Press Release for Immediate Release 06/19/2015
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Insite Art Practices in the Public Domain San Diego Lijuana
inSite Art Practices in the Public Domain San Diego lijuana N~ws Release FOR IMMEDIATE RELEASE July 2005 Contact: Papus von Saenger, Public Relations, inSite_05 (619) 230-0005 x 17; [email protected] Barbara Metz, Metz Public Relations (858) 677-0720; [email protected] in~ite_05 Announces Public Programming Beginning Aug. 26 SAN DIEGO/TIJUANA - inSite_05, the binational network of contemporary arts events and actions set in the San Diego/Tijuana region, will open its public phase Aug. 26, with public art projects and events ranging from a human cannonball being shot over the fence separating the US and Mexico, to the opening of artists' urban interventions sited on both sides of the border, to a major museum exhibition of contemporary art. Through Nov. 13, inSite_05/ Art Practices in the Public Domain presents a wide-ranging program that also includes on-line projects, dialogues, film and video installations, and performances. Four major weekends of intense activity will take place during inSite_05. Each of these focused weekends is constructed around the four components of inSite_05: 1) Interventions - commissioned artists' projects developed in a creative process of co-participation with communities on both sides of the border. These include projects that take place in physical space - such as Mark Bradford's Maleteros which requires visitors to walk through the San Ysidro border crossing, or Thomas Glassford and Jose Parral's urban park Garden Playas de Tijuana which reconfigures the extraordinary juncture of the US and Mexico where the border fence plunges into the Pacific Ocean. Other Interventions projects will take the form of performance or spectacle. -
ISSUE 10 - Proving the Power of Art and Artists Pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU Pg.20 09 14 22 28
OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, Los Angeles, California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20 09 14 22 28 A Foundation for the Future This issue of OMAG highlights the Foundation connected. Through the Foundation Integrated Otis prepares diverse students of Program, a beloved first-year educational Learning course, freshmen work with an art and design to enrich our world VOL.10 IN THIS ISSUE: SPRING 2011 experience that generations of Otis alumni have external, real world “site partner.” The site- through their creativity, their skill, credited for much of their success and penchant partner project focuses on sustainability and and their vision. for lifelong learning. Otis is the only college of the environment, and embodies another Foundation Development art and design on the West Coast that offers a tenet of Foundation: Knowledge carries with Founded in 1918, Otis is L.A.’s first 02 24 full Foundation Year curriculum. The program is it a responsibility to use it mindfully within independent professional school of Makers + Thinkers Mei-Lee and the Art of Legacy also unique in its approach to preparing students the community. visual arts. Otis’ 1200 students pursue for the competitive, fast-paced 21st century while Students share their first-year engagement BFA degrees in advertising design, continuing to honor time-tested fundamentals. -
Art Power : Tactiques Artistiques Et Politiques De L’Identité En Californie (1966-1990) Emilie Blanc
Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990) Emilie Blanc To cite this version: Emilie Blanc. Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990). Art et histoire de l’art. Université Rennes 2, 2017. Français. NNT : 2017REN20040. tel-01677735 HAL Id: tel-01677735 https://tel.archives-ouvertes.fr/tel-01677735 Submitted on 8 Jan 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE / UNIVERSITE RENNES 2 présentée par sous le sceau de l’Université européenne de Bretagne Emilie Blanc pour obtenir le titre de Préparée au sein de l’unité : EA 1279 – Histoire et DOCTEUR DE L’UNIVERSITE RENNES 2 Mention : Histoire et critique des arts critique des arts Ecole doctorale Arts Lettres Langues Thèse soutenue le 15 novembre 2017 Art Power : tactiques devant le jury composé de : Richard CÁNDIDA SMITH artistiques et politiques Professeur, Université de Californie à Berkeley Gildas LE VOGUER de l’identité en Californie Professeur, Université Rennes 2 Caroline ROLLAND-DIAMOND (1966-1990) Professeure, Université Paris Nanterre / rapporteure Evelyne TOUSSAINT Professeure, Université Toulouse - Jean Jaurès / rapporteure Elvan ZABUNYAN Volume 1 Professeure, Université Rennes 2 / Directrice de thèse Giovanna ZAPPERI Professeure, Université François Rabelais - Tours Blanc, Emilie. -
Related Acquisitions
6HOHFWHG:RUNVE\$IULFDQ$PHULFDQ$UWLVWVLQ/$&0$¶V3HUPDQHQW Collection *Artists included in Two Centuries of Black American Art Edgar Arceneaux (United States, b. 1972) Mask, 1997 Gouache, graphite, charcoal and ink 11 1/8 x 17 in. (28.26 x 43.18 cm) Gift of Jeff Vaughn AC1997.256.1.16 * Richmond Barthé (United States, 1901 - 1989) Inner Music, 1956 Bronze Height: 24 1/2 in. (62.2 cm) Gift of the 1989 Collectors Committee M.89.25 * Romare Bearden (United States, 1911-1988) In Black America, 1971 Screenprint Sheet: 35 1/2 x 25 1/16 in. (90.17 x 63.66 cm) Gift of Henri Ghent in memory of Henry J. Seldis M.78.57 * Romare Bearden (United States, 1911-1988) Pilate (Misty Island), 1979 Lithograph Image: 22 x 15 in. (55.88 x 38.1 cm) Gift of Joan Palevsky M.2001.76 * Romare Bearden (United States, 1911-1988) Falling Star, 1979 Color lithograph Sheet: 28 1/4 x 28 1/2 in. (71.76 x 72.39 cm) Purchased with funds provided by Joan Palevsky AC1997.100.1 Dawoud Bey (United States, b. 1953) Amishi, 1993 Internal dye-diffusion (Polarcolor ER) print Sheet: 29 1/4 x 21 3/4 in. (74.3 x 55.25 cm) each Ralph M. Parsons Fund M.2000.33.1-.4 * John Biggers (United States, 1924 - 2001) Cotton Pickers, 1947 Conté crayon and gouache on paperboard Image and sheet: 9 5/8 x 29 3/4 in. (100.65 x 75.57 cm); Framed: 47 x 37 x 2 in. (119.38 x 93.98 x 5.08 cm) Purchased with funds provided by Mr. -
The Baltimore Museum of Art Presents Mark Bradford's
THE BALTIMORE MUSEUM OF ART PRESENTS MARK BRADFORD’S TOMORROW IS ANOTHER DAY, FEATURED IN 2017 VENICE BIENNALE BALTIMORE, MD (August 9, 2018)—The Baltimore Museum of Art (BMA) announces the U.S. debut of Mark Bradford: Tomorrow Is Another Day from September 23, 2018, through March 3, 2019. First presented at the U.S. Pavilion as part of the 2017 Venice Biennale, the exhibition is co-curated by Christopher Bedford, BMA Dorothy Wagner Wallis Director and Commissioner of the U.S. Pavilion, and Katy Siegel, BMA Senior Programming and Research Curator and Thaw Chair of Modern American Art at Stony Brook University. Tomorrow Is Another Day is a complex, multi-layered narrative by Bradford using a variety of media—painting, sculpture, and video. Together, these works reflect the artist’s longstanding interest in how communities—particularly those which have been traditionally marginalized— address issues of social and economic justice, as well as his belief in art’s ability to expose contradictory histories and inspire action in the present day. An integral aspect of Bradford’s engagement in Baltimore is his partnership with Greenmount West Community Center (GWCC), a community art space for children and families two miles south of the museum. The community center provides a safe and positive environment for underserved local youth to create, learn, and share through a program of structured activities and open dialogue. Bradford provided the skills-based training and equipment needed for a silk-screening program at the GWCC with assistance from Noisy Tenants, an entrepreneurial organization that helps communities solve problems they care about by tapping into their inherent creativity, relationships, and resources. -
The Hammer Museum and Art + Practice Present Two Concurrent Exhibitions of Njideka Akunyili Crosby (B
