Show Time: Exhibitions That Changed Art History | University of Birmingham

Total Page:16

File Type:pdf, Size:1020Kb

Show Time: Exhibitions That Changed Art History | University of Birmingham 09/29/21 Show Time: Exhibitions that changed art history | University of Birmingham Show Time: Exhibitions that changed art View Online history Exhibitions that changed art history: A bibliography of catalogues to key exhibitions 48 items Introduction (9 items) Show time: the 50 most influential exhibitions of contemporary art - Jens Hoffmann, 2014 Book | Essential | Please read chapter 2 before the seminar Show Time: The 50 Most Influential Exhibitions of Contemporary Art - Saunders, Heather, Fall 2014 Article | Recommended | Review of Show time: the 50 most influential exhibitions of contemporary art in C : International Contemporary Art; Toronto Iss. 123, (Fall 2014): 67-68 Biennials and beyond: exhibitions that made art history, 1962-2002 - 2013 Book | Essential Salon to biennial: exhibitions that made art history, Vol. 1: 1863-1959 - Bruce Altshuler, 2008 Book | Essential Five unmissable exhibitions: Spring 2015 - 6/1/2015 Audio-visual document | Background Royal Academy of Arts Website | Background Issues in curating contemporary art and performance - Judith Rugg, Michele Sedgwick, 2007 Book | Background On Art Exhibitions - Georg Simmel, 2015-01 Article | Background Victorian Culture and the Museum: Before and After the White Cube - Tim Barringer, 2006-01 Article | Background Exhibition catalogues (36 items) Exhibition catalogues are important primary sources. These calogues were purchased for the Barber Fine Art Library with a donation in memory of Elnora Ferguson a Birmingham 1/5 09/29/21 Show Time: Exhibitions that changed art history | University of Birmingham charity worker, peace campaigner and supporter of education. 7e biennale d'art contemporain de Lyon: 18 septembre 2003-4 janvier 2004 - Biennale d'art contemporain (Lyon, France), 2003 Book | Background 11. Uluslararası İstanbul bienali, 12 Eylül-8 Kasım =: 11th International Istanbul biennial, September 12-November 8, 2009 - İlkay Baliç Ayvaz, International Istanbul biennial, What, How and For Whom (Organization), İstanbul Kültür ve Sanat Vakfı, 2009 Book | Background 1993 Biennial Exhibition - Elisabeth Sussman, Homi K. Bhabha, Whitney Biennial, Whitney Museum of American Art, 1993 Book | Background Cities on the move - Hanru Hou, Hans-Ulrich Obrist, Wiener Secession, CAPC Muse ́ e d'art contemporain de Bordeaux, c1997 Book | Background Cocido y crudo: exposición organizada por el Museo Nacional Centro de Arte Reina Sofía, 14 de diciembre de 1994-6 de marzo de 1995 - Dan Cameron, Museo Nacional Centro de Arte Reina Sofía, c1995 Book | Recommended Culture in action: a public art program of Sculpture Chicago - Mary Jane Jacob, Michael Brenson, Eva M. Olson, Sculpture Chicago (Organization), c1995 Book | Background Documenta X: short guide = Kurzführer - Catherine David, Paul Sztulman, Documenta, Documenta GmbH., Museum Fridericianum Veranstaltungs GmbH., 1997 Book | Background Dreams and conflicts: the dictatorship of the viewer : 50th international art exhibition ; la Biennale di Venezia - Francesco Bonami, Maria Luisa Frisa, Biennale di Venezia, 2003 Book | Background Erster Deutscher Herbstsalon, Berlin 1913. [A catalogue. With an introduction by Herwarth Walden, and with reproductions.] - Herwarth Walden, 1913 Book | Background Freeze - Damien Hirst, 1988 Book | Background Fu ̈ hrer durch die Ausstellung entartete Kunst - Fritz Kaiser, Harry Fischer, Reichspropagandaleitung der N.S.D.A.P. Hauptkulturamt, 1936 Book | Background Genişleyen dünyada sanat, kent ve siyaset : 9. Uluslararasi İstanbul bienali'nden metinler 2/5 09/29/21 Show Time: Exhibitions that changed art history | University of Birmingham = Art, city and politics in an expanding world : writings from the 9th International Istanbul Biennial. - International Istanbul biennial, , c2005 Book | Background Global conceptualism: points of origin, 1950s-1980s - Luis Camnitzer, Jane Farver, Rachel Weiss, László Beke, Queens Museum of Art, Walker Art Center, Miami Art Museum of Dade County, c1999 