DOCSLIB.ORG

Contemporary Art and the Billboard Megan Driscoll Suggested Resources

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A Message to the Public: Contemporary Art and the Billboard Megan Driscoll Suggested resources: American Foundation for AIDS Research. Art Against AIDS, On the Road: May 18-June 18, San Francisco. Edited by Ann Philbin and Bruce W. Ferguson. San Francisco, California: s.n, 1989. arkinetblog. “Billboards For Art, Not Ads.” Arkinet. Accessed June 1, 2014. http://arkinetblog.wordpress.com/2010/03/09/billboards-for-art-not-ads/. “Art Crimes - The Writing on the Wall - Graffiti Art Worldwide.” Accessed March 9, 2014. http://graffiti.org/. Augé, Marc. “From Places to Non-Places.” In Non-Places: Introduction to an Anthropology of Supermodernity, 75–116. London ; New York: Verso, 1995. AVALOS, ANDY. “They Get Message Across in a Big Way : L.A. Festival: Three Artists Take an Advertising Tool--the Outdoor Billboard--to Convey Different Messages at Selected Southern California Sites.” Los Angeles Times, August 11, 1990. http://articles.latimes.com/1990-08- 11/entertainment/ca-92_1_advertising-messages. “Billboard Art Warns L.A. Drivers Not to Text and Drive.” AutoTrader.com. Accessed February 22, 2014. http://www.autotrader.com/research/article/car-news/120690/billboard-art-warns-la- drivers-not-to-text-and-drive.jsp. Bloodworth, Sandra, William S Ayres, New York (State), Metropolitan Transportation Authority, and Arts for Transit. Along the Way: MTA Arts for Transit. New York: Monacelli Press, 2006. Bogart, Michele Helene. Artists, Advertising, and the Borders of Art. Chicago: University of Chicago Press, 1995. Bray, Anne. “The Community Is Watching, and Replying: Art in Public Places and Spaces.” Leonardo 35, no. 1 (2002): 15–21. Buchloh, Benjamin H. D. “From Faktura to Factography.” October 30 (October 1, 1984): 83–119. doi:10.2307/778300. Bullivant, Lucy. “Beyond the Kiosk and the Billboard.” Architectural Design 77, no. 4 (2007): 14–23. doi:10.1002/ad.483. Cartiere, Cameron, and Shelly Willis. The Practice of Public Art. New York: Routledge, 2008. Cherix, Christophe, and Museum of Modern Art (New York, N.Y.). Print/Out: 20 Years in Print. New York: Museum of Modern Art : distributed in the United States and Canada by Artbook/D.A.P, 2012. Crimp, Douglas, Barbara Kruger, and Krzysztof Wodiczko. “Strategies of Public Address: Which Media, Which Publics? Discussion.” In Discussions in Contemporary Culture, edited by Hal Foster, 46–53. Seattle: Bay Press, 1987. Deutsche, Rosalyn. “Uneven Development: Public Art in New York City.” October 47 (December 1, 1988): 3–52. doi:10.2307/778979. Dia Art Foundation. Discussions in Contemporary Culture. Edited by Hal Foster. Seattle: Bay Press, 1987. Diggs, Peggy. “Causing Conversations, Taking Positions.” In Billboard Art on the Road: A Retrospective Exhibition of Artists’ Billboards of the Last 30 Years, edited by Laura Steward Heon, Peggy Diggs, and Joseph Thomas, 32–34. North Adams, Mass. : Cambridge, Mass: Mass MoCA Publications ; MIT Press, 1999. Eyes and Ears Foundation. Eyes and Ears: Artboard Gallery Map & Guide February 1977, Hollywood. Los Angeles: The Foundation, 1977. Farrow, Clare, Ad Reinhardt, Joseph Kosuth, and Félix González-Torres. A. Reinhardt, J. Kosuth, F. González-Torres: Symptoms of Interference, Conditions of Possibility. Art & Design Profile #34. London; Deerfield Beach, Fla.: VCH Publishers, 1994. “Felix Gonzalez-Torres : May 16-June 30, 1992.” Museum of Modern Art New York, 1992. “Felix Gonzalez-Torres and Joseph Kosuth - Exhibition - Andrea Rosen Gallery.” Accessed March 11, 2014. http://www.andrearosengallery.com/exhibitions/felix-gonzalez-torres-and-joseph- kosuth. Finkelpearl, Tom. Dialogues in Public Art. Cambridge, Mass.: MIT Press, 2000. Fraser, James Howard. The American Billboard: 100 Years. New York: H.N. Abrams, 1991. Godfrey, Tony. Conceptual Art. Art & Ideas. London: Phaidon, 1998. Goldstein, Ann. “Bring in the World.” In Barbara Kruger, 25–76. Los Angeles, CA : Cambridge, Mass: Museum of Contemporary Art ; MIT Press, 1999. Gran Fury (Organization), Cohen, Michael, and 80 Washington Square East Galleries. Gran Fury: Read My Lips. New York, N.Y.: 80WSE Press, 2011. “Gran Fury Press Release - 80 Washington Square East Galleries - NYU Steinhardt.” Accessed February 23, 2014. http://steinhardt.nyu.edu/80wse/GF_PressRelease. Group Material (Firm : New York, N.Y.), Ault, Julie. Show and Tell: A Chronicle of Group Material. London: Four Corners Books, 2010. Gruen, Julia. “Keith Haring Foundation Research,” February 25, 2014. Gudis, Catherine. Buyways: Billboards, Automobiles, and the American Landscape. New York: Routledge, 2004. Guerrilla Girls (Group of artists). Confessions of the Guerrilla Girls. New York: HarperPerennial, 1995. Harvey, David. “Space as a Keyword.” In David Harvey: A Critical Reader, edited by Noel Castree and Derek Gregory, 270–93. Antipode Book Series. Malden, MA ; Oxford: Blackwell Pub, 2006. Harvey, Doug. “Art & Commerce.” LA Weekly, January 17, 2001. http://www.laweekly.com/2001-01- 25/art-books/art-commerce/. Henderson, Sally. Billboard Art. San Francisco: Chronicle Books, 1980. “How Many Billboards? MAK Center for Art and Architecture.” Accessed February 22, 2014. http://www.howmanybillboards.org/. Johnson, Greg. “Museums See Advertising in New Light.” Los Angeles Times, February 1, 2001. http://articles.latimes.com/2001/feb/01/business/fi-19675. “Joseph Kosuth ’A Short History of ‘Text/Context’ 1977-1979.” Accessed February 22, 2014. http://www.artnet.com/galleries/exhibitions.asp?gid=140983&cid=219433. Knight, Cher Krause. Public Art: Theory, Practice and Populism. Malden, MA: Blackwell, 2008. Knight, Christopher. “Taking the Public for a Spin.” Los Angeles Times, February 16, 2001. http://articles.latimes.com/2001/feb/16/entertainment/ca-25977. Kosuth, Joseph. “Public Text.” In Public Art: A Reader, edited by Florian Matzner, 2nd rev. ed., 188–97. Ostfildern-Ruit: Hatje Cantz, 2004. Kosuth, Joseph, and Félix González-Torres. “A Conversation.” In A. Reinhardt, J. Kosuth, F. González- Torres: Symptoms of Interference, Conditions of Possibility, 76–81. Art & Design Profile #34. London; Deerfield Beach, Fla.: VCH Publishers, 1994. Kruger, Barbara, Museum of Contemporary Art (Los Angeles, Calif.), and Whitney Museum of American Art. Barbara Kruger. Los Angeles, CA : Cambridge, Mass: Museum of Contemporary Art ; MIT Press, 1999. Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge, Mass.: MIT Press, 2002. Lacy, Suzanne. “Introduction: Cultural Pilgrimages and Metaphoric Journeys.” In Mapping the Terrain: New Genre Public Art, edited by Suzanne Lacy, 19–47. Seattle, Wash: Bay Press, 1995. ———. , ed. Mapping the Terrain: New Genre Public Art. Seattle, Wash: Bay Press, 1995. Lefebvre, Henri. “Space: Social Product and Use-Value.” In Critical Sociology: European Perspectives, edited by J. Freiberg, 285–95. Irvington Critical Sociology Series. New York: Irvington : distributed by Halsted Press, 1979. Levine, Les, and Everson Museum of Art. Public Mind: Les Levine’s Media Sculpture and Mass Ad Campaigns, 1969-1990. Syracuse, N.Y.: Everson Museum of Art, 1990. Levine, Les, and Galerie der Stadt Stuttgart. Art Can See: Les Levine, Medienskulptur. [Stuttgart, Germany] : Ostfildern-Ruit: Galerie der Stadt Stuttgart ; Cantz, 1997. “Like Its Art, MOCA’s Ad Campaign Draws Variety of Reviews.” Los Angeles Times, February 24, 2001. http://articles.latimes.com/2001/feb/24/entertainment/ca-29551. Lippard, Lucy R. “Tyrant or Tool? Photography In/and Public Art.” Public Art Review 18, no. 2 (Spring/Summer 2007): 22–23. Los Angeles Contemporary Exhibitions. “LACE ArtBulletin 1988 Archival Images and Articles,” 1989 1988. LACE Archives. Massachusetts Museum of Contemporary Art. Billboard Art on the Road: A Retrospective Exhibition of Artists’ Billboards of the Last 30 Years. Edited by Laura Steward Heon, Peggy Diggs, and Joseph Thomas. North Adams, Mass. : Cambridge, Mass: Mass MoCA Publications ; MIT Press, 1999. Matzner, Florian, ed. Public Art: A Reader. 2nd rev. ed. Ostfildern-Ruit: Hatje Cantz, 2004. McQuiston, Liz. Graphic Agitation. London: Phaidon, 1993. Mitchell, W. J. T., and Barbara Kruger. “An Interview with Barbara Kruger.” Critical Inquiry 17, no. 2 (January 1, 1991): 434–48. “MOCA Hits the Pause Button.” Los Angeles Times, February 5, 2001. http://articles.latimes.com/2001/feb/05/local/me-21278. Novakov, Anna. “Public Penetration: Text, Gender, and Urban Space.” Public Art Review 6, no. 2 (Spring/Summer 1995): 20–21. “NYPL Gran Fury Collection.” Accessed February 23, 2014. http://archives.nypl.org/mss/3648. Olson, Lester C., Cara A. Finnegan, and Diane S. Hope, eds. Visual Rhetoric: A Reader in Communication and American Culture. Los Angeles: Sage, 2008. “Public Art Fund : Projects.” Accessed February 19, 2014. http://www.publicartfund.org/projects. Redstone, Louis G. Public Art: New Directions. New York: McGraw-Hill, 1981. Schwendener, Martha. “When Acting Up Meant Arting Up.” The New York Times, February 2, 2012, sec. Arts / Art & Design. http://www.nytimes.com/2012/02/03/arts/design/gran-fury-read-my- lips-at-80wse.html. Senie, Harriet F. “Disturbances in the Fields of Mammon: Towards a History of Artists’ Billboards.” In Billboard Art on the Road: A Retrospective Exhibition of Artists’ Billboards of the Last 30 Years, edited by Laura Steward Heon, Peggy Diggs, and Joseph Thomas, 14–30. North Adams, Mass. : Cambridge, Mass: Mass MoCA Publications ; MIT Press, 1999. ———. “Road Work: Reconfiguring the American Highway.” Public Art Review 13, no. 2 (Spring/Summer 2002): 4–9. Senie, Harriet, and Sally
Recommended publications
  • LA25 Half-Life

