Anna Mazzanti (A.M.) 14:00 – 17:00 Barbara Räderscheidt (B.R.) Daniel Spoerri IL GIARDINO DI DANIEL SPOERRI Übersetzungen »HIC TERMINUS HAERET« NTL, Florenz Il Giardino di Daniel Spoerri ONLUS Katalog & Fotos Loc. -
Mind Over Matter Artforum, Nov, 1996 by Hans-Ulrich Obrist
http://findarticles.com/p/articles/mi_m0268/is_n3_v35/ai_18963443/ Mind over matter ArtForum, Nov, 1996 by Hans-Ulrich Obrist At the Kunsthalle Bern, where Szeemann made his reputation during his eight-year tenure, he organized twelve to fifteen exhibitions a year, turning this venerable institution into a meeting ground for emerging European and American artists. His coup de grace, "When Attitudes Become Form: Live in Your Head," was the first exhibition to bring together post-Minimalist and Conceptual artists in a European institution, and marked a turning point in Szeemann's career - with this show his aesthetic position became increasingly controversial, and due to interference and pressure to adjust his programming from the Kunsthalle's board of directors and Bern's municipal government, he resigned, and set himself up as an Independent curator. If Szeemann succeeded in transforming Bern's Kunsthalle into one of the most dynamic institutions of its time, his 1972 version of Documenta did no less for this art-world staple, held every five years in Kassel, Germany. Conceived as a "100-Day Event," it brought together artists such as Richard Serra, Paul Thek, Bruce Nauman, Vito Acconci, Joan Jonas, and Rebecca Horn, and included not only painting and sculpture but installations, performances, Happenings, and, of course, events that lasted the full 100 days, such as Joseph Beuys' Office for Direct Democracy. Artists have always responded to Szeemann and his approach to curating, which he himself describes as a "structured chaos." Of "Monte Verita," a show mapping the visionary utopias of the early twentieth century, Mario Merz said Szeemann "visualized the chaos we, as artists, have in our heads. -
Oral History Interview with Howardena Pindell, 2012 Dec. 1-4
Oral history interview with Howardena Pindell, 2012 Dec. 1-4 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Howardena Pindell on December 1, 2012. The interview took place at the home of Howardena Pindell in New York City, and was conducted by Judith O. Richards for the Archives of American Art, Smithsonian Institution. Howardena Pindell has reviewed the transcript. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards, interviewing Howardena Pindell on December 1, 2012, at her home in New York City on Riverside Drive, for the Archives of American Art, Smithsonian Institution, disk one. Howardena, as we've discussed, we're going to begin where a previous interview for the archives left off. That interview was on July 10, 1972. [Laughs.] So casting way back to 1972, I wanted to, first of all, ask some basic questions. HOWARDENA PINDELL: Mm-hmm [Affirmative.] JUDITH RICHARDS: Where were you living in 1972? Had you moved into Westbeth by then? HOWARDENA PINDELL: All right— JUDITH RICHARDS: Or were you living in— HOWARDENA PINDELL: —I was in Westbeth. JUDITH RICHARDS: And when did you move in there? Were you one of the first tenants? HOWARDENA PINDELL: One of the first tenants, yes. -
Feminist Artists' Book Projects of the 1980-90S
1 Bookworks as Networks: Feminist Artists’ Book Projects of the 1980-90s Caroline Fazzini Recent trends in contemporary exhibition, academic, and artistic practices in the U.S. illuminate a persistent concentration of efforts to present more complete versions of the past, specifically regarding issues of diversity and representation. Some museums and art historians have responded to the call for inclusivity by supporting exhibitions that focus on artists who have been marginalized. We Wanted a Revolution: Black Radical Women, 1965-1985, and Radical Women: Latin American Art, 1960-1985, which opened in 2017 at the Brooklyn Museum and the Hammer