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Palm Beach Modern + Contemporary Kicks Off 2019 with World-Class International Art Fair for Third Edition
PALM BEACH MODERN + CONTEMPORARY KICKS OFF 2019 WITH WORLD-CLASS INTERNATIONAL ART FAIR FOR THIRD EDITION The Palm Beach Modern + Contemporary Art Fair (PBM+C), presented by Art Miami and hosted by the City of West Palm Beach, will return for its third edition in West Palm Beach City’s Tent Site (825 S Dixie th th Hwy at Okeechobee Blvd) on Thursday, January 10 through Sunday, January 13 , 2019. PBM+C is the most important fair to take place in Palm Beach during the winter season as it brings a world-class, internationally respected group of art dealers and their artists to one of the most culturally savvy and discerning collecting audiences in the world. The fair will open on Thursday evening at 5:00pm, with an exclusive VIP Preview benefiting the Ann Norton Sculpture Gardens and Joe Namath Foundation. Palm Beach Modern + Contemporary, an integral part of the prestigious Art Miami Group, which just celebrated its 29th edition of Art Miami, presents a world-class art fair in Palm Beach, which curates and offers the best investment quality works from the 20th and 21st centuries. The Fair will take place in the intimate and modern setting of a temperature controlled clear span pavilion, conveniently located behind Restoration Hardware, between CityPlace and the luxurious Hilton West Palm Beach. Collectors, art connoisseurs and art world luminaries alike will have the opportunity to acquire investment quality blue chip, modern and contemporary, and post-war works from nearly 70 top international galleries over the four days of the fair. These premier galleries come from as far as Austria, United Kingdom, France, Germany, Canada, Columbia, Venezuela and throughout the United States. -
KAWS Media Release
KAWS Media release 6 February–12 June 2016 Longside Gallery and open air Yorkshire Sculpture Park (YSP) presents the first UK museum exhibition by KAWS, the renowned American artist, whose practice includes painting, sculpture, printmaking and design. The exhibition, in the expansive Longside Gallery and open air, features over 20 works: commanding sculptures in bronze, fibreglass, aluminium and wood alongside large, bright canvases immaculately rendered in acrylic paint – some created especially for the exhibition. The Park’s historically designed landscape becomes home to a series of monumental and imposing sculptures, including a new six-metre-tall work, which take KAWS’s idiosyncratic form of almost-recognisable characters in the process of growing up. Brooklyn-based KAWS is considered one of the most relevant artists of his generation. His influential work engages people across the generations with contemporary art and especially opens popular culture to young and diverse audiences. A dynamic cultural force across art, music and fashion, KAWS’s work possesses a wry humour with a singular vernacular marked by bold gestures and fastidious production. In the 1990s, KAWS conceived the soft skull with crossbones and crossed-out eyes which would become his signature iconography, subverting and abstracting cartoon figures. He stands within an art historical trajectory that includes artists such as Claes Oldenburg and Jeff Koons, developing a practice that merges fine art and merchandising with a desire to communicate within the public realm. Initially through collaborations with global brands, and then in his own right, KAWS has moved beyond the sphere of the art market to occupy a unique position of international appeal. -
On Dennis Oppenheim's Marionette Theatre