Book | Background Helter skelter: L.A. art in the 1990s - Paul Schimmel, Catherine Gudis, Norman M. Klein, Lane Relyea, Museum of Contemporary Art (Los Angeles, Calif.), c1992 Book | Background High & low: modern art, popular culture - Kirk Varnedoe, Adam Gopnik, Museum of Modern Art (New York, N.Y.), Art Institute of Chicago, Museum of Contemporary Art (Los Angeles, Calif.), 1990 Book | Background Inside the visible: an elliptical traverse of 20th century art in, of, and from the feminine - M. Catherine de Zegher, Institute of Contemporary Art (Boston, Mass.), Kanaal Art Foundation, 1996 Book | Background InSITE94: a binational exhibition of installation and site-specific art : San Diego, Tijuana guide - Sally Yard, Installation Gallery, San Diego Museum of Contemporary Art, 1994 Book | Background InSITE97: private time in public space : San Diego, Tijuana - Susan Buck-Morss, Jessica Bradley, Sally Yard, Installation Gallery, Consejo Nacional para la Cultura y las Artes (Mexico), Instituto Nacional de Bellas Artes (Mexico), c1998 Book | Background Laboratorium - Hans Ulrich Obrist, Barbara Vanderlinden, Antwerpen Open, Museum voor Fotografie (Antwerp, Belgium), 2001 Book | Background Live in your head: when attitudes become form : works, concepts, processes, situations, information = Wenn Attitüden Form werden : Werke, Konzepte, Vorgänge, Situationen, Information = Quand les attitudes deviennent forme : oeuvres, concepts, processus, situations, information = Quando attitudini diventano forma : opere, concetti, processi, situazioni, informazione - Harald Szeemann, Charles Harrison, Institute of Contemporary Arts (London, England), 1969 Book | Background Mamoyguara opá mamõ pupé: 31º Panorama da Arte Brasileira - Adriano Pedrosa, Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo, 2010 Book | Background Mining the museum: an installation - Fred Wilson, Lisa G. Corrin, Contemporary (Museum : Baltimore, Md.), c1994 Book | Background 3/5 09/29/21 Show Time: Exhibitions that changed art history | University of Birmingham No man's time: Villa Arson, Nice, 6 juillet-30 septembre 1991 - Villa Arson (France), 1991 Book | Background NowHere Louisiana - Henning Steen Hansen, Louisiana (Museum : Humlebæk, Denmark), 1996 Book | Background Out of actions: between performance and the object, 1949-1979 - Paul Schimmel, Kristine Stiles, Museum of Contemporary Art (Los Angeles, Calif.), 1998 Book | Background Phantom sightings: art after the Chicano movement - Rita Gonza ́ lez, Howard N. Fox, Chon A. Noriega, Los Angeles County Museum of Art, 2008 Book | Background The play of the unmentionable: an installation by Joseph Kosuth at the Brooklyn Museum - Joseph Kosuth, David Freedberg, Brooklyn Museum, 1992 Book | Background Politics, poetics: Documenta X, the book - Catherine David, Jean-François Chevrier, Museum Fridericianum Veranstaltungs GmbH., Documenta, c1997 Book | Background Prospect.1 New Orleans: November 1, 2008 - January 18, 2009 - Barbara J. Bloemink, Dan Cameron, Lolis Eric Elie, Claire Tancons, Prospect, 1st (New Orleans), 2008 Book | Background Público (situacional): interventions--scenarios, August 26-November 13, 2005, San Diego-Tijuana : InSite05 - Osvaldo Sánchez, Donna Conwell, InSite 05, Installation Gallery, 2006 Book | Background Reconsidering the object of art: 1965-1975 - Ann Goldstein, Anne Rorimer, Museum of Contemporary Art (Los Angeles, Calif.), c1995 Book | Background Skulptur: Ausstellung in Münster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte Schlossgarten, Universität, Aasee, 3.7.