DOCSLIB.ORG

A Fiery Splash in the Rockaways and Twists on Film at the Whitney

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Fiery Splash in the Rockaways and Twists on Film at the Whitney ART & DESIGN A Fiery Splash in the Rockaways and Twists on Film at the Whitney By ROBIN POGREBIN MAY 26, 2016 Japan Society Show When the Turner Prize-winning artist Simon Starling was preparing the piece he would exhibit at the Hiroshima City Museum of Contemporary Art five years ago, he learned about masked Japanese Noh theater, which inspired W. B. Yeats’s 1916 play, “At the Hawk’s Well.” Now Mr. Starling is building on that project with “At Twilight,” his first institutional show in New York and a rare solo exhibition at Japan Society that features a non-Japanese artist. It is also the first exhibition by Yukie Kamiya, Japan Society’s new gallery director, who used to be chief curator at the Hiroshima museum. The show is organized with the Common Guild of Glasgow, which will present Mr. Starling’s version of the Yeats play in July. Mr. Starling said that he was intrigued by the idea of masked theater, “where nobody is who they appear to be.” Pogrebin, Robin, “A Fiery Splash in the Rockaways and Twists on Film at the Whitney”, The New York Times (online), May 26, 2016 The Grand Tour: Simon Starling 19 Mar 2016 - 26 Jun 2016 Nottingham Contemporary presents Turner Prize-winner Simon Starling’s largest exhibition in the UK to date. The exhibition will include a new artwork developed in collaboration with Not- tingham Trent University, of which Starling is an alumnus and a number of Starling’s major proj- ects, most of which have not been presented in Britain before. Industry is a motif running through the selection – from the dawn of the Industrial Revolution to China’s industrial dominance and hi-tech industries today. This exhibition will revisit the art of the aristocrat- ic Grand Tours of the 17th and 18th centuries through Starling’s contemporary vision, featuring a collaboration with Derby Museum which will see Joseph Wright’s The Alchymist Discovering Phosphorus in Nottingham Contemporary’s gal- Simon Starling, La Source (demi-teinte), 2009 © Simon Starling, courtesy neugerriemschneider, leries. Berlin Simon Starling: Zum Brunnen Press release Sustainability, environmental and economic systems - these topics, which are not Exhibition dates 27 February – 14 August 2016 only relevant in light of the very current issue of climate change, are at the center of Press conference the works of the English artist Simon Starling. His idiosyncratic projects deal with Fri, 26 February 2016 11 a.m. cycles of use, the surprising transformations of everyday things, and the related Art section of the Lokremise ideological and aesthetic reevaluations. The artist will be present The occasion for the exhibition in St. Gallen is an unusual art project by Starling that Exhibition opening Fri, 26 February 2016 links Lake Constance with the city of St. Gallen. Entitled Fountain, this major public 6:30 p.m. Art section of the Lokremise project redeploys original elements from the recently refurbished Broderbrunnen, a fountain located in the center of St. Gallen that was created by the sculptor August Opening hours: Mon–Sat, 1–8 p.m., Sun 11 a.m.–6 Bösch (1857–1911) in 1896 in memory of the establishment of a lake water supply p.m. system for the cantonal capital. Starling will produce selfcontained, climate- controlled units that will allow these fragile historical sculptures to be put back on public display and in turn trace the path from the water source at Lake Constance to the heart of St. Gallen. In recent years, works by Simon Starling, who was born in 1967 in Epsom, UK, and now lives in Copenhagen, have been shown in museums around the world. The exhibition Zum Brunnen (To the Fountain) at the Lokremise is his first solo show in Switzerland since his presentation at the Museum für Gegenwartskunst in Basel in 2005. Press contact Irina Wedlich Kunstmuseum St. Gallen Communications Museumstrasse 32 Simon Starling: Autoxylopyrocycloboros, 2006, © Simon Starling, courtesy of the artist and neugerriemschneider, Berlin 9000 St. Gallen The work Autoxylopyrocycloboros exemplifies his artistic strategy. In 2006 Starling T +41 71 242 06 85 F +41 71 242 06 72 crossed Loch Long in a restored boat pulled up from the depths of the lake, [email protected] powered by a steam engine. The boat, christened “Dignity,” served as both a vehicle www.kunstmuseumsg.ch and its own fuel. Gradually the wooden boards were burned in order to power the engine, until the boat ultimately sprung a leak and sank back into the lake. Curator: Konrad Bitterli Page 1 / 2 Simon Starling Nine Feet Later The Modern Institute, Aird’s Lane 14/11/15 - 06/02/16 Simon Starling has been revisiting the history of forms and objects for two decades. Often taking up key moments in the history of modernism, Starling creates installations, films, photographs and sculptures which unearth often unacknowledged