John Baldessari
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Cindy Bernard P.0. Box 624 Joshua Tree, CA 92252 Born: San
Cindy Bernard P.0. Box 624 Joshua Tree, CA 92252 Born: San Pedro, California Email: [email protected] Website: www.cindybernard.com Education: California Institute of the Arts (CalArts), M.F.A., 1985 California State University, Long Beach, B.A., 1981 SOLO MUSEUM PROJECTS 2013 Stedelijk Museum, Amsterdam 2011 Los Angeles County Museum of Art SOLO MUSEUM AND GALLERY EXHIBITIONS 2017 Richard Telles Fine Art, Los Angeles 2014 Fralin Museum of Art, University of Virginia 2008 Tracy Williams LTD, New York Mills Gallery, Boston Center for the Arts 2005 Tracy Williams LTD, New York 2004 Margo Leavin Gallery, Los Angeles University of Nevada, Las Vegas The Suburban, Chicago 2002 Lemon Sky Projects + Editions, Los Angeles 2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1997 Lotta Hammer, London 1996 Air de Paris, Paris 1995 James Hockey Gallery, WSCAD, Farnham, England traveled to: Viewpoint Gallery, Salford, England 1993 Center for Creative Photography, University of Arizona, Tucson traveled to: Southeast Museum of Photography 1992 Richard Kuhlenschmidt Gallery, Santa Monica 1991 Air de Paris, Nice, France 1990 Richard Kuhlenschmidt Gallery, Santa Monica 1988 Michael Kohn Gallery, Los Angeles SOLO SCREENINGS AND PERFORMANCES 2013 Human Resources, Los Angeles 2010 SASSAS, Fiesta Hall, Los Angeles 2009 USC School of Cinema, Los Angeles 2005 Tonic, New York 2004 University of Nevada, Los Angeles 2001 Goldman-Tevis Gallery, Los Angeles* Beyond Baroque, Los Anglees* 2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1999 Santa Monica Museum of Art* *projections+sound w/Joseph Hammer Cindy Bernard - 2 – GRANTS, AWARDS AND FELLOWSHIPS 2020 Pollock-Krasner Foundation Grant 2017 Foundation for Contemporary Arts Emergency Grant UCross Residency 2016 National Endowment for the Arts Fellow at the MacDowell Colony 2013 Ruffin Distinguished Artist In Residence, McIntire Dept. -
Oral History Interview with Rosamund Felsen, 2004 Oct. 10-11
Oral history interview with Rosamund Felsen, 2004 Oct. 10-11 Funding for this interview provided by the Art Dealers Association. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 tape-recorded interview with Rosamund Felsen on October 10-11, 2004. The interview took place in Los Angeles, California, and was conducted by Anne Ayres for the Archives of American Art, Smithsonian Institution. Rosamund Felsen and Anne Ayres have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview MS. ANNE AYRES: The interview is with Rosamund Felsen, founder of the Rosamund Felsen Gallery. The interviewer is Anne Ayres. The interview takes place at Rosamund Felsen’s home in the Los Feliz section of Los Angeles. The date is Sunday, October 10th, 2004. Rosamund, let’s not start at the beginning; let’s start now. I read recently that Duchamp commented, when attending his first-ever retrospective – which, as you know, happened at the Pasadena Art Museum in 1963 – that, quote, “Life begins at 70.” He said, “This show is fun. It gives me a wonderful feeling.” I’ve always had the feeling that you get a lot of fun out of life. You were born in 1934 in Pasadena. -
GABIE STRONG Curriculum Vitae
GABIE STRONG curriculum vitae www.gabiestrong.com Lives and works in Los Angeles. EDUCATION 2008 M.F.A. Art, Department of Art, University of California, Irvine 2006 M. Arch, Southern California Institute of Architecture 1993 B.A. Art, Department of Art, University of California, Los Angeles AWARDS 2013 Sierra Fund - Art on Site Artist Award 2011 CCI Artist Resource Completion Grant 2010 UCIRA/UCR Sweeney Art Gallery Collaborative Research Grants (2) 2006-2008 UC Irvine Resident of California Fees Fellowship UC Irvine Graduate Teaching Assistant Fellowship UC Irvine Graduate Student Research and Travel Grant 2007 UC Irvine Medici Circle Scholarship UC Irvine Department of Studio Art, Graduate Student Scholarship 2003 SCI-Arc Graduate Student