The Hammer Museum and Art + Practice present two concurrent exhibitions of Njideka Akunyili Crosby (b. 1983, Enugu, Nigeria), the first solo exhibitions of the artist’s work in Los Angeles. Her large scale works on paper combine collage, drawing, painting, and printmaking, fusing African and American influences and creative traditions. Reflecting on her Nigerian heritage, contemporary postcolonial African cosmopolitanism, and her experiences as an expatriate in the United States where she has lived since 1999, Akunyili Crosby’s paintings provide an important counter-narrative to the often-troubled representation of Africa’s complex political and social conditions. Curated by Hammer assistant curator Jamillah James, Njideka Akunyili Crosby: The Beautyful Ones will be on view September 12 – November 21, 2015 at Art + Practice in Leimert Park. Hammer Projects: Njideka Akunyili Crosby will be on view October 3, 2015 – January 10, 2016 at the Hammer Museum. Also on view concurrently with The Beautyful Ones is a presentation of two films by Akosua Adoma Owusu in the project room at Art + Practice. The program will include the award-winning film, Kwaku Ananse (2013), about a young American woman’s travels to Ghana for a family emergency, and the experimental short Intermittent Delight (2007), which combines upbeat Ghanaian dance music with imagery of labor, domesticity, and leisure. “Inspired by the success of our concurrent Charles Gaines exhibitions this past spring, we wanted to continue with a joint presentation of exhibitions at the Hammer and Art + Practice,” said Hammer Museum Director Ann Philbin. “This selection of early and more recent paintings of Njideka Akunyili Crosby will resonate in both communities.” Co-founder of Art + Practice Mark Bradford added, “Leimert Park is a rich cultural community that will welcome the opportunity to see the work of a young African contemporary artist.” Hammer Projects: Njideka Akunyili Crosby is comprised of a selection of the artist’s early works that primarily focus on the figure. -
42 Artists Donate Works to Sotheby's Auction Benefitting the Studio Museum in Harlem
42 Artists Donate Works to Sotheby’s Auction Benefitting the Studio Museum in Harlem artnews.com/2018/05/03/42-artists-donate-works-sothebys-auction-benefitting-studio-museum-harlem Grace Halio May 3, 2018 Mark Bradford’s Speak, Birdman (2018) will be auctioned at Sotheby’s in a sale benefitting the Studio Museum in Harlem. COURTESY THE ARTIST AND HAUSER & WIRTH Sotheby’s has revealed the 42 artists whose works will be on offer at its sale “Creating Space: Artists for The Studio Museum in Harlem: An Auction to Benefit the Museum’s New Building.” Among the pieces at auction will be paintings by Mark Bradford, Julie Mehretu, Lynette Yiadom-Boakye, Glenn Ligon, and Njideka Akunyili Crosby, all of which will hit the block during Sotheby’s contemporary art evening sale and day sales in New York, on May 16 and 17, respectively. The sale’s proceeds will support the construction of the Studio Museum’s new building on 125th Street, the first space specifically developed to meet the institution’s needs. Designed by David Adjaye, of the firm Adjaye Associates, and Cooper Robertson, the new building will provide both indoor and outdoor exhibition space, an education center geared toward deeper community engagement, a public hall, and a roof terrace. “Artists are at the heart of everything the Studio Museum has done for the past fifty years— from our foundational Artist-in-Residence program to creating impactful exhibitions of artists of African descent at every stage in their careers,” Thelma Golden, the museum’s director and chief curator, said in a statement. -
The Artist America Built: Daniel Joseph Martinez Visits Other Places and Other Histories in His Ongoing Critique of These United States
