Journal of the Clark, Volume 15 As of December 31, 2014
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Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
2010-2011 Newsletter
Newsletter WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF A RT OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2010–11 Newsletter ••••• 1 1 CLASS OF 1955 MEMORIAL PROFESSOR OF ART MARC GOTLIEB Letter from the Director Greetings from Williamstown! Our New features of the program this past year include an alumni now number well over 400 internship for a Williams graduate student at the High Mu- going back nearly 40 years, and we seum of Art. Many thanks to Michael Shapiro, Philip Verre, hope this newsletter both brings and all the High staff for partnering with us in what promises back memories and informs you to serve as a key plank in our effort to expand opportuni- of our recent efforts to keep the ties for our graduate students in the years to come. We had a thrilling study-trip to Greece last January with the kind program academically healthy and participation of Elizabeth McGowan; coming up we will be indeed second to none. To our substantial community of alumni heading to Paris, Rome, and Naples. An ambitious trajectory we must add the astonishingly rich constellation of art histori- to be sure, and in Rome and Naples in particular we will be ans, conservators, and professionals in related fields that, for a exploring 16th- and 17th-century art—and perhaps some brief period, a summer, or on a permanent basis, make William- sense of Rome from a 19th-century point of view, if I am al- stown and its vicinity their home. The atmosphere we cultivate is lowed to have my way. -
American Creativity at Risk Restoring Creativity As a Priority in Public Policy, Cultural Philanthropy, and Education
American Creativity at Risk Restoring creativity as a priority in public policy, cultural philanthropy, and education A narrative report on a symposium directed toward opinion leaders, policy makers, and creative thinkers in business, government, education, arts and culture, and the sciences November 8–10, 1996 BROWN UNIVERSITY and RHODE ISLAND SCHOOL OF DESIGN Providence, Rhode Island The American Creativity At Risk Symposium was organized by the Alliance of Artists Communities and supported by grants from: Evelyn Stefansson Nef The Pew Charitable Trusts Thank you to the many people who made this The John D. and Catherine T. symposium possible, especially to the Symposium Project MacArthur Foundation Director and author of this report, Tricia Snell, Executive The National Endowment for the Arts Director of the Alliance of Artists Communities. The Andy Warhol Foundation for the Visual Arts The Alliance of Artists Communities also acknowledges and thanks the following people for joining a National The California Tamarack Foundation Task Force that advised us during the early months The Lubo Fund, Inc. of planning for the symposium: Judith Barber, Linda and an anonymous donor Blumberg, Ann Chamberlain, Jennifer Dowley, Mary Griffi n, Garrett Hongo, Sam Miller, Gina Murtagh, We are profoundly grateful to them, Craig Pleasants, Harriet Sanford, Fred Schroeder, Susan and to Brown University and the Rhode Schwartzenberg, Jim Sitter, William Smart, M. Camille Island School of Design for their support Thomas, Anthony Vasconcellos, and Lori Wood. and hospitality. For copies of this report and for transcripts, contact: Special Thanks to the Andy Warhol Alliance of Artists Communities Foundation for The Visual Arts and 255 South Main Street the Geraldine R. -
Marcel Duchamp and the Forestay Waterfall Symposium – Concert – Intervention – Exhibitions
