Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist's First Solo
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Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
About the Exhibition the Year 2020 Is a Historic One for the Evansville Museum’S Biennial Mid-States Art Exhibition, As It Marks Its Jubilee Anniversary
About the Exhibition The year 2020 is a historic one for the Evansville Museum’s biennial Mid-States Art Exhibition, as it marks its Jubilee Anniversary. The biennial exhibition provides recognition for emerging artists and the opportunity to receive a purchase or merit award. Selected for this retrospective are top award- winning works spanning sixty years which provide a unique overview of the development in trends and techniques of artists in the Midwest. The annual juried competition was organized in 1948 by the Museum’s Director, Charles Bogg; Registrar, Florita Eichel; and Museum Trustee William A. Gumberts. Originally named the Tri- State Art Exhibition, the competition accepted paintings, drawings, prints, sculpture, and crafts for consideration by a jury of two or three art professionals. In the first decade, the number of entries steadily grew; and, in 1960, the Museum organized a separate regional juried exhibition devoted to craft. The Mid- State Craft Exhibition and the Mid-States Art Exhibition were presented annually until 1994 when the decision was made to offer one regional juried competition each year and the two competitions became biennials. The competition is open to artists residing in the six Midwestern states of Indiana, Illinois, Kentucky, Tennessee, Ohio and Missouri. In the exhibition’s sixty-year history, the purchase and merit awards donated by local individuals, businesses, corporations, and philanthropic organizations have allowed the Evansville Museum to purchase 326 works for the Mid-States Art Collection. On this Jubilee Anniversary, we congratulate all the artists who have participated in the Mid-States Art Exhibition and thank the many generous patrons whose gifts have made the acquisition of this important collection possible. -
Finding Aid to the DC Art Association Records, 1969
D.C. Art Association Finding Aid to the D.C. Art Association Records, 1969– 1991, Anacostia Community Museum Archives by Tonijala D. Penn May 2007 Contact Information Anacostia Community Museum Archives Smithsonian Institution 1901 Fort Place, SE Washington. D.C. 20020 202.633.4853 (phone) 202.287.2422 (fax) www.ACMarchives.si.edu Table of Contents Collection Overview......................................................................................................... 1 Administrative Information ............................................................................................... 1 Biographical Note ............................................................................................................ 2 Scope and Content Note ................................................................................................. 2 Subjects .......................................................................................................................... 3 Related or Complementary Material ................................................................................ 3 Series Description/Container List .................................................................................... 3 Series I: Administrative ................................................................................................ 3 Series II: Correspondence ........................................................................................... 4 Series III: Exhibitions .................................................................................................. -
The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission. -
Inclusive Curatorial Practices: Facilitating Team Exhibition Planning in the Art Mueum Using Evaluative Inquiry for Learning in Organizations Ann Rowson Love
