NEW+OBS+130+Digital !.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
O Último Ato Reflexões Sobre Performance, Morte, Violência E Transcendência
Bárbara de Oliveira Ahouagi O último ato Reflexões sobre performance, morte, violência e transcendência Belo Horizonte 2015 Bárbara de Oliveira Ahouagi O último ato Reflexões sobre performance, morte, violência e transcendência Dissertação apresentada ao Programa de Pós- Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais como requesito à obtenção do título de Mestre em Artes. Área de Concentração: Arte e Tecnologia da Imagem Orientadora: Profa. Dra. Maria Angelica Melendi Belo Horizonte 2015 Ahouagi, Bárbara, 1980- O último ato [manuscrito] : reflexões sobre performance, morte, violência e transcendência / Bárbara de Oliveira Ahouagi. – 2015. 151 f. : il. + 3 folhas, em bolso. Orientadora: Maria Angelica Melendi Dissertação (mestrado) – Universidade Federal de Minas Gerais, Escola de Belas Artes, 2014. 1. Warburg, Aby, 1866-1929 – Atlas Mnemosyne – Teses . 2. Percepção visual – Teses. 3. Performance (Arte) – Teses. 4. Arte – Filosofia – Teses. 5. Arte moderna – 1960-1970 – Teses. I. Biasizzo, Maria Angélica Melendi, 1945- II. Universidade Federal de Minas Gerais. Escola de Belas Artes. III. Título. CDD 701.15 Para Eliana e Michel. Para Paulo, Salomé, Ana Emília e Letícia Agradeço à Krsna, a fonte de tudo, e ao meu mestre espiritual, que me conecta à Ele. Agradecimentos sem fim à Piti, pela inspiração, cuida- do, amizade, dedicação, competência e liberdade. Agradeço à banca, todos meus professores. À Con- suelo, pela preciosa revisão. Aos colegas do grupo de pesquisa e meus amigos que contribuiram com esta pesquisa. Agradeço aos meus pais e antepassados e a todos os meus amigos que passaram ou que permanecem, me ensinando e me inspirando todos os dias. -
The Recurring Desire to Experience by Zakriya Rabani a Non-Thesis
The Recurring Desire To Experience By Zakriya Rabani A non-thesis project in partial fulfillment of the requirements for the degree of Master of Fine Arts School of Art and Art History College of the Arts University of South Florida Major Professor: Cesar Cornejo, PHD Committee Member: Wendy Babcox, MFA Committee Member: Gregory Green, MFA Date of Approval: 04/11/2018 Keywords: installation, skateboards, mediated motion, soul, essence, used materials, imagination, potential, experience ⓒ Copyright 2018, Zakriya Rabani This paper reflects my worldview. I am not an expert on theory, people, life, sport, or even art, I can however speak about the concept of experience in my own life. Experience teaches us how to live, how to fail and succeed, but most importantly how to be what it is we desire. From a young age, my desire was to be great at everything, I felt I could achieve anything if I tried hard enough. I believe that this sense of desire is a recurring feeling throughout our lives, no matter the task, sport or occupancy. What is seen, felt and can be interpreted is shaped by experience, this is something I have realized through my upbringing and education. It is our participation with objects, environments and people that allow us to retain information. How we participate is unique to each individual, causing different actions and ideas to occur. Through “ ‘seeing yourself sensing’, a moment of perception, when the viewer pauses to consider what they are experiencing” and mediated motion1 where “viewers become more conscious of the act of movement through space.” I want participants to see what I see in the world. -
Dear Reader. Don't Read
