Marilyn Minter Biography
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BILLY SULLIVAN *1946 in New York, USA Lives and Works in New York City
BILLY SULLIVAN *1946 in New York, USA Lives and works in New York City Education Depuis 1788 1968 School of Visual Arts, New York, NY, USA 1964 High School of Art and Design, New York, NY, USA Freymond-Guth Fine Arts Riehenstrasse 90 B Teaching CH-4058 Basel T +41 (0)61 501 9020 1997 The School of Visual Arts, New York: BFA Photo Thesis offi[email protected] 2012–14 New York University: MFA Program, Studio Art, Steinhardt School of www.freymondguth.com Culture, Education, and Human Development 2003–06, New York University, Interactive Telecommunication Program 2010–14 1999 Harvard University, The Department of Visual and Environmental Studies Solo Shows (selection) 2016 Monteverdi Art Gallery, Sarteano, Tuscany, curated by Sarah McCrory kaufmann repetto, New York 2015 Ille Arts, Amagansett, NY, USA 2014 Time after Time, Freymond-Guth Fine Arts, Zurich, CH Blush, Galerie Sabine Knust, Munich, DE 2012 Bird Drawings, Glenn Horowitz Bookseller, East Hampton, NY, USA Nicole Klagsbrun Gallery, New York, NY, USA 2011 Still, Looking, Kaufmann Repetto, Milan, IT Now & Then, Baldwin Gallery, Aspen, CO, USA 2010 Susanne Hilberry Gallery, Ferndale, MI, USA East End Photographs 1973-2009, Salomon Contemporary, East Hampton, NY, USA 2009 Galerie Sabine Knust, Munich, DE Conversations, Nicole Klagsbrun Gallery, New York, NY, USA 2008 Regen Projects, Los Angeles, CA, USA Rebecca Ibel Gallery, Columbus, OH, USA Texas Gallery, Houston, TX, USA 2007 Guild Hall, East Hampton, NY, USA Galleria Francesca Kaufmann, Milan, IT 2006 New Work, Rebecca Ibel Gallery, -
ROBERT BARRY 1936, New York (USA). Lives And
FRANCESCA MININI VIA MASSIMIANO 25 20134 MILANO T +39 02 26924671 [email protected] WWW.FRANCESCAMININI.IT ROBERT BARRY 1936, New York (USA). Lives and works in New York. EDUCATION Bachelor of Fine Arts, Master of Arts, Hunter College, The City University of New York SELECTED SOLO EXHIBITIONS 2019 ROBERT BARRY, Francesca Minini, Milan (I) 2018 ROBERT BARRY, How Things Have Changed…, Parra & Romero Gallery, Madrid (ES) ROBERT BARRY, Galleria Alfonso Artiaco, Naples (I) 2017 ROBERT BARRY, Cristina Guerra Contemporary Art, Lisboa (P) 2016 ROBERT BARRY: WORKS FROM 1964 TO 2016, Mary Boone Gallery, New York (USA) ROBERT BARRY: RANDOM, Galerie Untilthen, Saint Ouen (FR) 2015 ROBERT BARRY, Galerie Greta Meert, Brussels (BE) ROBERT BARRY, Thomas Solomon Art Advisory, Bethlehem Baptist Church, Los Angeles (USA) ROBERT BARRY - WORKS 1962 UNTIL PRESENT, Galerie Greta Meert (BE) ROBERT BARRY: ALL THE THINGS I KNOW 1962 TO THE PRESENT, 205 Hudson Street Gallery, New York (USA) 2014 INCOMPLETE…, Gallery Alfonso Artiaco, Naples (I) 2014 ROBERT BARRY: DIPTYCH, WINDOW-WALLPIECE, Montclair Art Museum, New Jersey (USA) 2013 ROBERT BARRY, Le Consortium, Dijon (FR) ONE BILLION COLORED DOTS, Montclair Art Museum, New Jersey (USA) ROBERT BARRY, Galerie Greta Meert, Brussels (BE) 2012 DIFFERENT TIMES, DIFFERENT WORKS, Galleria Massimo Minini, Brescia (I) Galerie Yvon Lambert, Paris (FR) 2011 RECENT MIRRORPIECES, Sperone Westwater, New York (USA) GOLDEN WORDS, Giacomo Guidi MG Art, Rome (I) TROUBLESOME, Galerie Alfonso Artiaco, Naples (I) SILVER, Bugdahn -
Too Cool—Families Catch the Cool!
