This World & Nearer Ones Nyc's First
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Constellation & Correspondences
LIBRARY CONSTELLATION & CORRESPONDENCES AND NETWORKING BETWEEN ARTISTS ARCHIVES 1970 –1980 KATHY ACKER (RIPOFF RED & THE BLACK TARANTULA) MAC ADAMS ART & LANGUAGE DANA ATCHLEY (THE EXHIBITION COLORADO SPACEMAN) ANNA BANANA ROBERT BARRY JOHN JACK BAYLIN ALLAN BEALY PETER BENCHLEY KATHRYN BIGELOW BILL BISSETT MEL BOCHNER PAUL-ÉMILE BORDUAS GEORGE BOWERING AA BRONSON STU BROOMER DAVID BUCHAN HANK BULL IAN BURN WILLIAM BURROUGHS JAMES LEE BYARS SARAH CHARLESWORTH VICTOR COLEMAN (VIC D'OR) MARGARET COLEMAN MICHAEL CORRIS BRUNO CORMIER JUDITH COPITHORNE COUM KATE CRAIG (LADY BRUTE) MICHAEL CRANE ROBERT CUMMING GREG CURNOE LOWELL DARLING SHARON DAVIS GRAHAM DUBÉ JEAN-MARIE DELAVALLE JAN DIBBETS IRENE DOGMATIC JOHN DOWD LORIS ESSARY ANDRÉ FARKAS GERALD FERGUSON ROBERT FILLIOU HERVÉ FISCHER MAXINE GADD WILLIAM (BILL) GAGLIONE PEGGY GALE CLAUDE GAUVREAU GENERAL IDEA DAN GRAHAM PRESTON HELLER DOUGLAS HUEBLER JOHN HEWARD DICK NO. HIGGINS MILJENKO HORVAT IMAGE BANK CAROLE ITTER RICHARDS JARDEN RAY JOHNSON MARCEL JUST PATRICK KELLY GARRY NEILL KENNEDY ROY KIYOOKA RICHARD KOSTELANETZ JOSEPH KOSUTH GARY LEE-NOVA (ART RAT) NIGEL LENDON LES LEVINE GLENN LEWIS (FLAKEY ROSE HIPS) SOL LEWITT LUCY LIPPARD STEVE 36 LOCKARD CHIP LORD MARSHALORE TIM MANCUSI DAVID MCFADDEN MARSHALL MCLUHAN ALBERT MCNAMARA A.C. MCWHORTLES ANDREW MENARD ERIC METCALFE (DR. BRUTE) MICHAEL MORRIS (MARCEL DOT & MARCEL IDEA) NANCY MOSON SCARLET MUDWYLER IAN MURRAY STUART MURRAY MAURIZIO NANNUCCI OPAL L. NATIONS ROSS NEHER AL NEIL N.E. THING CO. ALEX NEUMANN NEW YORK CORRES SPONGE DANCE SCHOOL OF VANCOUVER HONEY NOVICK (MISS HONEY) FOOTSY NUTZLE (FUTZIE) ROBIN PAGE MIMI PAIGE POEM COMPANY MEL RAMSDEN MARCIA RESNICK RESIDENTS JEAN-PAUL RIOPELLE EDWARD ROBBINS CLIVE ROBERTSON ELLISON ROBERTSON MARTHA ROSLER EVELYN ROTH DAVID RUSHTON JIMMY DE SANA WILLOUGHBY SHARP TOM SHERMAN ROBERT 460 SAINTE-CATHERINE WEST, ROOM 508, SMITHSON ROBERT STEFANOTTY FRANÇOISE SULLIVAN MAYO THOMSON FERN TIGER TESS TINKLE JASNA MONTREAL, QUEBEC H3B 1A7 TIJARDOVIC SERGE TOUSIGNANT VINCENT TRASOV (VINCENT TARASOFF & MR. -
Anya Gallaccio
ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition, -
Tate Report 08-09
Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements. -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos. -
A Brief History of the Arts Catalyst
A Brief History of The Arts Catalyst 1 Introduction This small publication marks the 20th anniversary year of The Arts Catalyst. It celebrates some of the 120 artists’ projects that we have commissioned over those two decades. Based in London, The Arts Catalyst is one of Our new commissions, exhibitions the UK’s most distinctive arts organisations, and events in 2013 attracted over distinguished by ambitious artists’ projects that engage with the ideas and impact of science. We 57,000 UK visitors. are acknowledged internationally as a pioneer in this field and a leader in experimental art, known In 2013 our previous commissions for our curatorial flair, scale of ambition, and were internationally presented to a critical acuity. For most of our 20 years, the reach of around 30,000 people. programme has been curated and produced by the (founding) director with curator Rob La Frenais, We have facilitated projects and producer Gillean Dickie, and The Arts Catalyst staff presented our commissions in 27 team and associates. countries and all continents, including at major art events such as Our primary focus is new artists’ commissions, Venice Biennale and dOCUMEntA. presented as exhibitions, events and participatory projects, that are accessible, stimulating and artistically relevant. We aim to produce provocative, Our projects receive widespread playful, risk-taking projects that spark dynamic national and international media conversations about our changing world. This is coverage, reaching millions of people. underpinned by research and dialogue between In the last year we had features in The artists and world-class scientists and researchers. Guardian, The Times, Financial Times, Time Out, Wall Street Journal, Wired, The Arts Catalyst has a deep commitment to artists New Scientist, Art Monthly, Blueprint, and artistic process. -
Press Release Adam Chodzko, 2007 (Pdf)