-13.11.1977 - Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster, Landschaftsverband Westfalen-Lippe, 1977 Book | Background | Read chapter 1 Sonsbeek 93 - Jan Brand, Catelijne de Muynck, Valérie Smith, Sonsbeek 93, 1993 Book | Background The uncanny - Mike Kelley, John C. Welchman, Christoph Grunenberg, Tate Gallery Liverpool, Museum Moderner Kunst (Austria), 2004 Book | Background This is tomorrow - Iwona Blazwick, Nayia Yiakoumaki, Edward Wright, Theo Crosby, 4/5 09/29/21 Show Time: Exhibitions that changed art history | University of Birmingham Whitechapel Art Gallery, 2010 Book | Background Von Mäusen und Menschen: 4. Berlin Biennale für zeitgenössische Kunst - Maurizio Cattelan, Massimiliano Gioni, Ali Subotnick, Berlin Biennale, Kunst-Werke Berlin, 2006 Book | Recommended Week one (3 items) Show Time: The 50 Most Influential Exhibitions of Contemporary Art - Saunders, Heather, Fall 2014 Article | Recommended Models to predict prevalence and transition dynamics of methicillin-resistant Staphylococcus aureus in community nursing homes - Nataliya G. Batina, Christoper J. Crnich, David F. Anderson, Dörte Döpfer, 2016-05 Article | Essential Victorian Culture and the Museum: Before and After the White Cube - Tim Barringer, 2006-01 Article | Recommended 5/5.
Recommended publications
  • ARTIST - TONY OURSLER Born in New York, NY, USA, in 1957 Lives in New York, NY, USA
    ARTIST - TONY OURSLER Born in New York, NY, USA, in 1957 Lives in New York, NY, USA EDUCATION - 1979 : BFA, California Institute for the Arts, Valencia, CA, USA SOLO SHOWS - 2020 Magical Variations, Lehmann Maupin Gallery, (Online) Experimentum Cruscis, Match Gallery, Ljubljana, Slovenia 2019 Current, Nanjing Eye Pedestrian Bridge, Nanjing, China Eclipse, Jardin de la Fondation Cartier Water Memory, Guild Hall, East Hampton, New York, USA The Volcano, Poetics Tattoo & UFO, Dep Art Gallery, Milan, Italy 2018 TC: The most interesting man alive, Lisson Gallery, New York, NY, USA Predictive empath, Baldwin Gallery, Aspen, CO, USA 2017 Unidentified, Redling Fine Art, Los Angeles, CA, USA Space men R my friended, Faurshou Fondation, Beijing, China 2016 The Influence Machine, George Square Gardens, University of Edinburgh, Edinburgh, Scotland Galería Moisés Pérez De Albéniz, Madrid, Spain The Imponderable Archive, CCS Bard Galleries, NY, USA Imponderable, MOMA, NY, USA Hans Mayer Gallery, Dusseldorf, Germany TC: The Most Interesting Man Alive, Chrysler Museum, VA, USA Lehmann Maupin, Hong Kong, Honk Kong 2015 Bernier Eliades, Athens, Greece Imponderable: the Archives of Tony Oursler, LUMA Foundation, Arles, France Lehmann Maupin, New York, NY template/variant/friend/stranger, Lisson Gallery, London, UK Influence Machine, Blinc Festival Adelaide, Pink Flats, Adelaide, Australia 2014 Lisson Gallery, London, UK Oude Kerk, Amsterdam, Netherlands Tony Oursler: Obscura, Galerie Hans Mayer, Dusseldorf, Germany Passe-Partout, Baldwin Gallery, Aspen,
    [Show full text]
  • Pedagogical Paradigms Documenta's Reinvention | Art
    Denise Frimer is a writer and an educator in art and culture based in London UK and Toronto Canada. She currently is completing a PhD thesis entitled, The Art of Education: On the Engineering of Social Relations in Biennials and Museums, 1997-2007 at University College London in Art History. She has worked with artists to develop educational and curatorial initiatives in public institutions and art collectives. She focuses on socially engaged and pedagogical aesthetics that function as progressive alternatives in the cultural production of globalization. 1. Documenta 13, “notes towards documenta” (18 September 2009), http://www.documenta13.de/index.php?...Notes%20towards%20dOCUMENTA(13) (Accessed 14 February 2011). Carolyn Christov-Bakargiev responds to Okwui Enwezor!s curatorial statement, “we all come with what we know” from Documenta 11 (2002). 2. Documenta 12!s press release (23 September 2007), http://www.documenta12de/presse.html? &L=1 (Accessed 7 September 2009). 3. Eilean Hooper-Greenhill, Museums and Education: Purpose, Pedagogy and Performance, London and New York, 2007, pp.33-34. Hooper-Greenhill employs "edutainment! as a term that distinguishes between museum-based learning and school learning. 4. Irit Rogoff borrows Giorgio Agamben!s term of "potentiality! to understand how might "academy! be considered as a potential model for "being in the world! by refusing the instrumentalities of learning. A.C.A.D.E.M.Y., exh.cat, by Irit Rogoff, Bart De Baere, Charles Esche, Angelika Nollert, Yilmaz Dziewior eds., Germany, 2007, pp. 13-20. 5. In a recent lecture at University College London, "Exhibiting the Social! (February 2009), Bishop claimed education to have a social role in contemporary art practices.