Museum, respectively, exemplify this corresponding surge of interest within the art and academic worlds of the Americas regarding women artists, and particularly women artists of color. My studies of these exhibitions, as well as my interest in artists’ books, led me to identify two collaborative artists’ book projects that emerged in the late 1980s, in the immediate aftermath of the time periods addressed in both We Wanted a Revolution and Radical Women. I aim to contribute to revisionist scholarly efforts by examining these two projects: Coast to Coast: A Women of Color National Artists’ Book Project (1987-1990) and Connections project/Conexus (1986-1989). Both were first and foremost, meant to initiate dialogues and relationships between women across borders through the making of art and artists’ books. While neither project has received scholarly attention to date, they are important examples of feminist collaborations between women artists. The projects, Connections project/Conexus (1986-1989), organized by Josely Carvalho and Sabra Moore, and Coast to Coast: A Women of Color National Artists’ Book Project (1987- 90), organized by Faith Ringgold and Clarissa Sligh, both took advantage of the accessibility of 2 artists’ books in an effort to include and encourage the participation of women artists. -
Douglas Davis and Allison Simmons
This book was edited by Douglas Davis and Allison Simmons • I ... , ...... I ··-. r-·--····: .. :·:.. .. The MIT Press · Cambridge, Massachusetts, and London, England Copyright© 1977 by Electronic Arts Intermix, Inc. Photographs by Peter Moore © 197 4 by Peter Moore Photographs by Richard Landry© 1973 by Richard Landry • All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without permission in ' writing from the publisher. This book was set in I BM Composer by Tech Data Associates, Inc. and I BM Selectric by Barbara Altman. It was printed and bound by the Murray Printing Company in the United States of America. Library of Congress catalog card number: 76-29198 ISBN: 0-262-04050~ I Elmer•Holmes BobstLibrary NewYork Universi haveand the been United furthermore States v·djoined .b Yother artists. .m both Europe Preface . I eo is no longer th . pioneers; it is becoming as co .• province of a few Open Circuits conference wa smtmhon us anas event pencil or·th paint. · · The. Thish book is based on a conferen : olars, and television producer~• :~~nded by artists, critics, or the future as well as th e past. WI 1mpllcat1ons f rt m New York City in Jan a e Museum of Modern bears the stamp of that time u:yl 1974. Although this volume For th eir· invaluable· . we would. like t o exprassistance with th·1s pro 1· s1onsabout the nature both ~f ta to_p_resents ideas and conclu- an mstitutio T ess our gratitud -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs, -
Name Distel, Herbert Lebensdaten * 7.8.1942 Bern Bürgerort Hochwald (SO) Staatszugehörigkeit CH
Schweiz richtet Distel sein Atelier in Bern ein und wird zu einem der führenden Vertreter der Berner Kunstszene. Mit der freien Künstlergruppierung Bern 66 prägt er Ausstellungen in der Berner Kunsthalle und nimmt an zahlreichen Ausstellungen im Ausland teil. Seine Wellblech- und Kartonreliefs der mittleren 1960er-Jahre zeigen eine intensive Auseinandersetzung mit Licht und Schatten. Mit grossformatigen Polyesterplastiken beginnen Projekte, die den Werkbegriff und seine institutionelle Definition kommentieren. 