For immediate release 13/11/ 07 THEN, an intriguing new Breaking Ground multi-part public artwork in various locations across Dublin by acclaimed British artist Adam Chodzko. Residents of Ballymun are perplexed this morning by a series of posters, which have mysteriously appeared overnight on hoarding along the Balbutcher Road, announcing a meeting to take place in the foyer of the Hagens Hotel, Måløy, Sogn og Fjordane, on the island of Vågsøy. Yet the photo on the poster seems to be a streetscape in Mexico City, taken in the early ‘70’s. Each afternoon, on the top floor of the recently restored Na Píobairí Uilleann /Uillean Pipers headquarters on Henrietta Street, a new sci-fi film, ‘Around’, documenting the paranormal and uncanny properties of an otherwise unremarkable boundary wall and its effects on an unsuspecting group of individuals, is showing. And visitors to Dublin City Gallery the Hugh Lane, can swap their shoes for someone else’s, which they’ll wear as they walk around the Gallery’s other exhibitions and permanent collection. Meanwhile, preliminary discussions with property developer Mick Wallace are being had, about the possibility of using the name Ballymun in a new development somewhere else in the city, some time in the future. “Adam Chodzko is recognised internationally for his multi-media work which triggers a shift in our perception of where we think we belong in the world. Fact and fiction are provocatively intermixed, and terms such as ‘community’ and ‘the public’ are deviated as we enter a surrealist world which plays on notions that we take for granted and assume that we understand!” says Aisling Prior, curator of Breaking Ground. -
AA Bronson Radical Asshole '…The Use of Irony Was Itself Serious
AA Bronson Radical Asshole ‘…the use of irony was itself serious…’ – AA Bronson on General Idea, in The Confession of AA Bronson (2011) AA Bronson thinks his butt is revolutionary. That may be the case – I haven’t tried it – but I’m not quoting him fairly. He thinks all assholes are revolutionary. In this he joins proto-queer thinker Guy Hocquenghem, who argued that the liberation of anal pleasure from shame was one way to remake society as a whole. Homosexuality is dangerous, he claimed in Homosexual Desire (1972), because it shows that eroticism is not tied to reproduction. Male receptivity further disturbs the masculine/feminine, active/passive oppositions which uphold patriarchal authority and by extension marriage or other systems of ownership. This undoing of gendered mastery finds echoes in Bronson’s earlier work as a member of General Idea. From their mock beauty pageants in which the artist becomes feminised commodity, to their pose as pampered poodles, they mercilessly satirised the singular (straight male) artistic genius as a myth of the media and marketplace. But the deaths of his partners and collaborators Jorge Zontal and Felix Partz from AIDS in 1994, and his reversion to working alone, caused not only a personal but an artistic crisis for Bronson. How could he represent himself without betraying the group’s critique of the artist as gifted individual? While his most recent work has sought to memorialise those lost to the pandemic and histories of homophobic persecution, his decision to summon the queerly departed by posing, like Joseph Beuys, as a shaman, appears to abandon the principles of GI. -
Future Refrains
Future Refrains ASC Gallery The Chaplin Centre, Taplow House, Thurlow Street, London SE17 2DG; www.ascstudios.co.uk www.PeerSessions.com 18th September – 27th October 2017 Private view – 6-9pm Friday 15th September Event day – Collaboration in Question 1-5:30pm 23rd September Press Release Friendship means sharing a refrain, a semiotic set that allows us to see the same vision and helps us create a world out of chaos.1 Peer Sessions is proud to present Future Refrains, an exhibition at ASC Gallery featuring newly commissioned work funded by Arts Council England. Peer Sessions is a London-based nomadic crit group, established in 2009 by artists Kate Pickering and Charlotte Warne Thomas. Peer Sessions’ monthly meetings provide a forum for artists to come together to discuss and receive feedback on recent work in relation to current concerns in contemporary art and culture. In addition, we organise projects: workshops, exhibitions and residencies focusing on direct artistic collaboration. For Future Refrains, Peer Sessions selected three member artists and invited each to choose a recent MA Fine Art graduate with whom to collaborate. Future Refrains will feature these three new commissions, alongside works from established artists Adam Chodzko and Lindsay Seers, who have each guest moderated recent Peer Sessions crit groups. As part of Future Refrains, a performance and screening day with live panel discussion, Collaboration in Question, on Saturday 23rd September will explore the processes and implications of collaborative practice for this project and in the wider world of contemporary art. Peer Sessions derives its name from the double meaning of the word peer: both in terms of examining something in depth and referring to a group of equals – artists who have recently completed postgraduate education. -