    [Show full text]
  • N.Paradoxa Online Issue 4, Aug 1997
    n.paradoxa online, issue 4 August 1997 Editor: Katy Deepwell n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 4, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue4.pdf August 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk The following article was republished in Volume 1, n.paradoxa (print version) January 1998: N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 2 List of Contents Editorial 4 VNS Matrix Bitch Mutant Manifesto 6 Katy Deepwell Documenta X : A Critique 9 Janis Jefferies Autobiographical Patterns 14 Ann Newdigate From Plants to Politics : The Particular History of A Saskatchewan Tapestry 22 Katy Deepwell Reading in Detail: Ndidi Dike Nnadiekwe (Nigeria) 27 N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian 35 Diary of an Ageing Art Slut 44 n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 3 Editorial, August 1997 The more things change, the more they stay the same or Plus ca change..
    [Show full text]
  • Veel Nostalgie Op Documenta X in Het Duitse Kassel
    HOOP GEEFT DE ZIEL VLEUGELS, ANGST MAAKT HAAR ZWAAR veel nostalgie op Documenta X in het Duitse Kassel Christian Philipp Müler, Balancing act, 1997 Tom Tak September 1997 Documenta X 1 HOOP GEEFT DE ZIEL VLEUGELS, ANGST MAAKT HAAR ZWAAR veel nostalgie op Documenta X in het Duitse Kassel Tom Tak september 1997 Aankomst in Kassel Van juni tot september werd in deze Hessische stad een omvangrijke retrospectieve tentoon- stelling van moderne kunst gehouden. Catharine David, conservatrice in Parijs, mocht haar in- richten. Zij bracht ruim een halve eeuw kunst met een politieke boodschap bij elkaar. Ook werk van Nederlanders werd gekozen, zoals van de architect Aldo van Eyck en de fotograaf en filmer Ed van der Elsken. Het kunstbegrip werd door David zo opgerekt dat ook het werk van videomakers, performers en kunstzinnige therapeuten kon worden geëxposeerd. Hoop geeft de ziel vleugels, angst daarentegen maakt haar zwaar. Bezoekers die met de trein naar Kassel kwa- men, vonden in een oud spoor- weg gebouw de eerste tentoonge- stelde werken. Wie schilderijen had ver wacht, beeldhouwwerk, of speelse instal- laties kwam be- drogen uit. In plaats daar van hingen aan de wanden heel veel foto’s, vaak van de vloer tot aan het plafond toe, foto’s die minutieus verslag doen van uitbuiting, marteling, verkrachting en moord op vele plaatsen in de wereld. Natuurlijk niet in het vrije Westen. Het zijn emotioneel beladen beelden, Documenta X 2 door de kunstenaar vaak met veel fantasie bewerkt, die een boodschap bevatten waaraan men niet zomaar voorbij kan gaan. Een wanhopig appel om luid te protesteren, solidair te zijn en in actie te komen.