On Dennis Oppenheim’s marionette theatre Robert Slifkin Figure 1 Dennis Oppenheim, Attempt to Raise Hell, 1974. Seated motorized figure in the image of the artist, cloth and felt suit, wood and steel base, spotlight. Timing device triggers cast head in the image of the artist to lunge forward striking the suspended silver plated bell every sixty seconds. 78.4 x 121 x 91.1 cm. Collection Radchovsky House, Dallas. Photo: Ace Contemporary, Los Angeles. Courtesy Dennis Oppenheim Estate. Dennis Oppenheim’s Attempt to Raise Hell (Figure 1), a motorized effigy of the artist set upon a white plinth that violently bangs its aluminium head upon a large brass bell every three minutes, portrays, in a most striking manner, the romantic theme of artistic creation through bodily and mental suffering. The violent clang of metal on metal produced by the piece resonates loudly and long after the jerky mechanical collision, sounding something like an alarm in the gallery in which the work is exhibited. The work’s sonic resonance imparts its ambition to draw attention to itself and to produce effects beyond its material limits, not only in the space but in the minds and bodies of beholders. The masochistic gesture portrayed by the mechanical figure is capable of engendering powerful feelings in its viewers. One might say that Attempt to Raise Hell dramatizes a foundational conceit of expressionism, in which a sensory experience of a work of art’s creator is vividly conveyed to a beholder through affective means. The use of an inanimate and mechanical surrogate ironizes this dynamic, suggesting how the techniques of such experiential transference are typically more technical than natural. -
IAN DAVENPORT Press Highlights
IAN DAVENPORT Press Highlights 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com In the studio with abstract painter Ian Davenport Emily Tobin visits the abstract painter known for his cavalcade of bright hues and unconventional methods in his south London space EMILY TOBIN AUGUST 26, 2020 Photo by Joshua Monaghan Ian Davenport approaches paint like a scientist might approach a new specimen – it is something to be tested, something to explore and challenge. Painting has been the subject of his research for the best part of 30 years. He was a key figure in the Young British Artists scene in London in the Nineties and the youngest person to be nominated for the Turner Prize in 1991. Even back then, he was preoccupied by the relationship between shape, colour and material. ‘My paintings are about fluidity, movement, liquidity and how movement affects installations and spaces,’ he says. His studio in south London is something of a Tardis. Located off a residential street, it is a vast space that allows him to experiment with different techniques and scales. Ian creates many of his paintings by pouring paint down smooth surfaces in linear patterns. In a recent body of work, these kaleidoscopic lines puddle in swirls at the base of each painting, resulting in something nearing sculpture. There are the diagonal works in which paint is poured from opposite sides of the surface and merges in the middle, then there are the Splat pictures, which he creates by 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com squirting paint onto a vertical hanging surface and letting it trickle into random patterns. -
Towards an Understanding of the Contemporary Artist-Led Collective
The Ecology of Cultural Space: Towards an Understanding of the Contemporary Artist-led Collective John David Wright University of Leeds School of Fine Art, History of Art and Cultural Studies Submitted in accordance with the requirements for the degree of Doctor of Philosophy December 2019 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of John David Wright to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 1 Acknowledgments Thank you to my supervisors, Professor Abigail Harrison Moore and Professor Chris Taylor, for being both critical and constructive throughout. Thank you to members of Assemble and the team at The Baltic Street Playground for being incredibly welcoming, even when I asked strange questions. I would like to especially acknowledge Fran Edgerley for agreeing to help build a Yarn Community dialogue and showing me Sugarhouse Studios. A big thank you to The Cool Couple for engaging in construcutive debate on wide-ranging subject matter. A special mention for all those involved in the mapping study, you all responded promptly to my updates. Thank you to the members of the Retro Bar at the End of the Universe, you are my friends and fellow artivists! I would like to acknowledge the continued support I have received from the academic community in the School of Fine Art, History of Art and Cultural Studies. -
ARTIST - DENNIS OPPENHEIM Born in Electric City, WA, USA, in 1938 Died in New York, NY, USA, in 2011