The Artist America Built: Daniel Joseph Martinez Visits Other Places and Other Histories in His Ongoing Critique of These United States By Maximilíano Durón Posted 12/11/18 10:58 AM Daniel Joseph Martinez photographed outside his studio in Los Angeles on September 23, 2018. KATHERINE MCMAHON/ARTNEWS artnews.com/2018/12/11/artist-america-built-daniel-joseph-martinez-visits-places-histories-ongoing-critique-united-states/ It’s a sight that no one who attended the 1993 Whitney Biennial is likely to forget, one that came to stand for the Biennial itself, with its provocative emphasis on politics: ordinary people of all colors walking around wearing pins that collectively read, “I can’t. Imagine. Ever Wanting. To Be. White.” If you wanted to see the show, you couldn’t not wear them; they were the museum’s admission badges, designed for the Biennial as a project by the artist Daniel Joseph Martinez. Coming at the height of the culture wars, the exhibition was widely reviled and vilified. New York Times chief art critic Michael Kimmelman leveled a portion of his fury at Martinez’s commission, titled Museum Tags: Second Movement (Overture); or, Overture con Claque (Overture with Hired Audience Members). “[A]s if the people who go to the Whitney are so witless and backward that they need to be told that sexual abuse and racism and violence are bad. .,” he wrote. “Or as if a Neanderthal would change his mind after being forced, like a penitent, to don one of the infamous admission badges.” (Kimmelman didn’t mention Martinez by name.) “People went hyperbolic on it,” said David Ross, who was director of the Whitney at the time. -
Artist Resources – Mark Bradford (American, B. 1961) Bradford at Hauser & Wirth Gallery, Los Angeles
Artist Resources – Mark Bradford (American, b. 1961) Bradford at Hauser & Wirth Gallery, Los Angeles In 2007, Art21 followed Bradford as he gathered materials and installed work in his South LA studio.. Bradford explains his inspiration and process in a 2011 interview with Art21. “My practice is décollage and collage at the same time. Décollage: I take it away; collage: I immediately add it right back. It’s almost like a rhythm. I’m a builder and a demolisher. I put up so I can tear down…In archaeological terms, I excavate and I build at the same time.” Bradford’s discusses recent work and community engagement at his 2009 artist talk at Walker Art Center. In 2015 New Yorker profile conducted at Bradford’s studio and home in South LA, not far from where he grew up, he spoke Bradford, 2019. Photo: Sim Canetty-Clarke about his attraction to paper, maps, and social history; his time at CalArts and interest in painting; and his foundation with Allan DiCastro, Art+Practice, which creates spaces for artists and community activism. In 2017, Bradford installed his first solo exhibition in Washington D.C., at the Hirshorn Museum. The star of the Bradford talked with Thelma Golden about his relationship with the medium of painting and experiences of being “othered” show, Pickett’s Charge (on view through 2021) is Bradford’s in a 2015 video interview in conjunction with his first show at Hauser & Wirth Gallery, New York. “Abstraction gave me the most recognized work, measuring 45 feet in length and freedom to play… I want a space where I can play and be vulnerable and not know. -
Holiday Sale Members Only! Hammer Members Receive 20% Off in the Hammer Store December 8–15
Hammer Museum Winter 2011/12 Non Profit Org. 10899 Wilshire Boulevard Los Angeles, California 90024 USA US Postage PAID Winter 2011/12 Calendar For additional program information: 310-443-7000 Los Angeles, CA www.hammer.ucla.edu Permit no. 202 100% recycled paper HOLIDAY SALE MEMBERS ONLY! HAMMER MEMBERS RECEIVE 20% OFF IN THE HAMMER STORE DECEMBER 8–15. (DETAIL), 1964. INK AND CHARCOAL ON PAPER. 71 7/16 X 1964. INK AND CHARCOAL ON PAPER. (DETAIL), BIRMINGHAM TOTEM CHARLES WHITE. GEORGIA; PURCHASE WITH FUNDS ATLANTA, 40 1/16 IN. (181.5 X 101.8 CM). HIGH MUSEUM OF ART, ENDOWMENT FOR THE ARTS. FROM EDITH G. AND PHILIP A. RHODES THE NATIONAL 2 3 news director the 1 A MESSAGE FROM THE DIRECTOR from If you have been to the museum recently I am sure you Amiri Baraka. Other highlights of the season include two noticed the construction taking place in the courtyard. We additional Conversations—one with the legendary Angela Davis are very excited to see some important and long overdue and author Robin Levi, and another with writer Hilton Als message improvements to our space finally realized. Although it and artist extrordinaire Kara Walker. a will not interrupt any of our programs and activities, the construction will continue through the spring of 2012 and Additionally, as part of the Pacific Standard Time Performance will improve the overall look and function of the courtyard Festival, in January the Hammer will present two important spaces. We will be adding a new space—The Lab—which performances—one by the legendary Eleanor Antin, and 1 FREE SUNDAYS! will provide a much needed area for student workshops, one by Now Dig This! artists Maren Hassinger, Senga Nengudi Through January 8, 2012 seminars, and other educational and community activities. -