Gallery Ambassador Job Description
Gallery Ambassador Fixed Term Contracts & Casual Contracts Job description ……. Background For over a century the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucian Freud, Gilbert & George and Mark Wallinger. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Role With this role, you will act as a front of house Ambassador for Whitechapel Gallery and provide an excellent experience to all the visitors. The role requires Ambassadors to provide up to date information on all our Exhibition and Education Programme and to support the Gallery’s charitable aims, by promoting our ticketed Exhibitions, Public Event Programme, and Membership scheme and encourage donations. Invigilate the gallery spaces and any off-site exhibition spaces. Meeting the gallery’s needs to staff events such as season openings, patron tours etc. Working hours will vary and Gallery Ambassador may be offered work on any day of the week including Saturdays, Sundays, evenings and bank holidays. The services provided to the Gallery are on a fixed term contract basis for an hourly rate. Accountability The Gallery Ambassadors report to the Visitor Services Manager. Visitor Experience Providing excellent visitor care following existing guidelines and policies. -
Mark Wallinger Italian Lessons
Victoria Miro Mark Wallinger Italian Lessons Private View 5:30 – 7:30pm, Saturday 27 January 2018 Exhibition 27 January – 10 March 2018 Victoria Miro Venice, Il Capricorno, San Marco 1994, 30124 Venice, Italy Image: Mark Wallinger, Genius of Venice (detail), 1991 Glass, catalogue pages, nightlights, metal brackets 38 x 32 x 6 cm / 15 x 12 5/8 x 2 3/8 inches each, 7 parts Courtesy the artist and Hauser & Wirth Photo: Todd-White Art Photography © Mark Wallinger Victoria Miro, in collaboration with Hauser & Wirth, is delighted to present Italian Lessons, an exhibition by Mark Wallinger. Selected by the artist especially for Victoria Miro Venice, the works on display date from 1991 to 2016 and reflect a career-long engagement with ideas of power, authority, artifice and illusion. While sources of inspiration include the Italian masters and masterpieces in Italian collections, this is the first time many of these works have been shown in Italy. “In a sense, the exhibition is like my mini Grand Tour.” – Mark Wallinger Encompassing autobiography and art history, the Italian Lessons of the exhibition title are manifold. They refer to Wallinger’s own education and to his exposure to the Italian masters: via a charismatic college lecturer in his native Essex; a seminal exhibition in London; a bicycle tour from Paris to Florence. Equally, the Lessons make reference to the cornerstones of art history – such as the development of perspective and trompe-l’oeil techniques – and the shifts in consciousness they have brought about. Lessons theological as well as pedagogical may be deduced in the content or context of his source material, part of a long-term consideration of religion as one of the ideological forces through which order is imposed on the world. -
{FREE} the Art of Tracey Emin
THE ART OF TRACEY EMIN PDF, EPUB, EBOOK Chris Townsend,Mandy Merck,Etc. | 224 pages | 01 Nov 2002 | Thames & Hudson Ltd | 9780500283851 | English | London, United Kingdom The Art of Tracey Emin by Chris Townsend White Cube. Save Me , Xavier Hufkens. Sex 26 Sydney , The way you spoke to me , I Loved My Innocence , There was so much more of me , Little woman - Something I've always wanted Aste Boetto. Love Is What You Want , Lougher Contemporary. Crane , No Time for Love. The Kiss Was Beautiful , In The Art of Tracey Emin, distinguished critics from Britain and the United States address her achievement in depth for the first time, tracing Emin's influences from Egon Schiele to Judy Chicago and establishing her place in a larger tradition of postmodern and feminist art. Adopting a variety of critical approaches, contributors explore the full range of Emin's work, from photography and monoprints to installation art and videos, showing that, however raw and personal it may seem to be, it actually represents a carefully meditated response to vital issues in contemporary culture and society. Deals the truth about anal intercourse, at last: how liberating it is- but only for the purpetrator. In this case, the work explores the common experience of depression through a very personal and intimate lens. This artwork draws an important distinction between representation and presentation. This piece is not a representation of an object such as a painting or a sculpture. The art object doesn't refer to another object; it is the object itself. Some have argued that this was the key work in elevating women's experiences to the level of artistic expression.