1968 Premio nazionale di Scultura all’aperto in Vira Gambarogno; Public Eye, Kunsthalle Hamburg; 1969 Distel, Herbert, Projekt "Canaris" (Ei), 1970, Polyester-Ei Preis für Skulptur der X Bienal de São Paulo. In vielen mit installierter Kamera und Chronometer, Länge 300 cm, Medien – in Aktionen, audiophonischen und audiovisuellen grösster Durchmesser 200 cm, Arbeiten – thematisiert Distel neue Präsentations- und Vermittlungsformen künstlerischer Arbeit. Eines seiner bekanntesten Projekte realisiert er 1970–77 mit dem Schubladenmuseum. Distel wendet sich in dieser Zeit neuen Bearbeitungstiefe Medien zu: Theaterinszenierung, Press-Art, inszenierte Fotografie, Ton- und Filmarbeiten. Das Interesse am Film führt 1985–87 zu Studien bei den polnischen Regisseuren Name Krzysztof Kieslowski und Edward Zebrowski. Distel, Herbert Internationalen Erfolg und Video-Kunstpreise erzielt Distel 1993 mit dem 18-minütigen Video Die Angst Die Macht Die Lebensdaten Bilder des Zauberlehrlings. * 7.8.1942 Bern Herbert Distel lebte mit seiner Frau von 1994–2005 in der Bürgerort Toskana und seither in Niederösterreich. Hochwald (SO) Distels Frühwerk ist der Auseinandersetzung mit der Staatszugehörigkeit Skulptur gewidmet. Sind diese meist aus Polyester CH gefertigten, direkt auf den Boden platzierten Arbeiten anfangs noch weiss, kommt ab 1965 auch Farbe zum Einsatz Vitazeile (Kugelschnitt, 1967). -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Digital Review Copy May Not Be Copied Or Reproduced Without Permission from the Museum of Contemporary Art Chicago
DIGITAL REVIEW COPY MAY NOT BE COPIED OR REPRODUCED WITHOUT PERMISSION FROM THE MUSEUM OF CONTEMPORARY ART CHICAGO. HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Published by the Museum of Contemporary Art Chicago and DelMonico Books•Prestel NAOMI BECKWITH is Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago. VALERIE CASSEL OLIVER is Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. ON THE JACKET Front: Untitled #4D (detail), 2009. Mixed media on paper collage; 7 × 10 in. Back: Timothy Greenfield-Sanders, Howardena Pindell from the series Art World, 1980. Gelatin silver print, edition 2/2; 13 3/4 × 10 3/8 in. The Museum of Fine Arts, Houston, Gift of Mr. and Mrs. Neil E. Kelley, 2006.867. © Timothy Greenfield-Sanders, All Rights Reserved. Courtesy of Hiram Butler Gallery. Printed in China HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Edited by Naomi Beckwith and Valerie Cassel Oliver Museum of Contemporary Art Chicago DelMonico Books • Prestel Munich London New York CONTENTS 15 DIRECTOR’S FOREWORD Madeleine Grynsztejn 17 ACKNOWLEDGMENTS Naomi Beckwith Valerie Cassel Oliver 21 OPENING THOUGHTS Naomi Beckwith Valerie Cassel Oliver 31 CLEARLY SEEN: A CHRONOLOGY Sarah Cowan 53 SYNTHESIS AND INTEGRATION IN THE WORK Lowery Stokes Sims OF HOWARDENA PINDELL, 1972–1992: A (RE) CONSIDERATION 87 BODY OPTICS, OR HOWARDENA PINDELL’S Naomi Beckwith WAYS OF SEEING 109 THE TAO OF ABSTRACTION: Valerie Cassel Oliver PINDELL’S MEDITATIONS ON DRAWING 137 HOWARDENA PINDELL: Charles -
Howardena Pindell: What Remains to Be Seen, Virginia Museum of Fine Arts, Panorama: Journal of the Association of Historians of American Art 4, No
ISSN: 2471-6839 Cite this article: Andrea Douglas, review of Howardena Pindell: What Remains to Be Seen, Virginia Museum of Fine Arts, Panorama: Journal of the Association of Historians of American Art 4, no. 2 (Fall 2018), https://doi.org/10.24926/24716839.1677. Howardena Pindell: What Remains To Be Seen Curated by: Naomi Beckwith and Valerie Cassel Oliver Exhibition schedule: Museum of Contemporary Art Chicago, February 24–May 20, 2018; Virginia Museum of Fine Arts, August 25–November 25, 2018; and Rose Art Museum, Brandeis University, Waltham, MA, January 24–June 16, 2019 Exhibition catalogue: Naomi Beckwith and Valerie Cassel Oliver, Howardena Pindell: What Remains To Be Seen, exh. cat. Chicago: Museum of Contemporary Art Chicago in association with Delmonico Books, Prestel, 2018. 