    [Show full text]
  • Inhalt: Einfuhrung S. 2 Vor Der Konzeptuellen Kunst S
    INHALT: EINFUHRUNG S. 2 VOR DER KONZEPTUELLEN KUNST S. 4 KONZEPTUELLE KUNST S. 16 Die Negation der materiellen Objektivität S. 22 Die Negation des Mediums S. 23 Die Negation der schon etablierten Autonomie des Kunstwerkes S. 25 Die Negation der inhärenten Bedeutung der visuellen Form S. 28 ART & LANGUAGE – EINE CHRONOLOGIE S. 32 Textproduktion S. 32 Gemeinschaftsarbeit S. 35 Paradigmenwechsel und die Literatur über Art & Language S. 38 Chronologie S. 41 Die ersten konzeptuellen Bilder S. 42 Texte als Kunstwerke S. 47 Maps S. 52 Index S. 55 Das Ende der ersten Phase S. 63 Malerei S. 73 Portrati of V. I. Lenin in the Style of Jackson Pollock S. 74 Painting by mouth S. 77 Index: Incident in a Museum S. 81 Hostages S. 85 Index XX (Now They Are) S. 89 Die letzte Phase: Bilder werden zu Objekten S. 92 Sighs Trapped by Liars S. 93 Wrongs Healed in Official Hope S. 95 Performances mit Schauspielern und die Indexierung der eigener Arbeit S. 97 SCHLUSS S. 101 LITERATURLISTE S. 107 ABBILDUNGSVERZEICHNIS S. 112 ZUSAMMENFASSUNG S. 118 BIOGRAPHIE DER VERFASSERIN S. 120 ABBILDUNGEN S. 122 1 EINFÜHRUNG Art & Language wurde 1968 in England als eine konzeptuelle Künstlergruppe und gleichnamiger Verlag gegründet. Die ersten von ihnen geschaffenen Arbeiten prägten das Bild der konzeptuellen Kunst mit, das bis heute in der Kunstgeschichte vorherrscht. Sie waren unter anderem die ersten, die Text als Bild ausstellten und wurden damit auch zu den ersten, die die Unterschiede und Ähnlichkeiten zwischen Kunst und Sprache nicht nur theoretisch in Frage stellten, sondern auch die Theorie in Praxis umsetzten.
    [Show full text]
  • The Next Documenta Shouldn't Be in Kassel
    I. Some Reflections on the Last Documenta If all goes well, the thirteenth edition of documenta will take place from June 9, 2012, to September 16, 2012.1 Carolyn Christov- Bakargiev, the newly appointed artistic director of documenta 13, might consider reading Oliver Marchart’s latest book, which deals extensively 01/07 with the last three editions of documenta: Hegemonie im Kunstfeld. Die documenta- Ausstellungen dX, D11, d12 und die Politik der Biennalisierung.2 Marchart’s book can be read as a largely convincing critique of documenta 12 (2007), which was directed by the German art critic Roger M. Buergel and co-curated by his wife, the German art historian Ruth Noack. Dieter Lesage ÊÊÊÊÊÊÊÊÊÊIn his book Marchart describes museums, biennials, and other large-scale art exhibitions such as the documenta as hegemony machines, The Next functioning not unlike the World’s Fairs that have contributed significantly to the project of nation- Documenta building since the mid-nineteenth century. Following the reflections of Antonio Gramsci in Shouldn’t Be in Quaderni del carcere, Marchart defines hegemony as a precarious balance between dominant and subaltern forces that, through the Kassel networks of society’s institutions (museums, biennials, and large-scale exhibitions), establishes a momentary primacy of certain forces. These forces can always be overturned, depending on shifts in an ongoing “war of position.” The concept of hegemony can be explained as the way in which consensus is produced as a primordial means of securing the dominance of certain forces. Every institution, which may at some moment seem to consolidate dominant bourgeois culture, may at another e g point be useful for a counter-hegemonic project a s e – one that could eventually establish another L l r e hegemony.