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Inclusive Curatorial Practices: Facilitating Team Exhibition Planning in the Art Mueum Using Evaluative Inquiry for Learning in Organizations Ann Rowson Love Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORDIA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, & DANCE INCLUSIVE CURATORIAL PRACTICES: FACILITATING TEAM EXHIBITION PLANNING IN THE ART MUEUM USING EVALUATIVE INQUIRY FOR LEARNING IN ORGANIZATIONS BY ANN ROWSON LOVE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2013 Ann Rowson Love defended this dissertation on May 2, 2013. Members of the supervisory committee were: Pat Villeneuve Professor Directing Dissertation Paul Marty University Representative Tom Anderson Committee Member Jeff Broome Committee Member Linda Schrader Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii DEDICATION To my parents Joseph and Sandra Rowson iii ACKNOWLEDGMENTS I want to thank Pat Villeneuve for her guidance and for supervising this project as my advisor. In the weeks following Hurricane Katrina, Pat welcomed my family into her home and into the doctoral program that led me to this work. I thank all of my committee members for their participation and thoughtful comments throughout this process; thank you to Tom Anderson, Jeff Broome, Paul Marty, and Linda Schrader. To my husband, Eric, who made the move to Tallahassee and supported me throughout my studies and writing. -
Public Art Exhibition Curator
REQUEST FOR PROPOSALS CITY OF WEST HOLLYWOOD ARTS DIVISION PUBLIC ART EXHIBITION CURATOR Date Released: September 7, 2017 Deadline to Apply: October 11, 2017 City of West Hollywood ART ON THE OUTSIDE REQUEST FOR PROPOSALS (RFP) Public Art Exhibition Curator Santa Monica Boulevard at Doheny Drive Sculpture Park RFQ released: September 7, 2017 Deadline to apply: October 11, 2017 PROJECT DESCRIPTION The City of West Hollywood’s Art on the Outside Program is seeking an arts professional to curate a temporary public art exhibition for the Santa Monica Boulevard at Doheny Drive Sculpture Park. Independent curators and curators representing non-profit art organizations, art centers, galleries and/or museums are invited to develop proposals for an engaging temporary public art exhibition for the City’s primary outdoor exhibition space. Qualified curators will have experience and capability to perform the tasks described in the Scope of Work. Proposals may be artistic, cultural, or popular in nature and may (but are not required to) feature themes related to the City’s unique history. Artworks included in the exhibition proposal should be able to withstand the natural elements and be ready to install in a public setting. Delicate artworks that may be vulnerable to the elements and/or public interaction are not advisable for this setting. The term of the exhibition is expected to begin in February 2018 and conclude in February 2019. ELIGIBILITY This is an open call to arts professionals. Proposals submitted by arts professionals, non-profit art organizations, art centers, galleries, and/or museums for exhibitions of emerging and established artists will be considered. -
Powered by Julie Mehretu Lot 1
PARTICIPATING ARTISTS Manal Abu-Shaheen Andrea Galvani Yoko Ono Golnar Adili Ethan Greenbaum Kenneth Pietrobono Elia Alba Camille Henrot Claudia Peña Salinas Hope Atherton Brigitte Lacombe Leah Raintree Firelei Báez Anthony Iacono Gabriel Rico Leah Beeferman Basim Magdy Paul Mpagi Sepuya Agathe de Bailliencourt Shantell Martin Arlene Shechet Ali Banisadr Takesada Matsutani Rudy Shepherd Mona Chalabi Josephine Meckseper Hrafnhildur Arnardóttir/Shoplifter Kevin Cooley Julie Mehretu Elisabeth Smolarz William Cordova Sarah Michelson Sarah Cameron Sunde N. Dash Richard Mosse Michael Wang Sandra Erbacher Vik Muniz Meg Webster Liana Finck Rashaad Newsome Tim Wilson AUCTION COMMITTEE Waris Ahluwalia, Designer and Actor Anthony Allen, Director, Paula Cooper Gabriel Calatrava, Founder, CAL Andrea Cashman, Director, David Zwirner Brendan Fernandes, Artist Michelle Grey, Executive Creative and Brand Director, Absolut Art Prabal Gurung, Designer, Founder and Activist Peggy Leboeuf, Director, Galerie Perrotin Michael Macaulay, SVP, Sotheby's Yoko Ono, Artist Bettina Prentice, Founder and Creative Director, Prentice Cultural Communications Olivier Renaud-Clément Olympia Scarry, Artist and Curator Andrea Schwan, Andrea Schwan Inc. Brent Sikkema, Founder and Owner, Sikkema Jenkins & Co Powered by Julie Mehretu Lot 1 Mind-Wind Fusion Drawings #5 2019 Ink and acrylic on paper 26 x 40 in (66 x 101.6 cm) Courtesy of the artist and Marian Goodman Gallery, New York Estimated value: $80,000 Mehretu’s work is informed by a multitude of sources including politics, literature and music. Most recently her paintings have incorporated photographic images from broadcast media which depict conflict, injustice, and social unrest. These graphic images act as intellectual and compositional points of departure; ultimately occluded on the canvas, they remain as a phantom presence in the highly abstracted gestural completed works. -