Vancouver Biennale Announces Fourth Edition
VANCOUVER BIENNALE ANNOUNCES FOURTH EDITION “re-IMAGE-n” WITH PROJECTS LAUNCHING JUNE 2018 Ajlan Gharem, Paradise Has Many Gates, 2015-2018 Alfredo Jaar, A Logo for America, 1987-2014 ExpanDeD Curatorial Team Installations By RenowneD International Contemporary Artists May 29, 2018 Vancouver, Canada – The Vancouver Biennale announces its fourth edition, titled “re-IMAGE-n,” launching June 2018, with projects unfolding over the exhibition’s two-year duration. Under the artistic direction of Barrie Mowatt and curatorial leadership of Marcello Dantas and Jeffrey Uslip, the Biennale invites international artists to respond to the prevailing issues of our time, including the widespread refugee and migrant crisis, a global shift towards nationalism and isolationism, and an intensifying drain on our shared natural resources. Projects will “re-IMAGE-n” (reimagine) a progressive social framework that supports free speech, Reconciliation and the rights of First Nations, LGBTQ rights, artistic freedom, gender, racial and sexual equality, ecological awareness, religious freedom, and the ethics of biotechnology. The Biennale’s artworks will evolve in freely accessible and often unexpected public locations throughout Vancouver. Mowatt will produce interventions with Jessica Angel (Columbia/USA), Ajlan Gharem (SauDi Arabia), Yoko Ono (USA/Japan), Douglas CouplanD (CanaDa), Inuk Silis Høegh (GreenlanD), Marc Johnson (Benin/France), Maskull Lasserre (Squamish/CanaDa), Sahej Rahal (InDia), and Lawrence Paul Yuxweluptun (Coast Salish/Okanagan). Dantas will organize site-specific sculptures with Makoto Azuma (Japan), Ibrahim Mahama (Ghana), Patricia Piccinini (Australia), and Ishmael RanDall Weeks (Peru), among others. Uslip will curate an expansive series of projects under the curatorial aegis “This Is Not America” that thinks through various cultural, social and political pressures placed on individuals, the environment and aesthetics in our current cultural climate. -
1 Chicano Studies Research Center Annual Report 2011-12 Submitted
Chicano Studies Research Center Annual Report 2011-12 Submitted by Director Chon A. Noriega 1 TABLE OF CONTENTS ______________________________________________________________ Director’s Message .......................................................................................... 3 Administration, Staff, Faculty and Associates ……….................................... 6 Academic and Community Relations………………………………………. 11 Library and Archive........................................................................................ 19 Press.................................................................................................................28 Research ..........................................................................................................38 Facilities………...……………………………………………………………51 Appendices ......................................................................................................53 2 I. DIRECTOR’S MESSAGE_________________________________________ The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. Given the CSRC’s broad campus- and community-wide mandate to foster multi-disciplinary research, it reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder of the Inter- University Program for Latino Research (IUPLR), a consortium of Latino research centers located at twenty-five institutions in the United States. The CSRC houses a library and special collections