Marcel Duchamp and the Forestay Waterfall Symposium – Concert – Intervention – Exhibitions Program 6-9 May 2010 www.bxb.ch/kunsthalle/ OPENING RECEPTION Thursday, 6 May 2010 18:00 Welcome to the event by Stefan Banz Andreas Glauser plays «Musical Erratum» by Marcel Duchamp → Salle Davel, Cully 19:00 Ecke Bonk → Vernissage Kunsthalle Marcel Duchamp, Cully (until 13 June) I want to grasp things with the mind the way the penis is grasped by the vagina → Vernissage Galerie Davel 14, Cully (until 13 June) SYMPOSIUM Friday, 7 May → Salle Davel, Cully (with simultaneous interpreting English – French – English) CONTEXTUALIZATION OF ETANT DONNÉS 09:00 James W. McManus (USA) Digging through Marcel Duchamp’s ‘Un amas d’idées’ – considering ‘infra-thin’ correspondences between apparently disassociated actions, events, and projects – 1946/1947 Antje von Graevenitz (Holland) Duchamp as a scientist, artifex and semiotic-philosopher: his notes of the ‘infra-mince’ (1934/35-1945) Discussion 11:00 Herbert Molderings (Germany) Le bonheur même. A la recherche du ‘Rayon vert’ de Marcel Duchamp Molly Nesbit (USA) The Hinge at the End of the Mind Discussion 14:00 Hans Maria de Wolf (Belgium) Beyond Swiss Cheese and Bullet Holes (second version) Mark Nelson (USA) Surrealism and the Black Dahlia Murder Philip Ursprung (Switzerland) The ‘Spiritualist of Woolworth’ – Duchamp in the Eyes of Allan Kaprow and Robert Smithson Discussion 18:00 SPECIAL OPENING RECEPTION Roman Signer → Intervention at the Forestay Waterfall, Bellevue/Chexbres (until 9 May) SYMPOSIUM Saturday, 8 May → Salle Davel, Cully (with simultaneous interpreting English – French – English) THE WATERFALL, THE LANDSCAPE 09:00 Stefan Banz (Switzerland) Paysage fautif. -
Bishop Claire Ed Participation.Pdf
Roland Barthes//Joseph Beuys//Nicolas Bourriaud// Peter Bürger//Graciela Carnevale//Lygia Clark// Collective Actions//Eda Cufer//Guy Debord//Jeremy Deller//Umberto Eco//Hal Foster//Édouard Glissant// Group Material//Félix Guattari//Thomas Hirschhorn// Carsten Höller//Allan Kaprow//Lars Bang Larsen// Jean-Luc Nancy//Molly Nesbit//Hans Ulrich Obrist// Hélio Oiticica//Adrian Piper//Jacques Rancière// Dirk Schwarze//Rirkrit Tiravanija Participation Whitechapel London The MIT Press Cambridge, Massachusetts Edited by Claire Bishop PART ICIP ATIO N Documents of Contemporary Art Co-published by Whitechapel and The MIT Press Series Editor: Iwona Blazwick Commissioning Editor: Ian Farr First published 2006 Project Editor: Hannah Vaughan © 2006 Whitechapel Ventures Limited Designed by SMITH Texts © the authors, unless otherwise stated Printed in Italy Whitechapel is the imprint of Whitechapel Cover: Lygia Clark, Baba antropofága (1973), Ventures Limited from the series Collective Body. © The World of Lygia Clark Cultural Association, Rio de Janeiro All rights reserved. No part of this publication may be reproduced, stored in a retrieval system Whitechapel Ventures Limited or transmitted in any form or by any means, 80-82 Whitechapel High Street electronic, mechanical, photocopying or otherwise, London E1 7QZ without the written permission of the publisher www.whitechapel.org To order (UK and Europe) call +44 (0)207 522 7888 ISBN 0-85488-147-6 (Whitechapel) or email [email protected] ISBN 0-262-52464-3 (The MIT Press) Distributed to the book trade (UK and Europe only) by Cornerhouse A catalogue record for this book is available from www.cornerhouse.org the British Library The MIT Press Library of Congress Cataloguing-in-Publication Data 55 Hayward Street Cambridge, MA 02142 Participation / edited by Claire Bishop For information on quantity discounts, p. -
Conference Program