    LA25 Half-Life

    Los Angeles Contemporary Exhibitions 6522 Hollywood Blvd, Los Angeles CA 90028 www.welcometolace.org PRESS RELEASE LA25 Half-Life October 8 –November 16, 2008 Opening reception: October 15, 6-8 p.m. LACE is proud to present LA25 Half-Life, new work from 25 emerging Los Angeles artists selected for inclusion in an innovative project sponsored by the law firm of Skadden, Arps, Slate, Meagher & Flom LLP to support the city's vibrant artists' community. The LACE exhibition will be curated by Thomas Solomon and feature work ranging from photography, sculpture, painting and drawing to mixed media. The LA25 artists, who were selected by a jury of art professionals, are Marya Alford, Patterson Beckwith, Lindsay Brant, Cal Crawford, Marie Jager, Andres Janacua, Matthew Jordan, Vishal Jugdeo, Annie Lapin, Elad Lassry, Christopher Michlig, Yaniro Paramo, José Álvaro Perdices, Ephraim Puusemp, Marco Rios, Jeff Sheng, Natalie Shriver, John Sisley, Jim Skuldt, Carly Steward, Whitney Stolich, Lee Thompson, Greg Wilken, Rosha Yaghmai and Brenna Youngblood. LA25 was born out of a unique vision to support the area's arts community while also celebrating Skadden’s 25 years in Los Angeles. Over the course of three years, LA25 has presented the work of artists working in various media who, at the time of selection, had not had previous commercial gallery representation. The artists were selected from some of the most renowned art schools in the Los Angeles area: Art Center College of Design, CalArts, Claremont Graduate University, Otis College of Art and Design, UC Irvine, UCLA, UC Riverside and USC. LA25 chief curator Thomas Solomon visited myriad studios to provide the jury with a pool of artists from which they selected the final group.
  • Maren Hassinger, Katie Delmez, Karina Yanez, Christopher Bedford and Naima J