1 Guy Schraenen Ulises Carrión Dear reader. Don’t read. The revolution engendered by access to knowledge on the Internet brings to the fore certain artistic projects of the past that seem to resonate with the present, as a kind of wake-up call or an invitation to reflect. This is the case, for instance, of the heterodox, multiform oeuvre of the artist, writer, and publisher Ulises Carrión. Right from its title, the exhibition Dear reader. Don’t read raises a paradox in the form of a negative imperative: it reminds us of the need to approach written text, literature, and hence culture as an ambiguous and contra- dictory field full of latent meanings that may perhaps even surface through their negation. The exhibition, which takes the thought-provoking form of a large exhibited—or “published”—archive, inquires into what a museum can contain, beyond traditional formats. It also explores what an art institution can do in the sense of giving voice to groups of thoughts that have been hidden by the veil of time and by the material complexity of the media in which they are expressed. The Ulises Carrión exhibition and publication are presented at a time when both the Museo Reina Sofía and its foundation are paying close attention to archives, particularly those related to Latin America’s cultural scene. Due to their very nature, these groups of units of knowledge are at risk of disappearing, either literally in the physical sense or by succumbing to oblivion and neglect, to the point where they can no longer be read or interpreted. -
Scaling the Sublime: Art at the Limits of Landscape
SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE Martin John Callanan Simon Faithfull Tim Knowles Mariele Neudecker Rebecca Partridge Katie Paterson Richard T Walker Curated by Rebecca Partridge and Nicholas Alfrey SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE DJANOGLY GALLERY NOTTINGHAM LAKESIDE ARTS 05 Foreword As Nicholas Alfrey has highlighted at the beginning of his essay, Scaling the Sublime originated in another earlier exhibition Reason and Emotion: Landscape and the Contemporary Romantic . Mounted at the Kunstverein Springhornhof, Germany, in 2013, the exhibition was curated by Rebecca Partridge with Randi Nygärd and Bettina van Dziembowski. Since that time Nicholas and Rebecca have been discussing ways in which they might re-focus and develop its themes, refine the selection of artists and bring it to a British audience. Subsequently, there have been a number of exhibitions in Britain and overseas exploring the theme of contemporary responses to landscape and the legacy of Romanticism, often as mediated through the more recent Land art. These include Land’s End (Chicago, 2015); Setting Out (New York, 2015); In Search of the Miraculous (Newlyn Art Gallery, 2015) and Terrain: Land into Art (Hestercombe Gallery, Somerset, 2016). Scaling the Sublime does not attempt to re-trace the ground covered by these recent shows; instead it brings together the work of artists who are closely linked by their creative and in some cases personal affinities, but who have never been shown together as a group in this way before. In terms of the Djanogly Gallery’s own history, this exhibition also forms part of a strong lineage of landscape-themed surveys reaching back to its inception at the beginning of the 1990s and reflects to a large extent the strengths of teaching and research in the Art History department and the strong emphasis on Cultural Geography in the School of Geography at the University of Nottingham. -
FOR IMMEDIATE RELEASE Bas Jan Ader
FOR IMMEDIATE RELEASE Bas Jan Ader 24 JUNE – 26 AUGUST 2016 PRIVATE VIEW: THURSDAY, 23 JUNE, 6 – 8 PM Simon Lee Gallery is proud to announce a solo exhibition of work by Dutch conceptual artist Bas Jan Ader, one of the most influential artists of his generation. Forty years after the end of his brief career, his concise body of some thirty-five works created between 1969 and 1975 continues to inspire artists, writers, curators and critical thinkers. This exhibition includes five of Ader’s short ‘falling’ films, shown in their original 16mm format, alongside the key film from 1974, Primary Time. It also includes related photo works and the seminal work, I’m too Sad to Tell You, (1971). The works exhibited reveal the depth of Ader’s investigation into questions of control and its surrender to the forces of nature, particularly in relation to the creative process and strategies of composition. “When I fell off the roof of my house, or into the canal, it was because gravity made itself master