I WEDNESDAY PM 2:OO-5:OO Art Libraries Versailles Terrace Chairman: Elizabeth R. Usher / Metropolitan Museum of Art Bibliographical Reports: ART bibliographies / Roger Bilboul 1European Bibliographical Center Planning for the Center for Advanced Studies in the Visual Arts I.I. M. Edelstein 1 National Gallery of Art Centro di Documentation / Alessandra Marchi / Centro di Documentation, Florence RiLA / Michael Rinehart / Sterling and Francine Clark Art Institute / Judy Ann Goldman and AntoinettePeterson Panel Discussion: The Art Library-Today and in the Future Moderator: Gerd Muehsarn / Queens College Panel: The Viewpoint of the Professor / Scholar User / Hanna Deinhard / Queens College The Viewpoint of the University Art Librarian / Jean L. Finch 1 Stanford University Libraries The Viewpoint of the Small Art Museum Librarian / Barbara Lipton I The Viewpoint of the Artist/Scholar User / Alvin Smith / Queens College The Viewpoint of the Large Art Museum Librarian 1 Frank Sommer I Winterthur Museum The Viewpoint of the Curator/Specialist/Scholar User I Louise A. Svendsen / Guggenheim Museum The Viewooint of the Curator/Scholar User / Georoe Szabo /The Lehman Open house at studios and galleries Information available at Social Events Desk 3:OO-6:00 Reception The Century Association Limited to300 persons 1 Invitations available at Social Events Desk 7 West 43rd Street An opportunity to view the Century Club's collection of New York, New York 19th century American painting WEDNESDAY PM 6:OO-9:OO Convocation The Metropolitan Grace Rainev, Rooers- -
Mission Issue
free The San Francisco Arts Quarterly A Free Publication Dedicated to the SArtistic CommunityFAQ i 3 MISSION ISSUE - Bay Area Arts Calendar Oct. Nov. Dec. Jan - Southern Exposure - Galeria de la Raza - Ratio 3 Gallery - Hamburger Eyes - Oakland Museum - Headlands - Art Practical 6)$,B6)B$UWVB4XDUWHUO\BILQDOLQGG 30 Saturday October 16, 1-6pm Visit www.yerbabuena.org/gallerywalk for more details 111 Minna Gallery Chandler Fine Art SF Camerawork 111 Minna Street - 415/974-1719 170 Minna Street - 415/546-1113 657 Mission Street, 2nd Floor- www.111minnagallery.com www.chandlersf.com 415/512-2020 12 Gallagher Lane Crown Point Press www.sfcamerawork.org 12 Gallagher Lane - 415/896-5700 20 Hawthorne Street - 415/974-6273 UC Berkeley Extension www.12gallagherlane.com www.crownpoint.com 95 3rd Street - 415/284-1081 871 Fine Arts Fivepoints Arthouse www.extension.berkeley.edu/art/gallery.html 20 Hawthorne Street, Lower Level - 72 Tehama Street - 415/989-1166 Visual Aid 415/543-5155 fivepointsarthouse.com 57 Post Street, Suite 905 - 415/777-8242 www.artbook.com/871store Modernism www.visualaid.org The Artists Alley 685 Market Street- 415/541-0461 PAK Gallery 863 Mission Street - 415/522-2440 www.modernisminc.com 425 Second Street , Suite 250 - 818/203-8765 www.theartistsalley.com RayKo Photo Center www.pakink.com Catherine Clark Gallery 428 3rd Street - 415/495-3773 150 Minna Street - 415/399-1439 raykophoto.com www.cclarkgallery.com Galleries are open throughout the year. Yerba Buena Gallery Walks occur twice a year and fall. The Yerba Buena Alliance supports the Yerba Buena Nieghborhood by strengthening partnerships, providing critical neighborhood-wide leadership and infrastructure, serving as an information source and forum for the area’s diverse residents, businesses, and visitiors, and promoting the area as a destination. -
Three Evenings in Honor of Linda Nochlin ’51 on the Occasion of the 70Th Anniversary of Her Graduation from Vassar
Three Evenings In Honor of Linda Nochlin ’51 On the Occasion of the 70th Anniversary of her Graduation from Vassar Linda Nochlin’51 March 11 March 18 March 25 taught at Vassar from 1952 7:00 – 8:15 p.m. EST 7:00 – 8:15 p.m. EST 7:00 – 8:15 p.m. EST until 1980, afterwards holding Women Picturing The Paintress’s Studio: Listening to positions at the Graduate Women: From Personal The Woman Artist Linda Nochlin Center of the City of New Spaces to Public Ventures and the Medium York, Yale University, and the Susan Casteras ’71 Patricia Phagan Ewa Lajer-Burcharth PROFESSOR OF ART EMERITA Institute of Fine Arts at New UNIVERSITY OF WASHINGTON WILLIAM DORR BOARDMAN PHILIP AND LYNN STRAUS ’46 FORMER CURATOR OF PAINTINGS PROFESSOR OF FINE ART York University. While at CURATOR OF PRINTS AND DRAWINGS YALE CENTER FOR BRITISH ART DIRECTOR OF GRADUATE STUDIES FRANCES LEHMAN LOEB ART CENTER YALE UNIVERSITY Vassar, she wrote