connections or migrations across space and time. His works and journeys are based on acts of transformation or hybridisation, through movement and in situ installations, and investigate the meaning making and the making of meaning. The exhibition Nine Feet Later includes a series of site-specific daguerreotypes, titled Recursive Plates – an ongoing series that Starling began in 2014 in Casa Estudio Luis Barragán, Mexico. The Recursive Plates are made for and in particular spaces – in this case, The Modern Institute’s Aird’s Lane gallery space. The daguerreotype process is one of the earliest techniques for making photographic images and was developed in France by Louis Daguerre in the 1830s. Like doubled mirrors, each daguerreotype has been produced on a highly polished, mirror-like sheet of silver-plated metal and in turn each silvered surface now holds a ghostly image, a fragile chemical deposit that echoes the exhibition history of the space in which it was made and is now exhibited. The now phantasmagorical works that jostle for position on the reflective surfaces of the Recursive Plates – each a fragment of a larger exhibition by gallery artists installed in the space over the last three years have been reinstalled and carefully re-photographed from a number of fixed camera positions. At times congested, at others sparse, the images orchestrate a form of temporal overlay, a historical collapse or collage, that in turn connects the space’s past with its present and with the sculptural work, Nine Feet Later that occupies the space in front of the photographs. Taking its starting point from a nine-foot long sheet of Japanese cedar wood veneer on which two Japanese scene painters were invited to paint an image of a length of bamboo (the world’s fastest growing timber), Nine Feet Later is a loose assemblage of affiliated objects that together constitute the makings of a time machine of sorts. Along with the image of fast growing bamboo (some varieties grow at 90cm a day), sits the trace of a 15 million year old tree trunk, a nine-foot long piece of petrified wood, turned to stone in something approximating a natural casting process. Somewhat younger is a plank of 45,000 year old Ancient Kauri wood, pickled for millennia in a New Zealand swamp, and here transformed into nine-feet of Gerrit Rietveld’s Zig-Zag Chair (a still-futuristic design from 1932-34). Together with an octagonal oak housing, a powerful reflecting telescope, and a copy of a birch branch – which, unlike the petrified tree trunk, was deposited layer by layer in a matter of hours in a high-tech 3D printing machine – this collection of objects – bound together by their desire to pull and push us through time - begins a conversation with the artworks (now reiterated on the mirrored surfaces of the Recursive Plates) that formerly occupied the space – its collective memory. Simon Starling (b. 1967, Epsom, UK) lives and works in Copenhagen, Denmark. Starling graduated from MFA at the Glasgow School of Art (1992). He was Professor of Fine Arts at the Städelschule in Frankfurt between 2003-2013. Starling won the Turner Prize in 2005 and was shortlisted for the 2004 Hugo Boss Prize. He represented Scotland at the 50th Venice Biennale in 2003 and was included in the central exhibition Fare Mondi/Making Worlds in the 53rd Venice Biennale in 2009. Starling has exhibited widely with solo exhibitions at Musée d'art contemporain, Montréal; Museum of Contemporary Art, Chicago; Casa Estudio Luis Barragán/Luis Barragán House and Studio, Mexico City; Museo Experimental El Eco, Mexico City; The Arts Club of Chicago, Chicago; Staatsgalerie Stuttgart, Stuttgart; Institute of Modern Art, Brisbane; Monash University Museum of Art – MUMA, Caulfield East; Tate Britain, London; VOL. 53, NO. 3 November 2014 CHICAGO Simon Starling MUSEUM OF CONTEMPORARY ART/ ARTS CLUB OF CHICAGO “Metamorphology,” the economical survey of Simon Starling’s work at the Museum of Contemporary Art, comprised just eleven works. But complementing the artist’s first retrospective at an American museum, an affiliated show that ran concurrently at the neighboring Arts Club of Chicago (titled “Pictures for an Exhibition”) additionally presented a major new, site-specific installation. Only a dozen works all told, yet each represents such a dense network of material, geographical, social, and historical narratices that one hardly needed more. The MCA exhibition began, appropriately enough, with Flaga 1972-2000 (A Fiat 126 produced in Turin, Italy, in 1974 and customized using parts manufactured and fitted in Poland, following a journey of 1290 km from Turin to Cieszyn), 2002. Hung high overhead on the wall of the museum’s central atrium, Flaga introduced from the outset some of the hallmarks of Starling’s oeuvre —long journeys, often across international borders; the mutual imbrication of economic, political, and artistic histories; the elegant transformation of one thing (an Italian car) into another (the Polish flag).
Load more

Recommended publications
  • Philosophy in the Artworld: Some Recent Theories of Contemporary Art
    philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything.
    [Show full text]
  • 1 Ion Grigorescu from Static Oblivion
    From static From static oblivion, an artbook in line with Avarie’s previous work space or space of daily experience: Grigorescu’s act of oblivion publications, aims to deepen, starting from Ion Grigorescu’s dissidence is not an outcry of provocation, nor is it extreme rich artistic production, the reflection about the status of the or ostentatious; it is an anti-aesthetic operation which uses image as a balance of forces in tension (statics), as form and experimentation and rough or limited techniques to uncover Ion Grigorescu design of what is in continuous movement (rhythm) and as the fiction of art and to denounce the artifice of representation, a paradoxical act of cancellation of the body through its own leaving us with the ambiguity between truth and falsehood, representation (oblivion). not only within the process of creation, but also within society. There is no trespass, Grigorescu’s performances are part of In Grigorescu’s work, as in the book, the body is continually an ongoing and “contained” interrogation of the relationship shown in different ways - from photography to film, from between the body and the space which the book is trying to performance to drawing - and yet it remains absent, match with the choice of its images whose measured surface suspended, obscuring its own identity in an attempt to tries to “keep inside” all that’s possible: the composition question the collective one. The persistent use of the mirror appears dense yet fluid, “cursive”, though never imposing. not only reflects the need to escape the solitude of his own body and to find the other in the multiplication of points of The body of Ion Grigorescu runs (through) the entire book: view, but it comes from the necessity to objectify the only like a line that gradually takes on volume, it transforms itself material that is available to him.
    [Show full text]
  • Ethics for Digital Journalists
    ETHICS FOR DIGITAL JOURNALISTS The rapid growth of online media has led to new complications in journalism ethics and practice. While traditional ethical principles may not fundamentally change when information is disseminated online, applying them across platforms has become more challenging as new kinds of interactions develop between jour- nalists and audiences. In Ethics for Digital Journalists , Lawrie Zion and David Craig draw together the international expertise and experience of journalists and scholars who have all been part of the process of shaping best practices in digital journalism. Drawing on contemporary events and controversies like the Boston Marathon bombing and the Arab Spring, the authors examine emerging best practices in everything from transparency and verifi cation to aggregation, collaboration, live blogging, tweet- ing, and the challenges of digital narratives. At a time when questions of ethics and practice are challenged and subject to intense debate, this book is designed to provide students and practitioners with the insights and skills to realize their potential as professionals. Lawrie Zion is an Associate Professor of Journalism at La Trobe University in Melbourne, Australia, and editor-in-chief of the online magazine upstart. He has worked as a broadcaster with the Australian Broadcasting Corporation and as a fi lm journalist for a range of print publications. He wrote and researched the 2007 documentary The Sounds of Aus , which tells the story of the Australian accent. David Craig is a Professor of Journalism and Associate Dean at the University of Oklahoma in the United States. A former newspaper copy editor, he is the author of Excellence in Online Journalism: Exploring Current Practices in an Evolving Environ- ment and The Ethics of the Story: Using Narrative Techniques Responsibly in Journalism .
    [Show full text]
  • 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.
    [Show full text]
  • TSG David Eustace - FINAL.Pdf
    DAVID EUSTACE SELECTED WORKS 4-28 FEBRUARY 2015 Photo: Eduardo Fiel FOREWORD Selected Works may seem a prosaic title for an exhibition which we hope will stop you in your tracks. The photographs are a selection from the oeuvre of an artist who has worked with both passion and professional dedication for twenty-five years but who has not had the conventional career easily summed up with a mid-term retrospective. His personal history is the counterpoint to his career; his discovery of the camera was a personal salvation which provided a raison d’être and opened a floodgate from which has flowed a tumult of images, each a tribute to the photographer’s imagination and technical skill. For Eustace each day is full of possibility, his life a series of happy resolutions and coincidences and he carries this openness into the studio and behind the lens so that he can see the essential character of a sitter and respond intuitively. Throughout his life he has shown the vision to imagine projects on a grand scale, some of which have been shot over a period of years. This exhibition is another chapter in his story; it is our first photography exhibition and the first showing for the photographer in a gallery but most importantly the images work in exactly the same way as modern painting: we respond emotionally as individuals. The exhibition is also a fitting launch for a major monograph on Eustace: I Write to Tell You of a Baby Boy Born Only Yesterday… The Scottish Gallery would like to thank Edinburgh Napier University for their contribution towards this special publication.
    [Show full text]
  • Every Drawing Tells a Story the Big Draw Launch 2015 19 September Adam Dant Adam
    Every drawing tells a story The Big Draw Launch 2015 19 September Adam Dant Adam Chris Riddell book signing at Blackwell’s Bookshop 1-2.30pm FREE workshops and events across oxford www.thebigdraw.org Pick up a free walk & draw trail and discover treasures new and old in creative workshops at nine venues every drawing tells a story At 11am join Philip Pullman and Chris Riddell, Children’s Laureate, to launch the 2015 Big Draw Festival at the Weston Library, Activities for all ages unless stated otherwise Bodleian Libraries, Broad Street, Oxford OX1 3BG Radcliffe Square, 11am–4pm Weston Library, Bodleian Libraries, 11am–4.30pm 2 Yarn-storming 1 Join woolly street artist Deadly Knitshade in conjuring a street art story with just wool, Workshops inspired by the Marks of Genius exhibition run 11.15am -12.15pm easy-peasy French knitting and a lot of Drawing together with Chris Riddell on a drop-in basis from 11am–4.30pm: imagination. Learn a new skill and bring Sign in on the world’s longest visitor out your inner graffiti artist. book and draw alongside famous and Drawing with camera obscura The Same River Twice (video) budding illustrators. See Chris draw his Experience the magic of drawing with Tamarin Norwood and Anton Viesel’s Museum of the History this historic tool, thanks to the Museum video contrasts romantic and sceptical Laureate’s Log live and large! 3 of Science, 12 noon–4pm of the History of Science. Be inspired attitudes towards genius. Drawing an X-ray Line by beautiful buildings and use your analogy between man-made marks and Join artists from Oxford Brookes University 2–4.30pm Create a bibliotopia drawing to create a linocut print.
    [Show full text]
  • Artistic Subversions: Setting the Conditions of Display (Amsterdam, 2-4 Feb 17)
    Artistic Subversions: Setting the Conditions of Display (Amsterdam, 2-4 Feb 17) Amsterdam, Feb 2–04, 2017 Deadline: Aug 30, 2016 Katja Kwastek Preceding the Stedelijk Museum Amsterdam’s ‘Lose Yourself! – A Symposium on Labyrinthine Exhibitions as Curatorial Model’(03.-04.02.2017) this young researchers’ colloquium (02.02.2017) at the Vrije Universiteit Amsterdam will consider the strategies and methods by which artists take control over the space of installation. Without the artist’s permission Triple Candie, an exhibition space in New York, featured a retro- spective of Maurizio Cattelan. Entitled Maurizio Cattelan is Dead: Life & Work, 1960-2009 (2009), the show did not include a single work by the artist. Instead, it brought together a selection of pho- tocopied images from previous exhibitions with (vaguely recognizable) replicas of works by the artist. Cattelan, still very much alive, urged the Deste Foundation – established by Dakis Joannou, a prodigious collector of Cattelan’s work – to acquire the entirety of the show. In the foundation in Athens it was later installed in a room expressly selected by the artist. By repositioning the show in a new space of his own devise, Cattelan altered the conditions of its setting thereby incorporat- ing the complete exhibition into his oeuvre. This anecdote demonstrates a blurring of authorship between the artist and the curator, but it is also indicative of the significance of the setting of art, or its context, to its interpretation. This shift in emphasis to the conditions of display can be traced at least as far back as the Exposition Internationale du Surréalisme (1938).