2010 SPRING Cool Culture® provides 50,000 underserved families with free, unlimited sponsored by JAQUELINE KENNEDY access to ONASSIS 90 cultural institutionsRESEVOIR - so that parents can provide their children withCENTRAL PARK 80 Hanson Place, Suite 604, Brooklyn, NY 11217 www.coolculture.org educational experiences that will help them succeed in school and life. CENTRAL PARK HARLEM MEER Malky, Simcha, Stanley and Avi Mayerfeld. Fi e tzpa t trick t . Vaness e a Griffi v th and Ys Y abe l Fitzpat FIFTH AVENUE d rick. n a o FIFTH AVENUE i g r e S , a n i t n e g r A Isabella, Sophia and Ethel Zaldaña 108TH ST 107TH ST 106TH ST 103RD ST 105TH ST 102ND ST 104TH ST 101ST ST 100TH ST 99TH ST 98TH ST 97TH ST 96TH ST 95TH ST 94TH ST 93RD ST 92ND ST 91ST ST 90TH ST 89TH ST 88TH ST 87TH ST 86TH ST 85TH ST 84TH ST 83RD ST 82ND ST 81ST ST Felicia and Omaria Williams F e l ic ia a nd he t C C O o o m o a h ri W o To ol— illiams atc l! Families C The Cool Culture community couldn't choose just one. “I really liked came together to Catch the Cool on making stuff and meeting my friend and June 8th at the Museum Mile getting a poster by (artist) Michael Albert,” she said. The siblings – along with Festival! Thousands painted, drew, their sister Ysabel (one), mom Yvette and aunt danced and partied on Fifth Avenue from Vanessa Griffith– participated in art activities 105th Street to 82nd Street, dropping in that included crafting monkey ears at The museums along the way. -
Judith Bernstein Education Solo Shows
JUDITH BERNSTEIN * 1942, Newark, New Jersey, Lives and works in New York EDUCATION 1967 MFA & BFA, Yale University, School of Art and Architecture 1964 MS & BS, Pennsylvania State University SOLO SHOWS 2019 Blue Balls, Karma International, Zurich Diamonda Mouth, Foksal Gallery Foundation, Warsaw 2018 Money Shot, Paul Kasmin, New York 2017 Cabinet of Horrors, The Drawing Center, New York Cock in The Box, The Box, Los Angeles 2016 Kunsthall Stavanger, Stavanger, Norway DICKS OF DEATH, Mary Boone Gallery, New York 2015 Art Basel: Feature, Basel Voyeur, Mary Boone Gallery, curated by Piper Marshall, New York Freddy, Baltimore 2014 Birth of the Universe, Gavin Brown’s Enterprise, New York Judith Bernstein, Karma International, Zurich Rising, Studio Voltaire, London 2013 Keep Your Timber Limber (Works on Paper), ICA, UK The Box, Los Angeles 2012 Judith Bernstein: Hard, New Museum of Contemporary Art, New York 2011 Fuck Vietnam, 1966-2011, The Box, Los Angeles Frame: Judith Bernstein, Frieze, London 2010 Alex Zachary Gallery, New York, NY 2009 Judith Bernstein. The Box, Los Angeles, CA 2008 Judith Bernstein: Signature and Phallic Drawings 1966-2008, Mitchell Algus Gallery, New York 1987 University of Arkansas, Fayetteville, Arkansas 1984 A.I.R. Gallery, New York City, NY 1978 Brooks Jackson Iolas Gallery, New York City, NY. 1977 State University of New York at Stony Brook Gallery 1976 Drawing 1966-1976. University of Colorado Museum, Colorado 1973 A.I.R. Gallery, New York City. NY. October/April GROUP SHOWS 2020 Artists Respond: American Art and the Vietnam War, 1965-75, Minneapolis Institute of Art, Minneapolis (upcoming) 2019 Feminist Avant-Garde of the 1970s. -
Barbara-Zucker-CV-1.Pdf