over me”. In the film Fall 1, Los Angeles, (1970), the camera is focused on the front of Ader’s home in Claremont, with the artist sitting on a chair straddled across the top of the roof before falling and crashing into the garden. In Fall 2, Amsterdam, (1970), Ader framed for camera a section of the Reguliersgracht canal, a canal bridge, path and trees, with the wall of the canal bisecting the picture to provide a horizon line. Ader appears in the frame from a side street, gripping his handlebars with a bunch of flowers clutched in one hand before appearing to lose control of his bicycle and plunge into the water, along with the bike and flowers. -
State of Mind: New California Art Circa 1970 from Acclaimed “Pacific Standard Time” Exhibition Series Comes to the Bronx Museum of the Arts
State of Mind: New California Art circa 1970 from Acclaimed “Pacific Standard Time” Exhibition Series Comes to The Bronx Museum of the Arts Museum is Only East Coast Venue to Present Exhibition Illustrating Broad Impact “California Conceptualism” Continues to Have on Contemporary Art Bronx, NY, April 11, 2013 – This June, The Bronx Museum of the Arts will become the only East Coast venue to present State of Mind: New California Art circa 1970, an exhibition which explores the emergence of conceptual art in California in the 1960s and 70s. The exhibition was developed as part of the Getty Foundation’s collaborative exhibition series, “Pacific Standard Time,” and will feature 150 works by 60 artists in a range of media. Each of the artists featured in the exhibition—including Chris Burden, Lynn Hershman, Linda Mary Montano, Martha Rosler, Allen Ruppersberg, and Ed Ruscha—played a seminal role in the emergence of “California Conceptualism.” Marked by its radical forms and ideas, the new art movement permeated the country in the 60s and 70s and has continued to influence artists since its inception. Works in the exhibition exemplify the unrestricted style of the era, when art was produced for alternative audiences and outside of artists’ studios—in the streets, at artist-run galleries, and in other non-traditional spaces. State of Mind features video, film, photography, installation, artist's books, drawings, and extensive performance documentation and ephemera. The exhibition’s tour is organized by Independent Curators International (ICI) and will be on view at The Bronx Museum from June 22 – September 8, 2013. -
Of Donating Alumni by Region
Fall 2006 investor report 2005–2006 Seeding Growth Donations flowed into Thunderbird during the past year, more than $6 million in all. They arrived in dramatic $1million gifts, in donations of computers and hotel rooms, in pesos, euros, yen and dollars, and in a steady stream from alumni around the world. How did Thunderbird invest those gifts? thunderbird : investor report : 2006 4 Agenda Homing Thunderbirds More than 360 alumni came out for Homecoming. Making history The School’s 60 years are captured in a newly released book. Soccer save Students raise funds to buy soccer equipment for Iraqi children. Faculty in Africa Thunderbird profs lead seminar for aid workers in South Africa. Alumni ambassadors Volunteers spread the word and bring in new students. Act local Students donate time and talents to metro Phoenix charities. 10 Seeding Growth During the past year, more than 4,000 alumni, along with many other friends of Thunderbird, gave the School more than $6 million, gifts that were invested in promising students, world-class faculty and innovative academic programs. Here’s a closer look at who gave what, and how Thunderbird has channeled those generous gifts. On the Cover Growth for a non- 17 Roster of donors profit institution Planned and major gifts Donations flowed in from the Council of 100 and the Legacy Society, which have directed generous, long-term gifts to the School . like Thunderbird Thunderbird Annual Fund Annual donations of $500 to more than $100,000 can only happen allow the School to allocate funds to the areas of greatest need. when it has the Consistent annual donors Hundreds of alumni, models of stewardship, have given assistance and donations annually for at least 10 years and, in many cases, a lot longer. -