to call for a DEPARTMENT OF HISTORY OF VASSAR COLLEGE Nochlin Student 1967-1968, 1969-1971 ART AND ARCHITECTURE feminist art history, Why Have Nochlin Student 1981-1983 Research Assistant 1975-1977 HARVARD UNIVERSITY There Been No Great Women Nochlin Student 1982-1992 Artists? published in ARTNews T. Barton Thurber Molly Nesbit ’74 ANNE HENDRICKS BASS DIRECTOR Molly Nesbit ’74 PROFESSOR OF ART ON THE in January, 1971. This led to FRANCES LEHMAN LOEB ART CENTER MARY CONOVER MELLON CHAIR PROFESSOR OF ART ON THE VASSAR COLLEGE VASSAR COLLEGE research into forgotten and MARY CONOVER MELLON CHAIR Nochlin Student 1970-1974 VASSAR COLLEGE underappreciated women artists Drawing from the permanent collection of the Nochlin Student 1970-1974 throughout history and, more Frances Lehman Loeb Art Center, curator Patricia Julia Trotta The lecture discusses the reinvention of the broadly, raised consciousness Phagan has selected only images of women by female FILMMAKER artists from the seventeenth century to the 1960s, medium in the work of some contemporary DIRECTOR, LINDA NOCHLIN female painters. -
Annual Report
ANNUAL REPORT Report for the fiscal year July 1, 2015 – June 30, 2016 ANNUAL REPORT Report for the fiscal year July 1, 2015 – June 30, 2016 CONTENTS Director’s Foreword............................... 3 Milestones………………………..………. .4 Acquisitions……………..……………….. .5 Exhibitions……………….…........……… .7 Loans…………………….………………..10 Clark Fellows…………….………………. 12 Scholarly Programs……….……………. .13 Publications………………….…………. .16 Library……………………………………. 17 Education………………….……………. .19 Member Events…………….…………… .20 Public Programs……………….……….. .24 Financial Report…………..……………. 31 DIRECTOR’S FOREWORD Fiscal year 2016 was an exceptional year at the Clark with record setting attendance, thanks to the success of the summer 2015 special exhibition Van Gogh and Nature. At the same time, it was a period of transition with the retirement of director Michael Conforti on August 31, 2015—after leading the Clark for twenty years—and my appointment as Interim Director while the Board of Trustees conducted a year-long search for the new permanent director. During the year we also began to see the building’s expansion coming to completion. Staff, visitors, trustees, and members of the community have witnessed and experienced the new spaces whether sitting outside in Adirondack chairs admiring the reflecting pools or enjoying the exhibition spaces at the Clark Center and the Lunder Center at Stone Hill. In summer of 2015 the Clark reached its highest attendance numbers ever. More than 30,000 visitors came in the first month of Van Gogh and Nature, not to mention the regular thousand-plus audiences drawn on weekend days at the Lunder Center at Stone Hill for Whistler’s Mother: Grey, Black, and White and the many visitors who walked up through the pasture to experience Thomas Schütte: Crystal. -
Gordon Matta-Clark in Italy • MOLLY NESBIT GORDON MATTA-CLARK in ITALY: COMMUNITIES ORGANIZING FUTURES
Gordon Matta-Clark in Italy • MOLLY NESBIT GORDON MATTA-CLARK IN ITALY: COMMUNITIES ORGANIZING FUTURES. What makes art change? In the fall of 1975 Gordon Matta-Clark put together two gallery shows in Italy. The second one, at the Salvatore Ala gallery in Milan, led him into an aborted collabo- ration with a group of young Communists who were occupying an abandoned factory building in hopes of forcing the developers to put a community health center there. The police were brought in to clear the building. “My exposure to this confrontation” Matta-Clark wrote upon his return to New York, “was my first awakening to doing my work not in artistic isolation but through an active exchange with people’s concern for their own neighborhood. My goal is to extend the Milan experience to the U. S.” In his interviews he began to bend the idea of the future for art into new perspectives. “I have chosen not isolation from the social