Scholarship PUBLIC ART COMMISSIONS 2013 It Calls From the Creek. Art on Site for the Deer Creek Tribute Trail, Sierra Fund, Nevada City (with Unmanned Minerals) 2012 Solar Invocation. The Knowledges, Mount Wilson Observatory, Los Angeles 2011 Transgressing in a Ribbon, &Now Festival of New Writing: Tomorrowland Forever!, UC San Diego, La Jolla (with Unmanned Minerals) Blast Site: A Monument For Future Failures. New Moon, Shangrila and High Desert Test Sites, Joshua Tree (with Danielle McCullough) Untitled score for Baldwin Hills Scenic Overlook, Oct. 16, 2011. "sound." commission, SASSAS, Los Angeles (with Lady Noise) 2010 An Evening of Light, Space and Sound. UCR Barbara and Art Culver Center of the Arts, Riverside (with Lady Noise) Eucalyptus Carvers. Elysian Park Museum of Art, Elysian Park, Los -
Cindy Bernard - 1 –
Cindy Bernard - 1 – Cindy Bernard P.0. Box 50545 Los Angeles, CA 90050 Born: San Pedro, California Email: [email protected] Website: www.cindybernard.com Education: California Institute of the Arts (CalArts), M.F.A., 1985 California State University, Long Beach, B.A., 1981 Current positions: Adjunct Professor, Graduate Fine Art, Art Center College of Art and Design Founding Director, SASSAS, www.sassas.org SOLO MUSEUM PROJECTS 2013 Stedelijk Museum, Amsterdam 2011 Los Angeles County Museum of Art SOLO MUSEUM AND GALLERY EXHIBITIONS 2017 Richard Telles Fine Art, Los Angeles (May) 2014 Fralin Museum of Art, University of Virginia 2008 Tracy Williams LTD, New York Mills Gallery, Boston Center for the Arts 2005 Tracy Williams LTD, New York 2004 Margo Leavin Gallery, Los Angeles University of Nevada, Las Vegas The Suburban, Chicago 2002 Lemon Sky Projects + Editions, Los Angeles 2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1997 Lotta Hammer, London 1996 Air de Paris, Paris 1995 James Hockey Gallery, WSCAD, Farnham, England traveled to: Viewpoint Gallery, Salford, England 1993 Center for Creative Photography, University of Arizona, Tucson traveled to: Southeast Museum of Photography 1992 Richard Kuhlenschmidt Gallery, Santa Monica 1991 Air de Paris, Nice, France 1990 Richard Kuhlenschmidt Gallery, Santa Monica 1988 Michael Kohn Gallery, Los Angeles SOLO SCREENINGS AND PERFORMANCES 2013 Human Resources, Los Angeles 2010 SASSAS, Fiesta Hall, Los Angeles 2009 USC School of Cinema, Los Angeles 2005 Tonic, New York 2004 University of Nevada, Los Angeles 2001 Goldman-Tevis Gallery, Los Angeles* Beyond Baroque, Los Anglees* 2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1999 Santa Monica Museum of Art* *projections+sound w/Joseph Hammer Cindy Bernard - 2 – GRANTS, AWARDS AND FELLOWSHIPS 2017 UCross Residency 2016 MacDowell Fellowship / Residency 2013 Ruffin Distinguished Artist In Residence, McIntire Dept. -
MARNIE WEBER Born in 1959, Bridgeport, CT, US Works and Lives in Los Angeles, CA, US
MARNIE WEBER Born in 1959, Bridgeport, CT, US Works and lives in Los Angeles, CA, US EDUCATION 1981 BA, University of California, Los Angeles, CA, US 1977-79 University of Southern California, Los Angeles, CA, US SOLO EXHIBITIONS 2019 Marnie Weber: Songs that Never Die and Other Stories, San Diego Museum of Contemporary Art, San Diego, CA, US Twisted Refrain: The Work Of Marnie Weber, Boone Family Art Gallery, Pasadena City College, Pasadena, CA, US 2018 Storyboards from Day of Forevermore, Concordia University, Montreal, QC, CA 2016 Chapel of the Moon, Gavlak Gallery, Hollywood, CA, US Once Upon a Time in Forevermore, MAMCO, Geneva, CH 2015 The Ghost Train, Mattress Factory, Pittsburgh, PA, US 2013 The Day After Forevermore, Cardi Black Box, Milano, IT The Nature of Time, Praz-Delavallade, Paris, FR 2012 The Night of Forevermore, Marc Jancou Contemporary, New York, NY, US 2010 Forever Free The Cinema Show: A Film Retrospective and Installations (curated by Yves Aupetitallot), Le Magasin - Centre National d’Art Contemporain, Grenoble, FR Eternity Forever (curated by Emi Fontana), presented by West Of Rome Public Art, The Mountain view cemetery and Mausoleum, Altadena, CA, US 2009 The Campfire Song(curated by Ann Cesteleyn), Sint Lukas Art Space, Brussels, BE The Truth Speakers, Sea of Silence, Simon Lee Galley, London, GB The Bondage of Decay, Marc Jancou Contemporary, New York, NY, US 2008 The Melancholy Circus, Praz-Delavallade, Paris, FR Saving the Farm, Bernier Eliades Gallery, Athens, GR 2007 A Western Song, Utställningar Hösten 07, -