Barbara Zucker Born, Philadelphia, PA. Lives and works in Burlington,Vermont, and New York, New York. Studio: 444 S. Union St. Burlington, Vermont 05401 802 863 8513 Fax: 802 864 5841 email: [email protected] Education University of Michigan, BS in Design Hunter College, MA Cranbrook Academy of Art Selected One Person Exhibitions Barbara Zucker: Time Signatures, The Gershman Y, Phila., Pa. 2007 Time Signatures: Tufts University, Mass., 2005 Universal Lines: Homage to Lilian Baker Carlisle and Other Women of Distinction”; Amy Tarrant Gallery, The Flynn Center for the Performing Arts, Burlington, Vt., 2001 Robert Hull Fleming Museum, Burlington, VT, 1998, 1980 One Great Jones Gallery, NYC, 1997 Paley Gallery, Moore College of Art, Phila., PA, 1996 (catalog) “For Beauty’s Sake,” Artists’ Space, NYC, 1994 Haeneh Kent Gallery, NYC, 1990 Webb and Parsons, Burlington, VT, 1989, 1991 Benjamin Mangel Gallery, Phila., PA, 1989 The Sculpture Center, NYC, April, 1989 Pam Adler Gallery, NYC, 1983, 1885 Swarthmore College, PA, 1983 Fine Arts Center, University of Massachusetts, Amherst, 1982 Joselyn Art Museum, Omaha, Nebraska, 1981 Robert Hull Fleming Museum, Burlington, VT, 1981 Robert Miller Gallery, NYC, 1978, 1980 Pennsylvania Academy of Fine Art, 1980 Marion Deson Gallery, Chicago, 1979, 1985 112 Greene Street Gallery, NYC, 1976 A.I.R. Gallery, NYC, 1972, 1974 Rutgers University, Douglass College, New Brunswick, NJ, 1973 Selected Group Exhibitions ‘Radical Lace and Subversive Knitting”, The Museum of Arts and Design, New York, 2007 “From the Inside Out: Feminist Art Then and Now”, New York, 2007 Winter Salon , Lesley Heller Gallery, December, New York, 2006 “Selfish“, curated by Lori Waxman, 128 Rivington, New York, 2004 Reading Between the Lines”, curated by Joyce Kozloff; Wooster Arts Space, New York, 2003 “Drawing Conclusions: Work by Artists Critics”, curated by Judith Collishan, New York Arts, New York, 2003 “The Art of Aging”, Hebrew Union College Museum, New York, 2003-2004; traveling exhibition, through 2006. -
SCOTT TEPLIN B. 1972 Milwaukee, WI Resides New York, NY
SCOTT TEPLIN b. 1972 Milwaukee, WI Resides New York, NY Education 1996-98 University of Washington, Seattle, M.F.A. 1991-95 University of Wisconsin, Madison, B.S. Selected Solo Exhibitions 2013 RYAN/LEE Gallery, Greasy Sinker, New York, NY Seven Arts Gallery, Whiplash, Ridgefield, CT 2011 G Gallery, CRASH, Houston, TX 2010 Adam Baumgold Gallery, Ternkey Towers, New York, NY 2008 Adam Baumgold Gallery, Alphaville, New York, NY 2007 g-module, Heavy Water, Paris, France 2004 Adam Baumgold Gallery, One Story, New York, NY 2003 Jessica Murray Projects, Moron, Brooklyn, NY DiverseWorks, Lubricious, Houston, TX 2002 Adam Baumgold Gallery, Tenant, New York, NY 2001 Jessica Murray Projects, Kipple, Brooklyn, NY 1999 Howard House, Satellite Notation, Seattle, WA Selected Group Exhibitions 2013 Lu Magnus Gallery, Thanks, New York, NY Western Exhibitions, Bound and/or Stapled (or not), Chicago, IL Family Books, Beck Song Reader, Los Angeles, CA 2012 Adam Baumgold Gallery, Locations, New York, NY FFDG, Winter Group Show, San Francisco CA Adam Baumgold Gallery, FICTION/NON-FICTION, New York, NY Boston Athenaeum, Artists Books, Books by Artists, Boston, MA 2011 Electric Works, McSweeney's McMullens, San Francisco, CA Giant Robot 2, Post It Show 7, Los Angeles, CA Pavel Zoubok Gallery, Sweets, New York, NY Mewo Kunsthalle, Das Alphabet von A bis Z, Memmingen, Germany New York Academy of Art, The Peterson Collection, New York, NY 2010 Hewitt Gallery of Art, Marymount Manhattan College, New York, NY Bauhaus University, Bauhaus Commuters, Weimar, Germany -