    [Show full text]
  • Die Bewertung Der Documenta 11 in Der Kunstkritik
    Philosophische Fakultät der Ruprecht-Karls-Universität Heidelberg ZEGK – Zentrum für Europäische Geschichts- und Kulturwissenschaften Institut für Europäische Kunstgeschichte Magisterarbeit Die Bewertung der documenta 11 in der Kunstkritik Zwischen „politischer Überfrachtung“ und „neuem Kunstbegriff“ – die postkoloniale Weltkunstausstellung im Spiegel der internationalen Tagespresse. Arbeit zur Erlangung des Grades einer Magistra Artium an der Ruprecht-Karls-Universität Heidelberg Erstgutachter: Prof. Dr. Raphael Rosenberg Zweitgutachter: PD Dr. Ernst Seidl vorgelegt von: Ariane Elisabeth Hellinger Heidelberg März 2006 Danksagung Danksagung Mein großer Dank gilt Karin Stengel, der Leiterin des Documenta-Archives der Stadt Kassel, sowie allen dortigen Mitarbeiterinnen und Mitarbeitern – insbesondere Frau Rübsam – die mich bei meiner Recherche vor Ort auf die bestmögliche Weise unterstützt haben. Gleiches gilt für Elke Buhr (Kulturredakteurin der Frankfurter Rundschau), Dr. Harald Kimpel (Kulturamt der Stadt Kassel), Wilfried Kühn (Architekturbüro Kühn Malvezzi), und Markus Müller (Kommunikationsleiter der documenta11), deren Informationen mir beim Verfassen dieser Arbeit eine große Hilfe waren. Bedanken möchte ich mich zudem bei meiner Familie und meinen Freunden – vor allem bei Andrea Crone, Heike Richini, Daniel Tibor und Mitja Turaev – für die beständige Motivation, das Korrekturlesen und die konstruktive Kritik, sowie bei Verena Jung für die Übersetzung des Plattform-Programms. Nicht zuletzt gilt mein Dank meinem Betreuer Prof. Dr.
    [Show full text]
  • Catherine David La Sphinx De La Documenta X Christina Hein
    Document généré le 30 sept. 2021 17:01 Inter Art actuel Catherine David La sphinx de la documenta X Christina Hein Numéro 67, 1996 URI : https://id.erudit.org/iderudit/46394ac Aller au sommaire du numéro Éditeur(s) Les Éditions Intervention ISSN 0825-8708 (imprimé) 1923-2764 (numérique) Découvrir la revue Citer ce compte rendu Hein, C. (1996). Compte rendu de [Catherine David : la sphinx de la documenta X]. Inter, (67), 74–74. Tous droits réservés © Les Éditions Intervention, 1997 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Catherine David : la sphinx de la documenta X Christina HEIN courrier Comment est-elle en privé, Catherine metteur en scène de film : « Il s'agit d'un Rectification DAVID, la directrice artistique de la travail de montage identique, lent et plein de concernant l'article du dossier Art et Documenta X ? C'est ce que tout le monde patience ». Pendant sa première conférence m'a demandé après que j'ai eu l'honneur de de presse à Kassel, elle proposait d'étudier Nature : « Autour de l'île au Massacre » passer un après-midi avec cette femme les films de Chantai AKERMAN pour avoir discrète, introvertie, sublime.
    [Show full text]
  • JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A
    Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF ARCHVES MASTER OF SCIENCE IN ARCHITECTURE STUDIES MASSACHUSETTS INSTTE AT THE OF TECHNOLOGY MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A. Viller6. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Department of Architecture May 23,2013 Certified by: Mark Jarzombek, Professor of the Histo4y 7eory and Criticism of Architecture Accepted by: Takehiko Nagakura, Chair of the Department Committee on Graduate Students 1 Committee Mark Jarzombek,'Ihesis Supervisor Professor of the History, Theory and Criticism of Architecture Caroline Jones, Reader Professor of the History of Art 2 Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 Submitted to the Department of Architecture on May 23,2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show.