ARTIST - DENNIS OPPENHEIM Born in Electric City, WA, USA, in 1938 Died in New York, NY, USA, in 2011 EDUCATION - 1964 : Beaux Arts of California College of Arts and Crafts, Oakland, CA, USA 1967 : Beaux Arts of Stantford University, Palo Alto, CA, US SOLO SHOWS (SELECTION) - 2020 Dennis Oppenheim, Galerie Mitterrand, Paris, France 2019 Dennis Oppenheim, Le dessin hors papier, Musée des Beaux-Arts, Caen, FR 2018 Broken Record Blues, Peder Lund, Oslo NO Violations, Marlborough Contemporary, New York US Straight Red Trees. Alternative Landscape Components, Guild Hall, East Hampton, NY, US 2016 Terrestrial Studio, Storm King Art Center, New Windsor US Three Projections, Art Institute of Chicago, Chicago, US 2015 Collection, MAMCO, Geneva, CH Launching Structure #3. An Armature for Projections, Halle-Nord, Geneva CH Dennis Oppenheim, Wooson Gallery, Daegu, KR 2014 Dennis Oppenheim, MOT International, London, UK 2013 Thought Collision Factories, Henry Moore Institute, Leeds, UK Sculpture 1979/2006, Galleria Fumagalli & Spazio Borgogno, Milano, IT Alternative Landscape Components, Yorkshire Sculpture Park, West Bretton, UK 2012 Electric City, Kunst Merano Arte, Merano, IT 1968: Earthworks and Ground Systems, Haines Gallery, San Francisco US HaBeer, Beersheba, ISR Selected Works, Palacio Almudi, Murcia, ES 2011 Dennis Oppenheim, Musee d'Art Moderne et Contemporain, Saint-Etienne, FR Eaton Fine Arts, West Palm Beach, Florida, US Galerie Samuel Lallouz, Montreal, CA Salutations to the Sky, Museo Fundacion Gabarron, New York, US 79 RUE DU TEMPLE -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
Curriculum Vitae
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com LUIS CRUZ AZACETA BORN: Havana, Cuba, 1942. Emigrated to the US 1960; US Citizenship 1967. LIVES: New Orleans, LA. EDUCATION: School of Visual Arts, New York, 1969. GRANTS AND AWARDS: Joan Mitchell Foundation Grant, 2009. Penny McCall Foundation Award, 1991-92. Mid-Atlantic Grant for special projects, 1989. Guggenheim Memorial Foundation Grant, New York, 1985. New York Foundation for the Arts, 1985. Mira! Canadian Club Hispanic Award, 1984. Creative Artistic Public Service (CAPS), New York, 1981-82. National Endowment for the Arts, Washington, D.C., 1980-81, 1985, 1991-92. Cintas Foundation, Institute of International Education, New York, 1972-72, 1975-76. SOLO EXHIBITIONS: “Personal Velocity in the Age of Covid,” Lyle O. Rietzel, Santo Dominigo, DR, 2020-21. “Personal Velocity: 40 Years of Painting,” George Adams Gallery, New York, NY, 2020. “Between the Lines,” Arthur Roger Gallery, New Orleans, LA, 2019. “Luis Cruz Azaceta, 1984-1989,” George Adams Gallery, New York, NY, 2018. “Luis Cruz Azaceta: A Question of Color,” Lyle O. Reitzel, Santo Domingo, DR, 2018. “On The Brink,” Arthur Roger Gallery, New Orleans, LA, 2017. “Luis Cruz Azaceta Swimming to Havana,” Lyle O. Reitzel, New York, NY, 2016-17. “Luis Cruz Azaceta: Dictators, Terrorism, War and Exiles,” American Museum of the Cuban Diaspora, Miami, FL, 2016. “Luis Cruz Azaceta: War & Other Disasters,” Abroms-Engel Institute for Visual Arts, University of Alabama, Birmingham, AL, 2016. “State of Fear,” Pan American Art Projects, Miami, FL, 2015.* “PaintingOutLoud,” Arthur Roger Gallery, New Orleans, LA, 2014.* “Dictators, Terrorism, Wars & Exile,” Aljira: A Center for Contemporary Art, Newark, NJ, 2014.* “Louisiana Mon Amour,” Acadiana Center for the Arts, Lafayette, LA, 2013.* “Falling Sky,” Lyle O. -
DORIS SALCEDO Education Solo Exhibitions
DORIS SALCEDO 1958 Born in Bogotá, Colombia Lives and works in Bogotá Education 1984 MA, New York University 1980 BFA, Universidad de Bogotá Jorge Tadeo Lozano Solo exhibitions 2019 Doris Salcedo: Tabula Rasa, Kunsthalle St. Annen, Lubbeck, Germany Doris Salcedo: Acts of Mourning, IMMA, Dublin 2018 Fragmentos, Bogota Palimpsest, White Cube, London Prints 2003 – 2009, Alexander Bonin, New York 2017 Palimpsest, Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid 2016 The Materiality of Mourning, Harvard Art Museum, Boston, Massachusetts Nasher Sculpture Center, Dallas, Texas 2015 Doris Salcedo, Museum of Contemporary Art Chicago; Solomon R. Guggenheim Museum, New York; Perez Art Museum, Miami, 2016 2014 Hiroshima Art Prize: Doris Salcedo, Hiroshima City Museum of Contemporary Art, Japan FLORA arts+natura, Bogotá 2013 Robert Kinmont/Doris