conditions,” he continued, “but to deal directly with the social conditions whether by physical implication, as in most of my building works, or through more direct community involvement, which is how I want to see the work develop in the future.” He saw this work linked with the social process to be a form of theatre and free interpretation of movement. He saw his work linked to the existing conditions: “I do not want to create a totally new supportive field of vision, of cognition. I want to reuse the old one, the existing framework of thought and sight.” Most importantly, he saw his work linked to people. -
Mathaf: Arab Museum of Modern Art
16 MAT-haff MATHAF: ARAB MUSEUM OF MODERN ART Adam Henein Al-Safina (‘The Ship’), (20082010-) Located in front of Mathaf: Arab Museum of Modern Art © Mathaf: Arab Museum of Modern Art “Mathaf”: Arab Museum of Modern Art. An foot), located in a former school building in Doha’s unprecedented new center for Arab culture and Education City, “Mathaf” has a collection that creativity. represents the major trends and sites of production “Mathaf” (pronounced MAT-haff, meaning of modern Arab art spanning the 1840s through the “museum” in Arabic) is the first institution of its kind present. Offering a rare comprehensive overview of in the region. “Mathaf” fosters creativity, promote modern Arab art, the new museum is presented three dialogue and inspire new ideas about modern and inaugural exhibitions, including the first survey of its contemporary Arab art. unparalleled collection of more than 6,000 works. Suited in 5,500-square-meter (59,000-square- Equally important, “Mathaf” is presenting programs MAT-haff 17 that engage the local and international community, presented as collaboration between Mathaf and as well as encourage research and scholarship, AMCA (Association for Modern and Contemporary contributing to the cultural landscape of the Gulf Art of the Arab World, Iran and Turkey). Scholars region, the Middle East and the Arab Diaspora. and artists discussed topics including major genres of The inaugural ceremony on December 14 featured Arab modern art, the history and implications of art a program of live entertainment and musical education in the Arab world, the function of critics performances spearheaded by Yassin Alsalman (aka and curators in defining the field, and the growing The Narcicyst) under the heading Identity Card: role of multi-nationalism and markets. -
Wild Shanghai Grass*
Wild Shanghai Grass* MOLLY NESBIT In late April 1927 the writer Lu Xun sat as a refugee in the southern Chinese city of Guangzhou and wrote a preface to his new group of prose poems, which he was calling Wild Grass . “When I am silent, I feel replete,” he began. “As I open my mouth to speak, I am conscious of emptiness.” Words came to him. Past life had died. Dead life had decayed. From its clay, no trees grew, only wild grass. “I love my wild grass,” he wrote, “but I detest the ground which decks itself with wild grass.” He pointed to the fires under - ground that would one day erupt red and devour it. At that point he would laugh out loud and sing, he claimed, and he repeated this laughing and singing, because this fierce turn of events was the fair proof that he had lived. 1 The poems that followed had been written to stand apart from the fray of the press . Pulled back and collected, they were a motley group. Freeform medita - tions rife with inversions, vicious observations, visions exploding; cackling, tart, wafting, they were his dreams, he said—his wild grass. These pieces were not uni - form. He shifted voices and cadences. He gave them titles that charted no path: “The Shadow’s Leave-taking,” “Snow,” “The Passer-By,” “Tremors of Degradation,” “The Wise Man, the Fool, and the Slave.” * A version of this essay originally appeared in Yang Fudong: Seven Intellectuals in Bamboo Forest (Beijing: Office for Discourse Engineering, 2008), pp. 34 –61.