Marilyn Minter's Politically Incorrect Pleasures
MARILYN MINTER’S POLITICALLY INCORRECT PLEASURES ELISSA AUTHER of Lena Dunham and Beyoncé, gaze as much as they invite it. Furthermore, her interest in IN THE AGE it is hard to imagine that only two physical flaws and soiled elegance undermines the illusions of or three decades ago, progressive- minded people derided the perfection normally promoted by the glossy commercial image. free display of female sexuality.1 But that is exactly the unfriendly Minter often reveals much more than we want to see. It is in the context in which Marilyn Minter first offered up her body of collision of these two powerful aesthetic forces, the beautiful technically virtuosic and openly erotic paintings. Minter’s and the grotesque—what Minter has described as the “path- career- long exploration of beauty, desire, and pleasure- in- ology of glamour”5—that the artist presents her compelling looking has occupied, at best, an uneasy place within feminist visual investigation into the nature of our passions and fantasies, art history and criticism. Her painted and photographic appro- finding them unruly and highly resistant to ideological correction. priations of pornographic imagery, physical flaws, and high From Minter’s earliest forays as an artist, the female body fashion never function as easy, straightforward critiques of has been the primary vehicle through which she has addressed patriarchal culture. As one critic has remarked, “It is difficult to issues of beauty and desire. Her series of black- and- white tell if Marilyn Minter’s subjects are meant to make viewers photographs of her mother (cats. 1–5), shot in 1969, when uncomfortable—or turn them on.”2 That Minter’s work insists she was still an undergraduate at the University of Florida, on both has always been a challenge for viewers who require Gainesville, went straight to the heart of the conventions and confirmation that she is on the correct side of the political artifice of feminine beauty. -
ARTBOOK | D.A.P. 155 Sixth Avenue New York NY 10013 Tel (212) 627 1999 Fax (212) 627 9484 Fall/Winter 2014 Title Supplement
ARTBOOK | D.A.P. 155 Sixth Avenue New York NY 10013 tel (212) 627 1999 fax (212) 627 9484 Fall/Winter 2014 Title Supplement Marsden Hartley: The German Paintings 1913–1915 Edited by Dieter Scholz. Foreword by Udo Kittelmann. Text by Ilene Susan Fort, Thomas W. Gaehtgens, Kaitlyn Hogue Mellini, Alexia Pooth, Bruce Robertson, Thomas Weissbrich, Cornelia Wieg. This volume takes a close look at the most popular and influential period of the great American modernist painter Marsden Hartley—his Berlin years, during which he produced his pioneering "German Officer" portraits and a series of works that occupy a unique zone between abstraction and figuration. During a brief stint in Paris, Hartley met and fell in love with a Prussian officer, and early in 1913 he followed the officer to Berlin. When war broke out the officer was called up, and was killed in action in October 1914. Mourning his loss, Hartley created an astounding series of paintings that abstracted components of the officer's uniform, retaining their military symbolism and patterns. Nearly a half-century later, this combination of bright color and composition with popular signage, informed by the coding of gay culture, was to make a strong impact on Pop artists such as Jasper Johns and Robert Indiana. In this volume, approximately 25 of the artist’s works from these years (1913–1915) reveal the impact of World War I and elucidate the artist's appropriation of military symbols and Native American motifs. Also included are an illustrated chronology and a wealth of archival material that conveys the historical moment in which these works were made. -