288 pp.; 250 color illus. Hardcover $60.00 (ISBN: 9783791357379) Reviewed by: Andrea Douglas, Executive Director, Jefferson School African American Heritage Center; Researcher McIntire Department of Art, University of Virginia Fig. 1. Howardena Pindell, Autobiography: Air (CS560), 1988 (left). Acrylic, tempera, oil stick, blood, paper, polymer, photo transfer and vinyl on canvas, 86 x 84 in. Detroit Institute of Arts, Founders Society Purchase, W. Hawkins Ferry Fund with funds from Joan and Armando Ortiz Foundation, Friends of Modern Art, Avery K. Williams, Lynne Enweave, Ronald Maurice Ollie, and Kimberly Moore It is not faint praise to describe the fifty-year retrospective exhibition of multimedia artist Howardena Pindell as wholly satisfying. What has until now seemed an incomplete journalpanorama.org • [email protected] • ahaaonline.org Douglas, review of Howardena Pindell Page 2 assessment of the artist’s standing within the development of contemporary art has been synthesized into a presentation that neither privileges her role as artist activist nor her formalist experimentation but reveals the inextricable relationship between the artist’s biography and her studio practice. -
The Museum of Drawers 1970-1977 Datasheet
TITLE INFORMATION Tel: +44 (0) 1394 389950 Email: [email protected] Web: https://www.accartbooks.com/uk The Museum of Drawers 1970- 1977 Five Hundred Works of Modern Art Herbert Distel Edited by Thomas Kramer ISBN 9783858813336 Publisher Scheidegger & Spiess Binding Hardback Territory World excluding Austria, Germany, Switzerland, Puerto Rico, United States, Canada, and Japan Size 300 mm x 200 mm Pages 184 Pages Illustrations 533 color, 17 b&w Price £45.00 Includes original art works by 508 artists, including Beuys, Duchamp, Picasso and Warhol Only book on this icon of 20th-century art in the market The book presents all 500 works in true size The Museum of Drawers is on tour around Europe 2011-13, beginning at Arnolfini Art Center in Bristol (2011) and ending at Whitechapel Gallery in London (2013) The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of art, many of which were made especially for the Museum of Drawers. The list of artists represented includes such influential pioneers as Joseph Beuys, Marcel Duchamp, Hannah Höch, Meret Oppenheim, Pablo Picasso, and Andy Warhol. Following a first presentation as a work-in-progress at the documenta 5 in Kassel (Germany) in 1972, the Museum of Drawers caused sensation internationally. It has been shown several times in New York, including a presentation at the Museum of Modern Art (MoMA) in 1999, and at many museums around the world. -
Biographical Description for the Historymakers® Video Oral History with Howardena Pindell
Biographical Description for The HistoryMakers® Video Oral History with Howardena Pindell PERSON Pindell, Howardena, 1943- Alternative Names: Howardena Pindell; Life Dates: April 14, 1943- Place of Birth: Philadelphia, Pennsylvania, USA Residence: New York, NY Work: Stonybrook, NY Occupations: Collage Artist; Curator; Art Professor Biographical Note World renowned abstract artist Howardena Pindell was born on April 14, 1943, in Philadelphia, Pennsylvania. Pindell became interested in art at an early age when she began taking art classes on Saturdays; she started out as a figurative painter. Pindell received her B.F.A. degree in painting from Boston University's School of Fine and Applied Arts in 1965, and her M.F.A. degree from Yale University's School of Art and Architecture in 1967. Pindell was also awarded two honorary in 1967. Pindell was also awarded two honorary doctorates: one from the Massachusetts College of Art, and one from Parson School of Design in New York. Pindell began her career in the art world as the first African American Associate Curator of Prints and Illustrated Books at the New York Museum of Modern Art, a position she held for twelve years. Pindell rose from Curatorial Assistant to Associate Curator during her time at the New York Museum of Modern Art.. In 1979, Pindell began a new career as Associate Professor of Students at State University of New York at Stony Brook. Pindell’s earliest drawings, composed of a patterned sequence of words and numbers on graph paper, suggest post minimalism as a major ingredient in her abstractions. In the 1970s, Pindell developed a collage technique using small circles hand punched from sheets of blank or printed paper.