Bio in Detail 1984-2004
Cindy Bernard P.O. Box 411453 Los Angeles, CA 90041-1453 E-mail: [email protected] Website: http://www.sound2cb.com Born: San Pedro, California, 1959 Education: California Institute of the Arts (CalArts), M.F.A., 1985 California State University, Long Beach, B.A., 1981 PROJECT AND EXHIBITION HIGHLIGHTS 2002 – 2004 2004 Solo exhibition, The Suburban, Chicago 100 Artists See God , group exhibition curated by John Baldessari and Meg Cranston, sponsored by Independent Curators International, catalog (Winter) Visiting Artist, Northwestern University, Chicago (Winter Quarter) Visiting Artist, University of Nevada, Las Vegas (Spring) Los Angeles COLA Individual Artist Fellowship exhibition and catalogue soundCd no. 2 , compilation of performances from "sound." concert series, Producer (Summer) 2003 Recipient, Los Angeles COLA Individual Artist Fellowship The sonic residue on these walls is only imagined, otherwise it would be taboo, collaboration w/Gean Moreno and Jesse Bransford based on the history of "sound." Ingells & Associates, Miami Art and Photography , David Campany, Ed., London: Phaidon Themes and Movements series, ill pg. 119. Heinz Peter Schwerfel, Kino und Kunst - Eine Liebesgeschichte, DuMont Literatur und Kunst, ill pg. 82-83. sound. concert series, MAK Center for Art and Architecture (Schindler House), producer co-curator w/ Sam Durant and Christopher Williams Artist's Gifts , Museum of Contemporary Art, Los Angeles 2002 Solo exhibition, Lemon Sky Projects, Los Angeles SASSAS: Society for the Activation of Social Space through Art and Sound, Founder untitled[gel/sound] , MetroLab, Los Angeles County Transportation Authority (w/Joseph Hammer) soundCd no. 1 , 2-cd compilation of performances from "sound." concert series, Producer (co-published by SASSAS/1301PE/Lemon Sky Projects) sound. -
COLA 2014 5 People Annually
C.O. L. A. 2014 City of Los Angeles Individual Artist Fellowships 3 C.O.L. A. 2014 Exhibition Dates: Department of Cultural Affairs Individual Artist Fellowships May 4–June 15, 2014 C. O. L. A. 2014 Department of Cultural Affairs City of Los Angeles Los Angeles Municipal Art Gallery City of Los Angeles Barnsdall Park Individual Artist Fellowships This catalog accompanies an exhibition and performances sponsored by the Opening Reception: City of Los Angeles Department of Cultural Affairs featuring its C.O.L.A. 2014 Individual Artist May 4, 2014, 2–5 p.m. Fellowship recipients in the Visual, Design, sand Literary Arts. Performance Date: June 29, 2014 Grand Performances Eric Garcetti Mayor City of Los Angeles Matthew Rudnick Doane Liu Interim General Manager Deputy Mayor City Services Will Caperton y Montoya Director of Marketing and Development Los Angeles City Council Felicia Filer Gilbert Cedillo, District 1 Public Art Division Director Paul Krekorian, District 2 Joe Smoke Bob Blumenfield, District 3 Grants Administration Division Director Tom LaBonge, District 4 Paul Koretz, District 5 Leslie Thomas Nury Martinez, District 6 Community Arts Division Director Felipe Fuentes, District 7 Bernard C. Parks, District 8 Curren D. Price, Jr., District 9 Herb J. Wesson, Jr., District 10 Mike Bonin, District 11 Mitchell Englander, District 12 Department of Cultural Affairs Mitch O’Farrell, District 13 City of Los Angeles Jose Huizar, District 14 The Department of Cultural Affairs (DCA) generates and supports high quality arts and Joe Buscaino, District 15 cultural experiences for Los Angeles’ 4 million residents and 40 million annual overnight and day visitors. -
Download Date 11/10/2021 08:07:08
Exhibiting Photography: Twenty Years at the Center for Creative Photography Item Type text; Book Publisher Center for Creative Photography, University of Arizona (Tucson, AZ) Rights Center for Creative Photography, University of Arizona, Copyright © 1996 Arizona Board of Regents. All Rights Reserved. Copyright notices for individual photographs appear in the captions. Download date 11/10/2021 08:07:08 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/641074 80 homas F.Bar row Red Ma11), 1979- T Ho111e of the 0 cm Arizona (Last rint, 49 .0 x 39 . Holbrook, gelatin silver p k, reassembled Spray-paint, caul 01 81:016:0 es n Altered I111ag Exhibited i as F.Barrow © 1981 Thom Joyce Neimanas Umirled #3, 1980 Polaroid SX-70 print collage,80 x101 cm (irregular) 82:013.002 Exhibited in Joyce 1\'ci111a11as 1980 Joyce Neimanas EXHIBITING PHOTOGRAPHY Twenty Years at the Center for Creative Photography Center for Creative Photography • The University of Arizona Copyright © 1996 Center for Creative Photography Arizona Board of Regents All Rights Reserved Copyright notices for individual photographs appear in the photograph captions. Design by Nancy Solomon Printing and Separations by Print Expressions Binding by Roswell Bookbinding FRONT CoVErl..: Thomas Struth's Art Institute of Chicago II, Chicago, 1990 on exhibition in Art Museum by Dianne Nilsen BACK COVER: poster/announcement for the first exhibition at the Center for Creative Photography Library of Congress Catalog Card Number 96-85230 ISBN 0-938262-28-9 ISSN 0735-5572 The Archive, Research Series, of the Center for Creative Photography is supported in part by Polaroid Corporation. -
DAVID SCHAFER Contact Studio 8725 Venice Blvd Los Angeles, CA
DAVID SCHAFER Contact Studio 8725 Venice Blvd Los Angeles, CA 90034 646.436.0620 [email protected] www.davidschafer.org Education 1983 MFA The University of Texas, Austin, TX. 1979 BA The University of Missouri, Kansas City, MO. Grants and Awards 2018 Pollock-Krasner Foundation Award 2015 Center for Cultural Innovation, Los Angeles, CA 2014 Visions & Voices Arts Initiative, University of Southern California, Los Angeles, CA 2004 Great Teacher Award, Art Center College of Design, Pasadena, CA 2003 Great Teacher Award, Art Center College of Design, Pasadena, CA 2001 Taki-Fuji Award, Art Center College of Design, Tokyo, Japan Faculty Enrichment Grant, Art Center College of Design, Pasadena, CA 2000 Great Teacher Award, Art Center College of Design, Pasadena, CA 1989 National Endowment for the Arts in Sculpture, New York, NY Artist in Residence, Sculpture Chicago, Chicago, IL 1986 Project Grant, Artists Space, New York, NY Exhibitions Grant, Artists Space, New York, NY Artist in Residence, Public Art Fund, Brooklyn, NY Solo Exhibitions and Projects 2018 Pink and Blue, Martel Window, curated by Max Maslansky, Richard Telles Gallery, Los Angeles, CA 2015 Models of Disorder, Diane Rosenstein Gallery, Los Angeles, CA 2013 Four Letters to Mahler, Studio 10 Gallery, Brooklyn, NY 2012 Roundabout/UEBA, Studio 10 Gallery, Brooklyn, NY What Should an Astronaut Painter Do?, Glendale College Art Gallery, Glendale, CA 2001 Bar Ring, Shoshana Wayne Gallery, Los Angeles, CA A Death in the Family, Sara Meltzer Gallery, New York, NY 2000 David Schafer, -
Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, Etc.: on the Failure of Humour in Avant-Garde Film and Video
DISSERTATION IN WHICH THERE APPEAR LOST PUNCHLINES, DREADFUL PUNS, LOW RESOLUTION, ETC.: ON THE FAILURE OF HUMOUR IN AVANT-GARDE FILM AND VIDEO CAMERON MONEO A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN CINEMA & MEDIA STUDIES YORK UNIVERSITY TORONTO, ONTARIO June 2019 © Cameron Moneo, 2019 ABSTRACT This dissertation explores the overlooked functions that humour has served in American avant-garde film and video, arguing that humour is involved consistently in many of the key operations and philosophies that have energized these moving image practices. Taking humour as an alternative historical and interpretive lens, this dissertation conducts new readings of three major formations or “moments in the discourse” of the American avant-gardes. These are: underground film, structural film, and early feminist video art. A branching theme of these readings is failure, seen to carry complex meanings and humorous pleasures in various cases of avant-garde activity. The introductory chapter details the propagandization of failure in the 1960s underground cinema, and argues that a divisive brand of humour highlights the sense of the “avant-garde” in this cinema. Chapter 1 re-conceptualizes the “humourless” structural film movement of the 60s and 70s, arguing that, for filmmakers like Michael Snow, the idea of structure is not a dogmatic working principle but something of a ruse, one whose limits are meant to be teased, pushed, and exceeded. Moving to early feminist video art, Chapter 2 emphasizes the importance of humour in the project of articulating feminist political horizons. -
July 1998 CAA News
1 People of the Eye z As I recall it, he said, 'I haven't seen fit At this moment, a former student CONTINUED FROM PAGE 3 to do much for Harvard as yet, but I en~ and his wife walked up. Our fifteen ~ liked that fine arts report, and, if you minutes had passed remarkably swiftly. ,-,.(j) was 'Fine Arts at Harvard.' would be willing, I'll give the funds to Lane was off to lunch with old friends, (ti..., "The key recommendation, at least build the facility recommended.' waving a farewell to me as he went, and in my judgment, was that a facility for 0...,., "Pusey was more than pleasantly I was a few minutes late to my meeting teaching painting and sculpture should surprised and was about to accept the at the Clark. 5"- be built and it should be contiguous to (j) proposal when Carpenter interjected. -John W. Hyland, Jr. the Fogg itself. Brown agreed whole 'But you'll have to agree to one condi () CAA Treasurer 0 heartedly that we needed a studio arts ~ tion that I put on my gift. I choose the ~ emphasis and facility. We even included (j) architect.' O<l a picture in the report of a joint foyer "Pusey was immediately concerned (j) between the two buildings so that studio that Carpenter's choice of architect 2; artists and art historians would inter would not be acceptable to the Board of ,-,. mingle. The enemy, we believed, was Overseers. So he asked Carpenter if he Correction S en>- the whole gang of art historians who had a candidate for the job. -
Margo Leavin Gallery Records
http://oac.cdlib.org/findaid/ark:/13030/c8g44x4q Online items available Finding aid for the Margo Leavin Gallery records, Pietro Rigolo Finding aid for the Margo Leavin 2015.M.5 1 Gallery records, Descriptive Summary Title: Margo Leavin Gallery records Date (inclusive): 1947-2017, bulk 1966-2013 Number: 2015.M.5 Creator/Collector: Leavin, Margo, 1936- Physical Description: 346 Linear Feet(897 boxes, 20 flatfiles) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: In nearly forty-two years of operation as one of the foremost art venues in Los Angeles (1970 -2012), Margo Leavin Gallery presented over five hundred exhibitions. Grounded in Minimalism and Pop Art, the gallery showed a mix of works by both New York and Los Angeles artists such as Dan Flavin and Claes Oldenburg, and gradually moved into the terrain of Conceptual Art, representing artists such as Alexis Smith, John Baldessari, and Sherrie Levine. In 1976 Wendy Brandow joined the gallery staff, and became Director and Partner in 1989. Brandow played a key role in the gallery: she was active in all aspects of the enterprise, from conceptualizing and organizing exhibition to managing business affairs, and was instrumental in engaging with a younger, conceptually oriented generation of artists such as Larry Johnson, Stephen Prina, Christopher Williams, and Roy Dowell. Leavin and Brandow placed numerous works at the world's top museums, had a profound effect on the art world of the city, and made an indisputable contribution to the international acclaim accorded to Los Angeles Conceptual Art.