    [Show full text]
  • Download-Bibliography.Pdf
    MIKE KELLEY FOUNDATION FOR THE ARTS This bibliography was compiled by Eva Mayer Hermann for Mike Kelley (New York: Delmonico Books/Prestel 2013) and has been revised and updated by the Mike Kelley Foundation for the Arts. MONOGRAPHS, ARTIST’S BOOKS, AND OTHER PUBLICATIONS 1986 Kelley, Mike. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. Venice, California: New City Editions; New York, New York: Artists Space, 1986. Artist’s book published on the occasion of the 1985 group exhibition Art in the Anchorage. 1988 Kelley, Mike, John Miller, and Howard Singerman, eds. Mike Kelley: Three Projects: Half a Man, From My Institution to Yours, Pay For Your Pleasure. Chicago, Illinois: The Renaissance Society at the University of Chicago, 1988. Exh. cat. 1989 Knight, Christopher. Mike Kelley. Cologne, Germany: Jablonka Galerie, 1989. Exh. cat. 1990 Kelley, Mike. Reconstructed History. Cologne, Germany: Galerie Gisela Capitain; New York, New York: Thea Westreich, 1990. Artist’s book. 1991 Cruz, Amada. Mike Kelley: Half a Man. Washington, D.C.: Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, 1991. Exh. cat. 1992 Bartman, William S., and Miyoshi Barosh, eds. Mike Kelley. New York, New York: Art Resources Transfer, 1992. Mike Kelley. Basel, Switzerland: Kunsthalle Basel; Frankfurt, Germany: Portikus; London, England: Institute of Contemporary Arts; Ostfildern, Germany: Edition Cantz. 1992. Exh. cat. Paul McCarthy / Mike Kelley:Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone. Vienna, Austria: Galerie Kinzinger, 1992. Exh. cat. 1993 Kelley, Mike. The Uncanny. Arnhem, The Netherlands: Gemeentemuseum, 1993. Published concurrently with the 1993 group exhibition Sonsbeek ’93. Exh. cat. Sussman, Elisabeth.
    [Show full text]
  • Front Matter
    Falling from the Grip of Grace The Exhibition as a Critical Form since 1968 Dissertation Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in The Graduate School of The Ohio State University By James T. Voorhies, Jr. Graduate Program in History of Art The Ohio State University 2012 Dissertation Committee: Professor Aron Vinegar, Advisor Professor Lisa Florman Professor Ron Green Bill Horrigan ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James T. Voorhies, Jr. Summer 2012 ! Abstract Falling from the Grip of Grace is an analysis of the exhibition as a critical form of art with special consideration to the role of the spectator. It charts a history of exhibitions from 1968 to the present to explore how we arrived at a moment when critical art faces many challenges, not least of which is competing with the art institutions that give it voice. It is the first sustained study to critically analyze connections between late- Modernist artistic strategies engaged with the exhibition form and subsequent dispersal of those strategies into curatorial practices at major institutions and biennials. Artists such as Robert Smithson, Michael Asher and Group Material initially expanded the spectator’s involvement in art to encompass the spatial and temporal contexts of the exhibition. This change signaled a definitive fall from the modernist aesthetic regime of pure visuality, or state of “grace” to use Michael Fried’s term, by placing greater emphasis on integrating engagements between art, spectator and institution. This dissertation interweaves the legacy of work by these artists and that of curator Harald Szeemann to examine contemporary art, institutions and biennials that involve the spectator in exhibition-making processes.
    [Show full text]
  • Antagonism and Relational Aesthetics
    Antagonism and Relational Aesthetics CLAIRE BISHOP The Palais de Tokyo On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. Although a budget of 4.75 million euros was spent on converting the former Japanese pavilion for the 1937 World’s Fair into a “site for contemporary creation,” most of this money had been used to reinforce (rather than renovate) the existing structure.1 Instead of clean white walls, discreetly installed lighting, and wooden floors, the interior was left bare and unfinished. This decision was important, as it reflected a key aspect of the venue’s curatorial ethos under its codirectorship by Jerôme Sans, an art critic and curator, and Nicolas Bourriaud, former curator at CAPC Bordeaux and editor of the journal Documents sur l’art. The Palais de Tokyo’s improvised relationship to its surroundings has subsequently become paradigmatic of a visible tendency among European art venues to reconceptualize the “white cube” model of displaying contemporary art as a studio or experimental “laboratory.”2 It is therefore in the tradition of what 1. Palais de Tokyo promotional and Website, “site de création contemporaine,” <http://www.palais- detokyo.com> 2. For example, Nicolas Bourriaud on the Palais de Tokyo: “We want to be a sort of interdisciplinary kunstverein—more laboratory than museum” (quoted in “Public Relations: Bennett Simpson Talks with Nicolas Bourriaud,” Artforum [April 2001], p. 48); Hans Ulrich Obrist: “The truly contemporary exhibi- tion should express connective possibilities and make propositions.
    [Show full text]