Salcedo, Alexander and Bonin, New York 2011 Plegaria Muda, Museo Universitario Arte Contemporáneo, Mexico; Moderna Museet Malmö, Sweden; Gulbenkian, Centro de Art Moderna, Lisbon; Museo nazionale delle arti del XXI secolo, Rome, 2012; White Cube, London, 2012; Pinacoteca, São Paulo, 2012 2008 Alexander and Bonin, New York 2007 Shibboleth, Turbine Hall, Tate Modern, London White Cube, London 2004 Neither, White Cube, London 2001 Camden Arts Centre, London 2000 Tenebrae: Noviembre 7, 1985, Alexander and Bonin, New York 1998 Doris Salcedo: Unland, New Museum of Contemporary Art, New York; SITE Santa Fe, New Mexico; San Francisco Museum of Modern Art, 1999; Tate Gallery, London, 1999 1997 -
Poetics of Color Natvar Bhavsar
Poetics of Color Natvar Bhavsar Sundaram Tagore Gallery Poetics of Color Natvar Bhavsar Acknowledgements Ajay Bhavsar Janet Bhavsar Rajeev Bhavsar Janice Bouley First published in the United States of America in 2006 Rebecca Costanzo by Sundaram Tagore Gallery 547 West 27th Street Devika Daulet-Singh New York, New York 10001 Rukminee Guha Thakurta Tel 212 677 4520 Fax 212 677 4521 Barbara Eagle Email [email protected] Faina Goldstein www.sundaramtagore.com Gina Im Text © Sundaram Tagore Gallery Aranka Israni Photographs © Natvar Bhavsar Susan McCaffrey All rights reserved under international copyright conventions. Carter Ratcliff No part of this book may be reproduced or transmitted Naomi Rivas in any form or by any means, electronic or mechanical, George Schmidt including photocopy, recording, or any other information Emily Steiger storage and retrieval system, without prior permission in writing from the publisher. Kelly Tagore Sundaram Tagore Design Rukminee Guha Thakurta/Photoink Gad Zehavi Printer Pragati Offset Pvt. Ltd. Gallery Statement Since our inception in 2000, we have devoted ourselves to bringing together artists of various disciplines who are exploring the confluence of Western and non-Western cultures. In addition to showing the work of our international roster of visual artists, we have been privileged to host numerous nonprofit cultural events. We strongly believe in the inseparable nature of art and will continue to stimulate the exchange of ideas and push intellectual, artistic and cultural boundaries by helping artists of all kinds exhibit, perform, and produce their work. Sundaram Tagore Executive Director 7 Natvar Bhavsar To say how Natvar Bhavsar’s paintings look, you have to say what his colors do. -
Zaynab Abdi, Student
MINNESOTA WOMEN’S PRESS POWERFUL. EVERYDAY. WOMEN. Places & SPaces Nekessa Julia Opoti: The Story of Immigration Green Card Voices: Where Do I Belong? Minnesota Authors Explore Place The Women of Outward Bound: 1965 SPaces Issue womenspress.com July 2018 Issue 34-7 MINNESOTA “In the exhilaration of natural wonders, absorbed in our own WOMEN’S PRESS survival goals, we come through the POWERFUL. EVERYDAY. WOMEN. fog. We find vistas of peace and one- ness with each other, comfort, and acceptance.” — Devvie Cersine What’s inside? Editor Letter 4 Finding Place in the Space We Share COURTESY CRAIG WIKLUND CRAIG COURTESY Reader Response 5 Where Have You Felt at Home? Grounded 6 Smooth Sailing at Age 105 GoSeeDo Calendar 8 Places & Spaces 12-19 • Minnesota: A Place of Refuge? Pat Marble takes Up Kayaking, page 6 • Nekessa Julia Opoti: Arbitrary Borders • Act Now: Immigration Welcome Steps Contact Us MWP team • Green Card Voices: Where Do I Belong? 651-646-3968 Owner/Editor: Mikki Morrissette • Think: Immigration Facts & Data Send a letter to the editor/suggest story idea: Business Development Director: Shelly Damm [email protected] Managing Editor: Sarah Whiting Ism Schism 20 Subscribe: [email protected] Jessica Ostrov: Why Green Spaces Are White Contributors: Zaynab Abdi, Nancy Breymeier, Advertise: [email protected] Devvie Cersine, Maxine Davis, Shannon Drury, Linda BookShelf 25 LeGarde Glover, Kelly Gryting, Nekessa Julia Opoti, Minnesota Authors Explore Place: Wildflowers, Events listings: [email protected] Jessica Ostrov, Kelly Povo, Veronica Quillien, Maya Onigamiising, and Bakken Oil Fields Rao, Erica Rivera, Phyllis Root, Regina Santiago Our vision: There is much to be done, now Learning Life 30 more than ever. -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd.