DOCSLIB.ORG

Miami Preuiew

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Miami Preuiew MIAMI PREUIEW BY RONI FEINSTEIN he fifth edition of the international with them altogether. Also in this Dec. 5-6, just prior fair Art Basel Miami Beach location is Art Perform, a program of to the opening of (Dec. 7-10) once again offers daily performances curated by Jens ABMB. On Dec. 6, visitors a cornucopia of citywide Hoffman of the CCA Wattis lnstitute, Aquarelle, Guillermo exhibitions and events geared to San Francisco, and an artist DJ Kuitca's site-specif ic cutting-edge art. At the Miami Beach program organized by Alanna Heiss public art project Convention Center, the principal and Klaus Biesenbach of New York's for Aqua, a Dacra venue, some of the world's most P.S.1. Art Projects includes both Development project prominent galleries present their public works of art and performances on Allison lsland, is wares in the company of younger that are on view at various sites in being unveiled; last galleries comprising the Art Nova Miami Beach (maps are provided). year, a Richard Tuttle section of the fair. ln a beachfront ln the botanical gardens opposite the project was dedicat- village of converted shipping contain- convention center are the Art Video ed at the same site. ers situated a few blocks away, Art Lounge, programmed by Michael On Dec. 7, the night Positions offers the work of other Rush of the Rose Art Museum at of the fair's official Brandeis University, and the Art opening, Miami artist Sound Lounge, curated by David George Sanchez- Dale Chihuly: Niijima Floats,2005, hand-blown glass; Weinstein of P.S.1. Calderon will stage at the Fairchild Tropical Gardens. Photo Terry Rishel. Seeking to take advantage of the an art exhibition/ more than 36,000 visitors expected event in Bicentennial to arrive in Miami for the fair, the Park in downtown city's numerous ad institutions, col- Miami. Titled "An American Falla," it the 1969 classic Easy r9rder at the lections, galleries, alternative spaces involves the creation (and subse- Colony Theatre on Lincoln Road; and artists have planned a rich array quent destruction by fire) of a full- Dennis Hopper, its director and one of ofierings. As in years past, a few scale re-creation of the first home of its stars, will be present at the new art spaces have timed their built in Levittown, N.Y., ca. 1947. screening. On the 1oth, a reception openings to coincide with ABMB. One On the same night, the Miami will be held at Cesar Pelli's new of these is the Freedom Center, a collaborative FriendsWithYou is Carnival Center for the Performing new cultural and educational facil- organizing a blimp parade titled Arts with public art works by ity established by Pedro Martin's "Skywalkers" to extend from 21st Jos6 Bedia, Cundo Bermudez, Terra Group. Sited in Miami's historic to sth Streets along the Miami Gary Moore, Anna Valentina Freedom Tower, its opens with the Beach shoreline; other events are Murch, Robert Rahway Zakanitch, exhibition "Carlos Alfonzo: Extreme promised as well. Konstantia Kontaxis and Ed Talavera Expression, 1 980-1 991 ,' curated by On Dec. 8. Art Loves Film shows lsee "Front Page," this issue]. Julia P. Herzberg. The Moore Space, one of the city's leading alternative Detail of Carlos Betancourt's lhe galleries, is inaugurating a satellite Cut-Out Army,2006, 100 individual venue, the Moore Space Loft, a few t least l0 additional art fairs will occur during the four days of ABMB cutouts on cardboard, each I feet tall. blocks from its Design District loca- I design, photo--based Courtesy Diana Lowenstein Fine Arts. tion, and the Ambrosino Gallery, a lf lonu focuses on another on work and still long-prominent commercial gallery Fl unoth". o, .ont".pJ.ry prints).The NewArt DealersAltiance that stands opposite the Museum of lnc. (NADA), made up of 90 international galleries, once again takes up Contemporary Art in North Miami, residence in the lce Palace Studios at 59 NW l4th St,while Pulse,with is opening a Wynwood branch, The 50 exhibitors, returns to Miami for its second run at 2700 NW 2nd Ave. Wynwood Art District, the epicenter Scope, which is making its fifth appearance in Miami, occupies a new of Miami's contemporary art scene, venue: a 40,000-square-foot tented structure set in Roberto Clemente promises to deliver any number of Park at I 0 I NW 34th Sr in Wynwood. On its inaugural run in Wynwood surprises, as on a seemingly daily is Photo Miami,which is directed byTim Fleming and includes 50 inter- basis empty warehouse spaces galleries photo-based are being turned over to artists and national showing work, video and new media; it dealers for temporary exhibitions, takes place in the SOHO Building at2l36 NW lstAve. ln a warehouse installations and performances. space across the street from Pulse is Fountain, an "alternative fair" orga- Already planned is the presentation nized byWilliamsburg, Brooldyn, dealers John Leo and David Kesting, of Carlos Betancourl's "The Cut- which presents the work of young artists and galleries (it is at the corner Out Army," consisting of a group of of 29th St. and NW 2nd Ave.).The Design Miami ltair is located in the 8{oot-high photographic cutouts of Moore Building. people (nearly 100 of them), at the The remaining five fairs are tal<ing place on Miami Beach in proxim- warehouse of the future offices of ity to the convention center. Aqua, created last year by Seattle dealers La Comunidad Agency on NW 1si with an emphasis on West Coast galleries and artists, is at the Aqua Zaha Hadid Architects: Digital Place. The Design District once again rendering o, a 42-foot container, 2005; has a full program of exhibitions and Hotel ( I 530 Collins Ave.).Two fairs making their debuts-the Bridge at Kenny Schachter ROVE. Courtesy events planned and this year a record Art Fair, initiated by Chicago's Brrdge magazine, and Flow Miami Zaha Hadid Architects, London. number of 10 satellite fairs round out lnternational, directed by Matthew Garson-are at the Catalina Hotel the whole. and Beach Club ( I 732 Collins Ave.). Sponsored by the lnternational Fine Among the notewodhy events is Print Dealers Association (FPDA), INK, which includes I 5 publishers young galleries" One of the exhibitors, the two-day symposium "Creator, offering contemporary worl< on paper, is at the Su:tes of Dorchester at Kenny Schachter ROVE, London, has Collector, Catalyst: The University 1850 CollinsAve. replaced the usual shipping container Art Museum in the Twenty-First Finally, in lieu of Frisbee, which was held at a Miami Beach hotel dur- with a prototype portable pavilion Ceniury," hosted by the Wolfsonian- designed by renowned architect Zaha Florida lnternational University and ing the past two years, founders Anat Egbi and Jen DeNike have initiated Hadid that is itself for sale. A few of co-organized with the Princeton Free Frisbee, consisting of posters by more than 60 artists distributed the other exhibitors have variously University Art Museum, being held at throughout the Greater Miami area, the intention being to make artwork violated their containers or dispensed the Miami Beach Convention Center available to all. ArtinAmerica 43 Museums Calzada'.ln Dreams Awake," a 30-year premiered, will also be on view. The Moore Space Loft, a new, 7,500- The Museum of Contemporary retrospective of the Cuban adist, who square-foot warehouse facility three Art in North Miami presents "Elusive has been living in Miami since 1960. blocks away (ai3627 NE 1st Court), Signs: Bruce Nauman Works with Meanwhile, the Patricia and Phillip is being inaugurated at ABMB wiih Light," a traveling retrospective of Frost Museum at FIU is showing John Bock's performance and installa- the adist's neon and fluorescent light the concept-based work of four tion Zero Hero (2003105), originally pieces organized by the Milwaukee women artists of Cuban extraction presented at the 51st Venice Biennale. Art Museum. Also on view is an in "A Room of One's Own: Teresita ln the Buena Vista Building nearby, exhibition of Pablo Cano's marionette Ferndndez, Maria Elena Gonzdlez, an alterna- sculptures for his new production, Quisqueya Henrlquez, Marfa Bas Fisher lnvitational, tive space founded in 2004 by Miami "City Beneath the Sea," which will be Martinez-Cafras." artists Hernan Bas and Naomi Fisher, pedormed Dec.9 and 10. presents paintings and drawings by MOCA at Goldman Warehouse, Private Gollections New York artist Jessica Dickinson. the museum's satellite facility in and llonprofits Elsewhere in the Design District, Wynwood, displays "Artificial Light," The Wynwood Art District is home Robins and Dacra Development an exhibition of light sculpture to five private collection spaces by younger adists influenced by that are open to the public. For the Nauman, Dan Flavin and others, Pablo Cano: King Otto,2006, first time, rather than presenting a organized by the Anderson Gallery mixed mediums, 54 by 24 by series of curated shows, the Rubell Virginia Commonwealth University at 24 inches; al the Museum ol Family Collection has dedicated School of the Arts and the Virginia Contemporary Art. ils enti re 45,000-square-Ioot space Museum of Fine Arts. On Dec. 7, to a single exhibition, organized by "E-Merce: ln Fashion, The Runway director Mark Coetzee, "Red Eye: Battle," a performance inspired by Los Angeles Afiists from the Rubell costumes in Merce Cunningham Family Collection." lt will include dances, will be presented. work in a wide range of mediums The Miami Art Museum, now by Doug Aitken, Frank Benson, the direction of Terence Riley, under Amy Bessone, Mark Grotjahn, presents the midcareer sur- traveling Kristen Morgan, Laura Owens, vey of Lorna Simpson's work orga- Lara Schnitger, Catherine Sullivan nized by the American Federation of and many others.
Load more

Recommended publications
  • William Anastasi
    WILLIAM ANASTASI Born Philadelphia, PA, in 1933 Lives and works in New York, NY AWARDS 2010 John Cage Award, Foundation for Contemporary Art SOLO EXHIBITIONS 2012 Jarry:Du/Joy, Blind Drawings, Walking, Subway, Drop, Vetruvian Man, Still, Galerie Jocelyn Wolff, Paris 2010 Drawings, Gering & López Gallery, New York, NY Isabelle Du Moulin und Nils Borch Jensen Galerie, Berlin, Germany William Anastasi, John Cage Award (Biennial Award) 2009 William Anastasi, Emilio Mazzoli Gallery, Modena, Italy William Anastasi Retrospective, curator: Inge Merete Kjeldgaard, The Esberg Museum of Modern Art, Esbjerg, Denmark 2008 Opposites Are Identical, Peter Blum Gallery (Chelsea), New York New works, Stalke Galleri / Stalke Up North / Stalke Out Of Space, Kirke Saaby, DK 2007 William Anastasi, Raw [Seven works from 1963 to 1966], The Drawing Center, New York William Anastasi, Paintings and drawings, Michael Benevento, The Orange Group, Los Angeles 2006 William Anastasi, Bjorn Ressle Fine Art, New York William Anastasi, Baumgartner Gallery, New York 2005 Drawings 1970-2005, Stalke Gallery, Copenhagen Blind, art agents, Hamburg William Anastasi, Rehbein Gallery, Cologne 2004 William Anastasi, SolwayJones, Los Angeles Galerie Jocelyn Wolff 2003 Blind, The Annex, NY 2001 William Anastasi: 1961-2000: A Retrospective at the Nikolaj Contemporary Art Center, Copenhagen 2000 William Anastasi, art agents, Hamburg 1999 ...vor mehr alseinem halben Jahrhundert, Landes Museum, Linz, Germany Drawings, Gary Tatintsian Gallery, NY 1998 I Am A Jew, The Philadelphia Museum
    [Show full text]
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]
  • Selected New York Seens
    SELECTED NEW YORK SEENS 1979 opened with a whoop, holler, and focus on the "New" sound/slides/improvisation in "Homerunrnuse" by Carolee and "Old": "New Image Painting" at the Whitney Museum Schneemam. An informal documentation slide showing of centered on ten painters using isolated images in new con- Fandango's history was screened, dong with original broad- texts, simplifying recognizable objects placed on non-associ- side issues of their earliest editions. ative grounds, transforming scale and color to yield "new" "New" style spectacles of "old" favorites were presented meanings. Artists included Nicholas Africano, Jennifer Bart- at the newly-refurbi~hedEntermedia Theatre in the Nova lett, Denise Greene (also showing drawings and paintings at Convention, a gathering of artists, writers, fhmakers, thin- Max Protetch), Michael Hurson, Neil Jenney, Lois Lane, kers, and the like, dedicated to the writings and ideas of Robert Moskowitz, Susan Rothenberg, David True, Joe Zuc- William ~~~o~ghs:readings and performances by Allen ker. Other museum and gallery exhibitions of new works Ginsberg, JO~Cage, Merce Cunningham, Anne WaIdman, Ed included two by Robert Rauschenberg (Sonnabend), wall Sanders, Tim teary, Les Levine, theatrical events with Bel- works by Rosemary Mayer (55 Mercer), metal reliefs by gium's Le Plan K, Frank Zappa reading Burroughs, and Frank Stella (Leo Castelli), photoworks by Al Souza (O.K. Laurie Anderson and Julia Heyward presenting a new audio- Harris), acrylicjskrim paintings by Chris Darton (Mary distortion story. A second event celebrated the New Year in Boone), "new Wave" collage by Henry Benvenuti (Monson), a benefit for the recently burnt-out St.
    [Show full text]
  • Fame-Obsessed 'Forty' at Moma PS1 Shows An
    Fame-Obsessed ‘Forty’ at MoMA PS1 Shows an Alternative Art Scene That No Longer Exists The original alternative spaces movement captured the era’s raw- nerved energy. Ben Davis, August 22, 2016 Installation view of Ba-O-Ba Fluorescent by Keith Sonnier in FORTY. Image courtesy MoMA PS1. Photo by Pete Deevakul. PS1 began as the Institute for Art and Urban Resources, in a city mired in a nasty financial crisis. Throughout the 1970s and ’80s, Alanna Heiss’s risk- taking nonprofit was a major force in the “alternative spaces” movement, and https://news.artnet.com/exhibitions/forty-at-moma-ps1-review-611432 the art she presented looms large in the contemporary imagination. It’s important, today, to reckon with its legacy. This summer, to celebrate its birthday, PS1 (now MoMA PS1) has brought back its founding director to curate “Forty,” a love letter to its early legacy. The thing is, though, a love letter might not be the best place to look for a real critical reckoning with the past. The show, taking over the second floor of PS1, is a kind-of-sort-of tribute to “Rooms,” the legendary first show from 1976, back when it really was a scrubby old schoolhouse, not the dressed-down, hipper-than-thou annex of MoMA that it is now. Nam June Paik in “Forty” at PS1. Courtesy of Ben Davis. Overall, the vibe of the art here is inscrutable and scrappy. There’s plenty of charm nestled away in PS1’s various nooks, from Nam June Paik’s witty sculpture of a candle framed in an old-style TV tube, to Colette’s voluptuous, grotto-like environment, or Dennis Oppenheim’s tableaux that evokes a spooky marionette crime scene.
    [Show full text]
  • P.S.1 Contemporary Art Center Founder and Director Alanna Heiss to Retire on December 31
    P.S.1 CONTEMPORARY ART CENTER FOUNDER AND DIRECTOR ALANNA HEISS TO RETIRE ON DECEMBER 31 New York, December 29, 2008—Alanna Heiss, the founding director of P.S.1 Contemporary Art Center, who over the course of the last 37 years oversaw the transformation of a turn-of-the-century public school building in Long Island City, Queens, into a space that reflected the originality and independence of hundreds of artists, will retire from P.S.1 on December 31, 2008. An internationally recognized champion of contemporary artists for more than three decades, Ms. Heiss is also hailed as a visionary curator of adventurous exhibitions—more than 800 during her tenure—and as an arts leader whose support has nurtured the careers of young artists and curators around the world. “P.S.1 was founded with a particular mission, which was to allow for the discovery of many different points of view under one roof,” said Ms. Heiss. “Its special gift to those who appreciate art is its ability to mobilize artists both young and old, known and unknown, to explore their dreams and visions. The experiences I’ve had working with great curators and artists have been a tremendous honor.” Glenn D. Lowry, Director of The Museum of Modern Art, which became affiliated with P.S.1 in 2000, said: “Alanna Heiss is a creative and visionary leader whose efforts brought the originality of contemporary artists to a worldwide public and built a landmark center for the visual and performance arts. Literally hundreds of artists from around the world have felt the impact of her tireless efforts over the last 37 years, and that impact will continue to resonate with artists for years to come.” “It has been an incredible experience and honor to have served on the board of P.S.1 with Alanna since the 1970’s,” said Agnes Gund, who in addition to serving on P.S.1’s board is also President Emerita of MoMA.
    [Show full text]
  • Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College
    Skidmore College Creative Matter Master of Arts in Liberal Studies (MALS) Student Academic Departments and Programs Scholarship 5-22-2010 Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Arts and Humanities Commons, and the Arts Management Commons Recommended Citation Conn, Cyndi, "Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss" (2010). Master of Arts in Liberal Studies (MALS) Student Scholarship. 66. https://creativematter.skidmore.edu/mals_stu_schol/66 This Thesis is brought to you for free and open access by the Academic Departments and Programs at Creative Matter. It has been accepted for inclusion in Master of Arts in Liberal Studies (MALS) Student Scholarship by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss by Cyndi Conn FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE April 2010 Advisors: Kathryn Davis, Tom Huhn INTRODUCTION When initially presented, new forms of art and installation can incite hostility and derision among art patrons, critics, and general audiences. New paradigms are unsettling and artistic breakthroughs can threaten belief systems people hold dear to their understanding of the art world and how it functions. Some of the most distinguished and iconic artists in modem history have found notoriety and recognition through years, even decades, of slowly evolving acceptance into the cultural mainstream. Once labeled charlatans heralding a clear decline in culture, such eminent artists as Theodore Gericault, Edouard Manet, Pablo Picasso, and Marcel Duchamp incited public fury and scathing criticism in their respective eras for the ground-breaking work they produced.
    [Show full text]
  • OPEN18 Dedicato a Lorenzo Buono “Lascia Che Ti Spieghi Un Paio Di Cose
    OPEN18 Dedicato a Lorenzo Buono “Lascia che ti spieghi un paio di cose. Il tempo è poco. Questa è la prima cosa. Per l’astuto, il tempo è astuto. Per l’eroe, il tempo è eroico. Per la puttana, il tempo è solo un altro trucco. Se sei gentile, il tuo tempo è gentile. Sei hai fretta, il tempo vola. Il tempo è un servitore, se tu ne sei il padrone. Il tempo è il tuo dio, se tu sei il suo cane. Noi siamo i creatori del tempo, le vittime del tempo, e gli assassini del tempo. Il tempo è senza tempo. Questa è la seconda cosa. Tu sei l’orologio, Cassiel.” Così vicino, così lontano!, Wim Wenders. “Let me explain a couple of things. Time is short. That’s the frst thing. For the weasel, Time is a weasel. For the hero, Time is heroic. For the whore, Time is just another trick. If you’re gentle, your Time is gentle. If you’re in a hurry, Time fies. Time is a servant, if you are its master. Time is your god, if you are its dog. We are the creators of Time, the victims of Time, and the killers of Time. Time is timeless. That’s the second thing. You are the clock, Cassiel.” Faraway, So Close!, Wim Wenders. COMMUNICATIONS COMMUNICATIONS ARTE ARTE Con il patrocinio di Under the patronage of Organizzazione Organized by In collaborazione con In collaboration with COMMUNICATIONS COMMUNICATIONS ARTE ARTE MINISTERO DEGLI AFFARI ESTERI Ideatore e Curatore Conceiver and Curator Paolo De Grandis Presidente President Co-Curatrice Co-Curator Coordinamento Organizzativo Organizational Coordination Carlotta Scarpa Direttore Director Coordinamento Redazionale Editorial Coordination Francesca Romana Greco Assistenza Artistica Artistic Assistant Sofa Arango Echeverri OPEN 18.
    [Show full text]
  • Oral History Interview with Alanna Heiss, 2010 June 15-October 28
    Oral history interview with Alanna Heiss, 2010 June 15-October 28 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. 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 digitally recorded interview with Alanna Heiss on 2010 June 15 and October 28. The interview took place at Art International Radio in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Interview JAMES MCELHINNEY: This is James McElhinney speaking with Alanna Heiss for the Archives of American Art, at Art International Radio at 108 Leonard Street in New York, New York on Thursday the 15th of June, 2010. Thank you for agreeing to this conversation. ALANNA HEISS: Well, I certainly have been looking forward to it for a long time. And I think that it's symbolic that we're having the conversation at the old Clocktower. The AIR radio offices and broadcast officers are at the Clocktower, which has been a place that I have directed since 1972. When I left, a year ago, the position as director of PS1, my exit plan took me back into Manhattan and down to the Tribeca area and up the stairs, 12 flights, and up the extra walking stairs to the 13th floor and down the long corridor to the original place where I not just started out completely, because a couple years had gone by in the early '70s when I had other locations.
    [Show full text]
  • Press Release
    THE MUSEUM OF MODERN ART ANNOUNCES PUBLICATION ON THE HISTORY OF MoMA PS1 This long-awaited book captures the spirit of a legendary institution through the words of those who made it New York’s most vital venue for contemporary art. NEW YORK, September 12, 2019—This fall, The Museum of Modern Art will release the first publication on the history of MoMA PS1, which traces the institution’s evolution from the 1970s to today through interviews, ephemera, never-before-seen images, and an extensive exhibition history. Since 1976, MoMA PS1 in Long Island City, Queens, has been a crucible for radical experimentation, engaging artists from a range of disciplines. Structured around interviews with Alanna Heiss, PS1’s founder and director of more than three decades, MoMA PS1: A History offers a vivid chronicle of the extraordinary history of New York’s premier venue for contemporary art. The publication also features contributions by artists and curators who have been closely associated with PS1—including James Turrell, R. H. Quaytman, Kevin Beasley, Carolyn Christov-Bakargiev, and Martha Wilson—supplemented by excerpts from previously unpublished interviews from the 1970s and statements from numerous figures who helped shape the institution. This publication was edited by Klaus Biesenbach, director of the Museum of Contemporary Art, Los Angeles, and former director of MoMA PS1 and Chief Curator at Large, The Museum of Modern Art, New York; and Bettina Funke, art historian, editor, former head of publications for Documenta 13, and co-founder of The Leopard Press. Contributors include Philip Aarons, Marina Abramović, Carl Andre, Sarah Arison, Kevin Beasley, Lynda Benglis, Huma Bhabha, Linda Blumberg, Rudy Burckhardt, Cao Fei, Carolyn Christov-Bakargiev, Janet Cardiff, John Comfort, Chris Dercon, Peter Eleey, Tom Finkelpearl, Frederick Fisher, Simone Forti, Tina Girouard, Philip Glass, Antoine (Tony) Guerrero, Agnes Gund, Marcia Hafif, Larissa Harris, Alanna Heiss, Jene Highstein, Nancy Holt, Patrick Ireland, Barbara Kruger, Les Levine, Sol LeWitt, Jonathan Lill, Glenn D.
    [Show full text]
  • Moma PS1 Early Adopters Look Back at Its 40-Year History - Artnet News
    6/7/2017 MoMA PS1 Early Adopters Look Back at Its 40-Year History - artnet News Art World (https://news.artnet.com/art-world) Early Adopters of MoMA PS1 Look Back on Its 40-Year History Alanna Heiss, Klaus Biesenbach, Laurie Anderson and others reflect. Daniela Rios (https://news.artnet.com/about/daniela-rios-431), June 24, 2016 Catherine Calmers' Food Chain. Courtesy of MoMA PS1. https://news.artnet.com/art-world/40-years-of-moma-ps1-521849 1/12 6/7/2017 MoMA PS1 Early Adopters Look Back at Its 40-Year History - artnet News A general view of MoMA PS.1 on December 12, 2012 in New York City. Courtesy of Astrid Stawiarz/Getty Images. Founded in 1971 by Alanna Heiss in an old public school building in Queens, PS1 quickly became a bright star in the constellation of the alternative space movement. It opened its doors in 1976 with the show “Rooms,” for which it extended an invitation to 78 artists to decorate their space with unique and empirical art. Richard Serra (http://www.artnet.com/artists/richard-serra/) created a work in the attic, Walter De Maria plastered one wall with pornographic imagery, and Vito Acconci (http://www.artnet.com/artists/vito-acconci/) created an installation in the boiler room of a sound piece with stools and a light bulb. In the eighties exhibitions of artists such as Michelangelo Pistoletto (http://www.artnet.com/artists/michelangelo-pistoletto/)‘s “Mirror Painting“ (March 10–April 12, 1980), and Barbara Kruger (http://www.artnet.com/artists/barbara-kruger/)‘s “Photography” (December 7, 1980–January 25, 1981) cemented the institutions visionary approach to presenting art.