MARILYN MINTER 1948 Born: in Shreveport, LA 1970 B.F.A
MARILYN MINTER 1948 Born: in Shreveport, LA 1970 B.F.A., University of Florida, Gainesvile, FL 1972 M.F.A. Painting, Syracuse University, Syracuse, NY 2007 Used Pamela Anderson as a muse for the Parkett centerfold Lives and works in New York, NY Selected Exhibitions 2009 - 2010 Chewing Color, Contemporary Arts Center, Cincinnati, OH (solo) 2009 200 Artworks – 25 Years” Artists’ Editions for Parkett, 21st Century Museum of Contemporary Art, Kanazawa, Japan 2009 Objects of Value, Miami Art Museum, Miami, FL 2009 The Glamour Project, Lehmann Maupin gallery, New York, NY 2009 The Palace at 4 a.m., Gana Art Gallery, New York, NY 2009 For Your Eyes Only, De Markten, Brussels, Belgium 2009 We’re all gonna die., Sue Scott Gallery, New York, NY, June 25 – July 31 2009 Pretty Is And Pretty Does, SITE Santa Fe, Santa Fe, NM (Feb – May) 2009 Regen Projects II, Los Angeles (solo) S A R A H B E L D E N F I N E A R T SAN JUAN DE LA CUESTA 1 4A 28017 MADRID, SPAIN TEL +34 633 170 463 / [email protected] 2009 Salon 94 Freemans, New York (solo) 2008 Andrehn-Schiptjenko Gallery, Stockholm, Sweden (solo) 2008 Darkside, Fotomuseum, Winterthur, Switzerland 2008 Agency: Art and Advertising, McDonough Museum of Art, Youngstown State University, Youngstown, OH 2008 Expenditure, Busan Biennale, Busan, Korea 2008 Whatever’s Whatever Hydra School Projects, Hydra, Greece 2008 Sweat, Marilyn Minter + Mika Rottenberg, Galerie Laurent Godin, Paris, France 2007 Rock’n’ Roll Vol. I, Norrköpings Konstmuseum, Norrköping, Sweden, Sørlandets Konstmuseum, Kristiansand, -
JACK PIERSON Curriculum Vitae
THOMAS BRAMBILLA JACK PIERSON Curriculum Vitae Thomas Brambilla S.r.l. | Via Casalino 25, 24121, Bergamo, Italy Capitale Sociale Euro 10.000,00 I.V. | C.F. 04333390161 | VAT. IT04333390161 Ph (+39) 035 24 74 18 | e-mail: [email protected] | www.thomasbrambilla.com THOMAS BRAMBILLA 1960 Born in Plymouth, Massachusetts 1984 Finished studies at the Massachusetts College of Art in Boston Lives and works in New York and Southern California SOLO EXHIBITION 2020 FREE YOURSELF, Thomas Brambilla Gallery, Bergamo, Italy. 2018 All over the moon: Laurel Sparks, Lily Stockman, Richard Tinkler, curated by Jack Pierson, Cheim & Read, New York. Jack Pierson, Independent Art Fair, Spring Studios, New York. 2017 Jack Pierson: More Faster Now, Regen Projects, Los Angeles, California. Jack Pierson: Angel Youth, Maccarone, New York. Jack Pierson Walking Around, Galerie Thaddaeus Ropac, Paris Pantin, Paris. Jack Pierson: 5 Shows from the ‘90s, Aspen Art Museum, Aspen, Colorado 2016 Journal, Galerie Sabine Knust, Kunst & Kunz GbR, Munich, Germany. Jack Pierson: OMG, Wadsworth Atheneum Museum of Art, Hartford, Connecticut (2016), artwork installed outside the Main Street entrance. 2015 Jack Pierson: onthisisland, Cheim & Read, New York. Jack Pierson, Paintings: 1997–2002, Maccarone, New York. 2014 Jack Pierson, Albert Merola Gallery, Provincetown, Massachusetts. Jack Pierson, You Don’t Own Me, Mendes Wood DM, São Paulo, Brazil. Jack Pierson: A Town Not This One, Villa Kast, Galerie Thaddaeus Ropac, Salzburg, Austria. Jack Pierson: Memento Mori, Christian Stein, Milan, Italy. Jack Pierson: Folded Photographs, Xavier Hufkens, Brussels, Belgium. 2013 Ennui (La Vie Continue), Galerie Thaddaeus Ropac, Paris. THE END OF THE WORLD, Regen Projects, Los Angeles, California. -