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International Conference on Education, E-learning and Management Technology (EEMT 2016) Analysis on the Present Situation of the Printmaking Art in Jilin Province of China Fu Liu1, a, Bing Liu1, b, * 1 Academy of Fine Arts, Northeast Normal University, Changchun130024, China a [email protected], b [email protected] Keywords: Printmaking art; Jilin Province; National printmaking art exhibition; Living environment; Creative level; Current situation of education. Abstract. In order to promote the development of printmaking art in Jilin Province, analysis and research with living environment, team situation, institute printmaking teaching scale and awards situation, and carries on the statistics and study of the data. The results show that: In Jilin Province, woodcut print and copper plate print outstanding creation level, but there is a certain gap between the overall development of Zhejiang, Yunnan, Heilongjiang and other provinces, these data statistics and theoretical thinking, for the development of printmaking art in Jilin Province to provide digital support. 1. Analysis of the Present Situation of Living Environment From the perspective of the development history of Chinese printmaking art, three changes have happened. For the first time, from 30s to 1949, this is the revolutionary war period, from the beginning of the new woodcut movement initiated by Mr. Lu Xun, woodcut prints to the creation of conditions is simple, economic cost, making fast, for publication and presentation characteristics has been widely attention and use. A variety of newspapers and magazines that are actively published woodcut art works, in order to make the woodcut art in China gradually popular, has played a huge role in the publicity, with its revolutionary and combat, the art of engraving has made brilliant achievements. -
Official Catalogue of Mini Print 2020 (PDF)
19TH LESSEDRA WORLD ART PRINT ANNUAL 2020 CONTEMPORARY ART PROJECTS 19th LESSEDRA WORLD ART PRINT ANNUAL – MINI PRINT The Catalogue presents Artists 200 – 38 Countries The exhibition is held September 25th 2020 – January 22nd 2021 Lessedra Gallery 25, Milin Kamak Street, Lozenetz 1164 Sofia, Bulgaria Argentina – 2 Australia – 3 Austria – 6 Belgium – 6 Brazil – 1 Bulgaria – 17 Canada – 9 Chile – 1 China – 1 Croatia – 1 Denmark – 5 England – 9 Estonia – 1 Finland – 6 France – 9 Germany – 11 Hungary – 1 Ireland – 9 Israel – 1 Japan – 23 Korea – 1 Liechtenstein -2 Mexico – 5 The Netherlands – 14 Norway – 1 Poland – 19 Puerto Rico – 1 Romania – 3 Scotland – 1 Slovenia – 1 South Africa – 1 Sweden – 3 Switzerland – 6 Taiwan – 1 Thailand – 1 Ukraine – 2 U. S. A. – 15 Venezuela – 1 Wales – 1 With Special Thanks for the cooperation to: The project is presented on the web www.lessedra.com ALICJA SNOCH – PAWLOWSKA link Annual Associate Professor Dean of The Faculty of Arts Maria Curie Skłodowska University, Lublin, Poland for the Special Presentation of artists – students from the University Publisher: Book cover design: Atanas Vassilev LESSEDRA Gallery & Contemporary Art Projects Concept for the book: Georgi Kolev 25, Milin Kamak Street, Lozenetz and Christophor Krustev 1164 Sofia, Bulgaria Tel.: (++359 2) 865 04 28, (++359 2) 866 38 57 e-mail: [email protected] Pre - press: Christophor Krustev©2018 [email protected] www.lessedra.com Print: Stovi©2019 2020© Lessedra 2 2020 this year no visiting artists no international jury no -
Natessa Amin: Hyphen Curated by Ali Banisadr September 12 - October 16, 2019
137 West 25th Street, New York, NY 10001 Tel: 212.206.3583 www.cueartfoundation.org [email protected] Gallery hours: Tues - Sat: 10AM-5:30PM Natessa Amin: Hyphen Curated by Ali Banisadr September 12 - October 16, 2019 Opening reception: Thursday, September 12, 6-8PM Exhibition walk-through with Natessa Amin and Ali Banisadr: Saturday, October 5, 5-6PM CUE Art Foundation is pleased to present Hyphen, a solo exhibition by Natessa Amin, curated by Ali Banisadr. Amin creates a site-specific mixed-media installation that brings together painting, sculpture, and drawing to explore the artist’s experience of embodying a hybrid identity. Binding all of these materials together is a long undulating trail of hand- dyed newsprint that curves around the gallery’s walls, forming a