    [Show full text]
  • Women Art Revolution : Videotape Interviews by Lynn Hershman-Leeson M1639
    http://oac.cdlib.org/findaid/ark:/13030/kt300032z3 Online items available Women Art Revolution : videotape interviews by Lynn Hershman-Leeson M1639 Stefan Elnabli, Crystal Rangel, Griselda Marcos and Bill O'Hanlon Department of Special Collections and University Archives 2010, rev. 2016, 2019 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Women Art Revolution : M1639 1 videotape interviews by Lynn Hershman-Leeson M1639 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Women Art Revolution : videotape interviews by Lynn Hershman-Leeson source: Hershman-Leeson, Lynn creator: Hershman-Leeson, Lynn Identifier/Call Number: M1639 Physical Description: 4 Linear Feet: 68 video tapes, one box of transcripts, one box of releases & transcripts, one hard drive Date (inclusive): 1990-2008 Abstract: Videotaped interviews with over 40 artists, critics, historians, and curators for the film !Women Art Revolution, documenting the development of the feminist art movement from the 1970s through 2008. Preferred Citation [identification of item], Women Art Revolution : videotape interviews by Lynn Hershman-Leeson for film, 1990-2008, M1639. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif. Conditions Governing Use While Special Collections is the owner of the physical and digital items, permission to examine collection materials is not an authorization to publish. These materials are
    [Show full text]
  • Download PDF Here
    1 2 3 the 19th annual watermill center summer benefit 7.28.12 the big bang the byrd hoffman watermill foundation thanks lvmh / moët hennessy.louis vuitton 4 1 board of directors shaikha paula al-sabah . dianne b . irving benson pierre bergé . giancarla berti . william i. campbell alain coblence . louise hirschfeld cullman . lisa de kooning . simon de pury . lisa ehrenkranz . charles fabius . jürgen friedrich . roger ferris . jolmer d. gerritse . philip glass . amy guttman . gabriele henkel . holm keller . jan kengelbach . lummi u. kieren . william kornreich . ann lewis (in memoriam) tatiana platt . katharine rayner . elka rifkin roberta sherman . stanley stairs . robert wilson 2011 international summer program credit - lovis dengler 2 3 board of advisors giorgio armani . pierre bergé . christophe de menil . christoph eschenbach . betty freeman (in memoriam) . philip glass . rhoda grauer . donna karan . thomas krens . annie leibovitz . gérard mortier . jessye norman . maren otto . michael otto . claude pompidou (in memoriam) . lou reed . isabella rossellini . richard serra . cindy sherman . tom waits . richard von weizsäcker resident artists krymov lab (russia) credit - jake schlichting 4 5 selection committee marina abramovic´ . marie-claude beaud kristy edmunds . jonathan safran foer roselee goldberg . alanna heiss . jürgen kluge . xavier le roy . albert maysles . michael morris . gérard mortier . ida nicolaisen . john rockwell . dr. thomas f. schutte . richard sennett . taryn simon . elisabeth sussman nike wagner . jörn weisbrodt . robert wilson resident artists wet weather ensemble (australia) credit - lovis dengler 6 7 community board michael braverman (chair) . elka rifkin (honorary chair) . maeera mougin (honorary chair) maria pessino (honorary chair) . ruth applehof dianne b . christophe de menil . eileen ekstract kimberly goff . debra halpert . roberta o.
    [Show full text]