Jack Pierson: Tomorrow’S Man April 21-July 1, 2016 Public Reception April 21, 5-8Pm Press Preview April 20, 5-7Pm
Jack Pierson: Tomorrow’s Man April 21-July 1, 2016 Public Reception April 21, 5-8pm Press Preview April 20, 5-7pm All events held at Sheppard Contemporary Church Fine Arts Complex 1664 N. Virginia St Reno, NV 89557 University Galleries is pleased to announce a new exhibition curated by internationally renowned artist Jack Pierson. First conceived as a publication, the third volume of which was recently released by Bywater Bros. Editions, Tomorrow’s Man has grown into a three dimensional iteration of the bulletin-board, idea mashup found in the publication and includes many of the artists Pierson finds most interesting and thought provoking. Inspired by a midcentury male physique magazine of the same name, the exhibition Tomorrow’s Man includes artworks by over a dozen artists including Michael Bilsborough, Laurel Sparks, Richard Tinkler, Florence Derive, Chris Bogia, Bryson Rand, David Dupuis, Jeff Davis, Andrea Zittell, Cali DeWitt, Shari Elf, Zak Arctander, Kembra Pfahler, Joe Sinness, Paul Sepuya, Elisabeth Kley, and Peter Fend. Recognized by New York Times columnist Robert Smith for his innovative curatorial style which engenders multiple and concurrent dialogues and ideas within the gallery, Pierson’s work as a curator is an extension of his art practice which demonstrates a strong interface between high and low culture, pop sensibility, and multimedia interests. Jack Pierson was born in 1960 in Plymouth, Massachusetts and graduated from the Massachusetts College of Art in Boston in 1984. He lives and works in New York. Pierson has had recent solo exhibition at the CAC Malaga, Irish Museum of Modern Art and his work is in the collection of the Metropolitan Museum of Art, The Whitney Museum of American Art, the Solomon R. -
Oral History Interview with Marilyn Minter, 2011 Nov 29-30
Oral history interview with Marilyn Minter, 2011 Nov 29-30 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 Marilyn Minter on November 29, 2011. The interview took place in the artist's studio in New York City, and was conducted by Judith Richards for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art Oral History Program. Marilyn Minter reviewed the transcript in 2015. 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 Marilyn Minter in her studio in New York City on November 29th, 2011, for the Archives of American Art, Smithsonian Institution, disc one. Marilyn, I'd like to start with asking you about your family background, as far back as you want to go, certainly to grandparents, and especially noting those who you knew personally and talk about their names and their occupations and then your parents, and then we'll go to you. MARILYN MINTER: Well, that's a big mystery. I met my grandmother on my father's side, but he was such a scoundrel, they all just disinherited him. He was from a moneyed background in Virginia. JUDITH RICHARDS: Do you know the grandparents’ names? MARILYN MINTER: Hortense Minter—she was German.