textural structure within which individual objects become intertwined as part of a larger sculptural body. Born and raised in Pennsylvania in an Indian- American family, Amin grew up navigating the complex relationships that were formed as a result Natessa Amin, Smoke that Thunders, 2019. Acrylic on canvas, 20 x 26 inches. of combined and contrasting cultures and religions. Her observations are recorded in colorful abstracted shapes and patterns that take inspiration from Indian and African textiles, Indian palaces and garden design, and Pennsylvania Dutch craft. She employs techniques that emphasize the tactility of the material and her process of making, such as layering paint, pigments, dyes, silver leaf, glass particles,and textural gels. However, rather than blurring or disguising the boundaries between these materials, the artist proposes relationships between them, drawing them into conversation with one another while preserving their differences. -
Art & Finance Report 2019
Art & Finance Report 2019 6th edition Se me Movió el Piso © Lina Sinisterra (2014) Collect on your Collection YOUR PARTNER IN ART FINANCING westendartbank.com RZ_WAB_Deloitte_print.indd 1 23.07.19 12:26 Power on your peace of mind D.KYC — Operational compliance delivered in managed services to the art and finance industry D.KYC (Deloitte Know Your Customer) is an integrated managed service that combines numerous KYC/AML/CTF* services, expertise, and workflow management. The service is supported by a multi-channel web-based platform and allows you to delegate the execution of predefined KYC/AML/CTF activities to Deloitte (Deloitte Solutions SàRL PSF, ISO27001 certified). www2.deloitte.com/lu/dkyc * KYC: Know Your Customer - AML/CTF: Anti-Money Laundering and Counter-Terrorism Financing Empower your art activities Deloitte’s services within the Art & Finance ecosystem Deloitte Art & Finance assists financial institutions, art businesses, collectors and cultural stakeholders with their art-related activities. The Deloitte Art & Finance team has a passion for art and brings expertise in consulting, tax, audit and business intelligence to the global art market. www.deloitte-artandfinance.com © 2019 Deloitte Tax & Consulting dlawmember of the Deloitte Legal network The Art of Law DLaw – a law firm for the Art and Finance Industry At DLaw, a dedicated team of lawyers supports art collectors, dealers, auctioneers, museums, private banks and art investment funds at each stage of their project. www.dlaw.lu © 2019 dlaw Art & Finance Report 2019 | Table of contents Table of contents Foreword 14 Introduction 16 Methodology and limitations 17 External contributions 18 Deloitte CIS 21 Key report findings 2019 27 Priorities 31 The big picture: Art & Finance is an emerging industry 36 The role of Art & Finance within the cultural and creative sectors 40 Section 1. -
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Johnny Abrahams · Saâdane Afif · Afro Libio Basaldella · Leila Alaoui · Anni Map #15 #15 Map 5 7 Albers · Isabel Albrecht · Santi Alleruzzo · Heba Y. Amin · Harold Ancart · Carl 4 6 Berners St Laure Genillard Andre · Kathryn Andrews · Giovanni Anselmo · Ian Anüll · Billy Apple · Lucas Bartha Contemporary Eastcastle St Arruda · Daniel Arsham · Joannis Avramidis · Frank Avray Wilson · Stephan Pilar Corrias Balkenhol · Ali Banisadr · Simeon Barclay · Georg Baselitz · Stig Baumgartner Detail Tottenham Court Road Regent St · Larry Bell · Amélie Bertrand · Walead Beshty · Forrest Bess · McArthur Binion Fitzrovia · Dara Birnbaum · Anna Bjerger · Jean Boghossian · Joe Bradley · AA Bronson Oxford St · Berlinde De Bruyckere · Fatma Bucak · Heidi Bucher · Chris Burden · Daniel D Buren · Victor Burgin · Alberto Burri · Edward Burtynsky · Brad Butler · Pier Paolo Calzolari · Rodrigo Cass · Lynn Chadwick · Alan Charlton · Pierre Puvis Soho Charing Cross Rd Oxford Circus Square de Chavannes · Christo · James Clar · Ed Clark · Pietro Consagra · Anne- The Photographers‚ Gallery Lise Coste · Rochelle Costi · Johan Creten · Ian Davenport · Enrico David · Regent St Benjamin de Burca · Anne De Carbuccia · Herman de Vries · Antonio Dias · Oxford St Francesca DiMattio · Lucy Dodd · Jürgen Drescher · Jimmie Durham · Latifa Annely Juda Fine Art Osborne Samuel Echakhch · Martin Eder · Ibrahim El-Salahi · Ndidi Emefiele · Niklas Eneblom · Frida Escobedo · Arielle Falk · Sam Falls · Zeng Fanzhi · Olga Mikh Fedorova Bond Street Great Marlborough St · Urs Fischer