Bas Jan Ader the Boy Who Fell Over Niagara Falls
BAS JAN ADER THE BOY WHO FELL OVER NIAGARA FALLS GRIMM Amsterdam to stage the first performance of Dutch artist Bas Jan Ader’s The Boy Who Fell Over Niagara Falls (1972) in 46 years at Amsterdam’s Spring Performance Festival, March 24 2018. Bas Jan Ader (1942 - 1975) was an artist working with performance, conceptual art, film and photography. Born in the Netherlands he spent the last years of his life living Bas jan Ader performing The Boy Who Fell Over Niagara Falls (1972). in Los Angeles. Since his death at sea - while attempting Courtesy The Estate of Bas Jan Ader. to sail across the Atlantic in the smallest sailing boat - his work has garnered a mythical status. He is widely recognised by today’s leading thinkers, artists, filmmakers, Bruce Nauman, Charles Ray and more, who radically critics and poets as among the most influential and poignant rethought the object of art in the late ‘60s and ‘70s, seeking artists of the 20th century. to connect with the social and political developments of their decade and make their work more responsive to the Honeycutt grabbed Roger’s arm, fighting to hold the boy’s world around them head out of the water. But the furious currents tore them apart. The rapids wrenched Roger down, spun him around. Bas Jan Ader was born in 1942 in Winschoten, The Then all at once he was free, thrust out over the edge of the Netherlands and lived in Los Angeles for the last twelve falls, dropping through space. years of his life. -
Bas Jan Ader
Issue 17 June-August 1994 Bas Jan Ader ART On Bas Jan Ader Rapidly approaching cult status as a kind of Syd Barrett of contemporary art, Bas Jan Ader produced a modest oeuvre that has recently achieved a poignancy all the more relevant given the current concerns of a number of artists, particularly in Britain. Issues revolving around questions of identity, and attempts to resolve the rift between personal experience and the chaos of a larger public world, have risen to the surface amongst a generation (or two) of post-Thatcherite artists. The re- evaluation of Ader’s work seems not only inevitable but revelatory in its recasting of much of the work of his own contemporaries as heavy-handed posturing. It is difficult to articulate what it is that makes the work of this artist, whose retrospective could be held in your living room, so powerful and apposite some 20 years on, without overloading individual pieces with an excessive significance, which the work itself tries to shrug off. It is more a question of attitude: the purposefulness with which the works were conceived and executed and the simplicity of their presentation gives them their strength and coherence. Ader himself didn’t much care to talk publicly about his work - always a good sign - and when asked, for example, to explain the significance behind the frequent inclusion of ‘falls’ in his work, he simply replied ‘because gravity overpowers me’. The ‘falls’ - a number of films and a series of photographic pieces - encapsulate the frailty and vulnerability at the heart of much of Ader’s work. -
LA GALERÍA CLAIRE COPLEY Y LOS INTERCAMBIOS ENTRE NORTEAMÉRICA Y EUROPA EN EL TIEMPO DEL ARTE CONCEPTUAL (1973-1977) Quintana
Quintana. Revista de Estudos do Departamento de Historia da Arte ISSN: 1579-7414 [email protected] Universidade de Santiago de Compostela España de Llano Neira, Pedro LA GALERÍA CLAIRE COPLEY Y LOS INTERCAMBIOS ENTRE NORTEAMÉRICA Y EUROPA EN EL TIEMPO DEL ARTE CONCEPTUAL (1973-1977) Quintana. Revista de Estudos do Departamento de Historia da Arte, núm. 14, 2015, pp. 159-186 Universidade de Santiago de Compostela Santiago de Compostela, España Disponible en: http://www.redalyc.org/articulo.oa?id=65349338012 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto LA GALERÍA CLAIRE COPLEY Y LOS INTERCAMBIOS ENTRE NORTEAMÉRICA Y EUROPA EN EL TIEMPO DEL ARTE CONCEPTUAL (1973-1977) 1 Data recepción: 