    Maren Hassinger, Katie Delmez, Karina Yanez, Christopher Bedford and Naima J

    2014 2018 YearArt + Practice, Leimert Park, Los5 Angeles, CA In year 5 of Art + Practice’s history, we are proud to share highlights from 2018, information about free upcoming exhibitions for 2019, and thoughts from our friends, supporters and collaborators about their involvement with A+P and its programs thus far. To date, A+P has organized 12 exhibitions, 35 public programs, 2 foster youth round table discussions, and 1 exhibition walkthrough with our Foster Youth; hired 7 foster youth interns in collaboration with our foster youth service provider First Place for Youth; collaborated with 4 museums to organize our contemporary art programs; co-organized 4 exhibitions, which traveled to museum institutions for other communities to enjoy, including Baltimore, MD, Nashville, TN and Waltham, MA, and others; and welcomed nearly 1,000 students and teachers to our exhibition space to participate in A+P’s education program. Admission to all programming remains free. A+P has also built out a temporary exhibition space; constructed a public program space, foster youth classroom and office space; and established an administrative office with a 6,000-square-foot permanent exhibition space below, including a main gallery and video room. Five years have flown by, and we thank you for your ongoing support of A+P's mission and programs. We look forward to seeing what's in store for the next 5 years. With warm regards, Eileen Harris Norton, Mark Bradford and Allan DiCastro Co-founders of Art + Practice Table of Contents 06 Five Years in Review With Ben Caldwell, James Fugate, Sika Dwimfo, Mary Gonnelli, Anita F.

  • Betsey Garand

    BETSEY GARAND PUBLIC COLLECTIONS Arkansas Arts Center Little Rock AK Art Museum of Estonia Special Collections Tallinn Estonia Boston Public Library MA California State University at Long Beach Museum of Art CA Carl N. Gorman Museum University of California Davis, CA Christchurch Polytechnic Institute of Technology Special Collections New Zealand Cork Printmakers Cork Ireland Dartmouth Hitchcock Medical Center NH Franklin Pierce College NH Grunwald Center for the Graphic Arts Hammer Museum CA Hood Museum NH Longhouse Education and Cultural Center Evergreen State College WA Mead Art Museum Amherst College MA Museum of Texas Tech University Artist Printmaker Research Collection TX Plymouth State College NH Proyecto ‘ace Print Collection Buenos Aires Argentina Santa Barbara Museum of Art CA Southern Graphic Council Archives at the University of Mississippi Sado Woodcut Print Village Museum Sado Island Japan Spencer Museum of Art University of Kansas Tokyo Geijutsu Daigaku Japan Tyler School of Art of Temple University PA University of Colorado Special Collections University of Colorado Boulder Special Collections University of Massachusetts Amherst University of New Hampshire University of Vermont Special Collections Virginia Commonwealth Print Archive Zayed University Dubai The United Arab Emirates BOOK PROJECTS Metropolis and Invisible Cities Interpretations of Urbanity leporello book inspired by Invisible Cities, the novel by Italo Calvino collaboration with artists from United States and Globe 2016 Constellation Studios Lincoln, Nebraska
  • Hammer Museum Presents a Charles Burchfield Exhibition Curated By

    Hammer Museum Presents a Charles Burchfield Exhibition Curated By

    For Immediate Release: April 2, 2009 Contact: Sarah L. Stifler, Communications, 310-443-7056, [email protected] Hammer Museum Presents a Charles Burchfield Exhibition Curated by Artist Robert Gober Heat Waves in a Swamp marks the first major west coast exhibition of Burchfield’s work and the first in New York City for over two decades. Los Angeles – This fall the Hammer Museum, in conjunction with the Burchfield Penney Art Center, re-examines the work of American artist Charles Burchfield with Heat Waves in a Swamp: The Paintings of Charles Burchfield, an exhibition curated by artist Robert Gober. The exhibition is on view in Los Angeles from October 4, 2009 through January 3, 2010 and is scheduled to travel to the Burchfield Penney Art Center in Buffalo, New York March 5 – May 23, 2010 and the Whitney Museum of American Art in New York City in the summer of 2010. Featuring over eighty major watercolors, drawings, and oil paintings drawn from important private and public collections, this exhibition also weaves together myriad ephemeral objects including doodles, journals, scrapbooks, and letters from the Burchfield archive at the Burchfield Penney Art Center. This combination of artwork and biographical material in Heat Waves in a Swamp provides new insights into Burchfield as a person as well as an artist. Charles Burchfield (1893-1967), worked almost exclusively in watercolor on paper and his primary subject was his experience of nature in his immediate surroundings – scenes from his backyard, vistas near his home captured and imbued with highly expressionistic light, at times creating a clear-eyed depiction of the world and at other times one that is wholly unique, mystical, and visionary.