2014/01/23 Pedro de Llano Neira Data aceptación: 2016/01/13 Universidade de Santiago de Compostela Contacto autor: [email protected] RESUMEN La galería de Claire Copley en Los Ángeles fue un espacio que inspiró algunos de los proyectos más innovadores y vanguardistas del arte Conceptual. En un periodo de solo cuatro años, entre 1973 y 1977, Copley promovió ex- posiciones como las de Michael Asher, Bas Jan Ader o Allen Ruppersberg, que forman parte de la historia del arte reciente. Dos fueron sus objetivos principales: mostrar el trabajo de artistas locales que todavía no habían recibido la atención que ella consideraba que se merecían y crear un diálogo entre Norteamérica y Europa. -
Performance Art Context R
Literature: Literature: (...continued) Literature: Literature: Literature: (... continued) Literature: Literature: (... continued) Literature: Kunstf. Bd.137 / Atlas der Künstlerreisen Literature: (...continued) Literature: (... continued) Richard Kostelnatz / The Theater of Crossings (catalogue) E. Jappe / Performance Ritual Prozeß Walking through society (yearbook) ! Judith Butler !! / Bodies That Matter Victoria Best & Peter Collier (Ed.) / article: Kultur als Handlung Kunstf. Bd.136 / Ästhetik des Reisens Butoh – Die Rebellion des Körpers PERFORMANCE ART CONTEXT R. Shusterman / Kunst leben – Die Ästhetik Mixed Means. An Introduction to Zeitspielräume. Performance Musik On Ritual (Performance Research) Eugenio Barber (anthropological view) Performative Acts and Gender Constitution Powerful Bodies – Performance in French Gertrude Koch Zeit – Die vierte Dimension in der (Kazuo Ohno, Carlotta Ikeda, Tatsumi des Pragmatismus Happenings, Kinetic Environments ... ! Ästhetik / Daniel Charles Richard Schechner / Future of Ritual Camille Camillieri (athropolog. view; (article 1988!) / Judith Butler Cultural Studies !! Mieke Bal (lecture) / Performance and Mary Ann Doane / Film and the bildenden Kunst Hijikata, Min Tanaka, Anzu Furukawa, Performative Approaches in Art and Science Using the Example of "Performance Art" R. Koberg / Die Kunst des Gehens Mitsutaka Ishi, Testuro Tamura, Musical Performance (book) Stan Godlovitch Kunstforum Bd. 34 / Plastik als important for Patrice Pavis) Performativity and Performance (book) ! Geoffrey Leech / Principles -
POP ART USA” (1966) at Western Connecticut State University, Danbury Connecticut September 12, 2006
WS INTRODUCTION TO THE AMERICAN PREMIERE OF “POP ART USA” (1966) at Western Connecticut State University, Danbury Connecticut September 12, 2006 GOOD EVENING EVERYBODY! Thank you for coming. And thank you very much, Dr. Hugh McCarney, for inviting me to WCSU. As Dr. McCarney mentioned, I am best known in art history for Avalanche magazine (1968 to 1976). Avalanche was the incubator and launching pad for post-modernism. Avalanche was a series of 13 curated catalogues devoted to the pivotal works and spoken thoughts of the leaders of the art movements that then established the avant-garde: Earth Art; BodyWorks; Post-Studio Sculpture; Conceptual Art; Performance Art; Minimalist Music; Judson Dance Theater; and Video in its 3 main aspects – Videotape; Video Installation; and Videoperformance. The artists that Avalanche either “discovered” or gave first in- depth broad public exposure to, constitutes a veritable Parthenon of the 20-century’s “most valuable”: Robert Smithson; Yves Klein; Joseph Beuys; Gordon Matta-Clark; Robert Wilson; Bruce Nauman; Phil Glass; Hannah Darboven; Richard; Chris Burden; Jack Smith; Bas Jan Ader; Mike Heizer; Yvonne Rainer; Jannis Kounellis; Dennis Oppenheim; Keith Sonnier; Terry Fox; Willliam Wegman; Jackie Winsor; Lawrence Weiner, among others. 1 Before I published Avalanche, I curated two important exhibitions. The first was “Pop Art”, in (March 1964) at Columbia University where I was an art history doctoral candidate. It was the first art exhibition with that title. The show was conceived before the words “Pop Art” came into usage to designate this American art movement. Each of seven artists were represented by two life- sized works.