    [Show full text]
  • PRESS RELEASE Oxford Hosts Launch of the World's Biggest Drawing Festival FINAL
    The Big Draw in partnership with Bodleian Libraries, Museum of the History of Science, The Story Museum, Modern Art Oxford, Old Fire Station, Ashmolean Museum, Pitt Rivers Museum, and Oxford University Museum of Natural History. For immediate release Oxford hosts launch of the world’s biggest drawing festival On 19 September 2015, renowned author, Philip Pullman, and Children’s Laureate, Chris Riddell, will launch international drawing festival, The Big Draw 2015, at a free public event championing visual literacy and connecting nine venues across Oxford in an epic celebration of creativity. Hosted by the world famous Bodleian Libraries, and announced by celebrated author Philip Pullman and Children’s Laureate Chris Riddell, the launch of this year’s Big Draw Festival will champion the universal language of drawing and highlight the importance of creativity in education, literature and society. Following a public launch at the Weston Library, Bodleian Libraries, a free WalK & Draw Trail will connect nine of Oxford’s leading galleries, museums and arts organisations demonstrating the relevance of drawing across all sectors and revealing this year’s Big Draw theme, Every Drawing Tells a Story. Throughout the international Big Draw festival (1-31 October), visitors can discover treasures old and new in creative worKshops at each Oxford venue, using a map specially designed by artist Adam Dant. The launch will offer over twenty unique activities for all ages, starting in the Weston Library with an open invitation to sign in to the world’s longest visitors’ book, drawing alongside famous and budding illustrators. Visitors can experience the magic of drawing with a camera obscura; maKe their own artist’s booKs and print using the Bodleian’s wooden press; have their portrait drawn by three actual robots; join artist Claire Duffy and the World Wildlife Fund–UK to support a campaign to save endangered birds; discover digital drawing with Angus DicK and worK with artist Adam Dant, official recorder – in drawings – of the recent General Election, to create a bibliotopia.
    [Show full text]
  • Universalmuseum Joanneum (Graz,11-12 Mar 10)
    Ein Museum erfindet sich neu: Universalmuseum Joanneum (Graz,11-12 Mar 10) Schatz Elisabeth Workshop "Ein Museum erfindet sich neu. Die Entwicklung eines Corporate Design am Beispiel des Universalmuseum Joanneum" 11.-12.3.2010 l Heimatsaal, Paulustorgasse 13a, 8010 Graz (A) Voranmeldungen sind schon jetzt per Mail an [email protected], oder per Fax +43 (0)316/8017-9808 möglich! Seit 2003 erneuert sich das Landesmuseum Joanneum in Graz mit einem vorläufigen Höhepunkt der Umbenennung in "Universalmuseum" und der Schaffung eines vollkommen neuen Corporate Design 2009. Gleichzeitig werden mehrere große und zentrale Sammlungen und deren Dauerausstellungen erneuert, an neuen Standorten oder auch in neuen Architekturen gezeigt. Diese 'Neuerfindung' soll exemplarisch für Modernisierungsprozesse von Museen insgesamt dargestellt und untersucht werden. Mit Augenmerk sowohl für die Wechselbeziehung von Öffentlichkeitsarbeit, Marketing, Corporate Identity und Corporate Design einerseits und inhaltlicher Erneuerung andererseits. Es geht in der Veranstaltung aber auch um die praktische Seite, um Produktion und Umsetzung. Am konkreten Beispiel sollen die Entscheidungen, die Produkte und Projekte vorgestellt, erläutert und diskutiert werden, aus denen eine solche 'Rundumerneuerung' zusammengesetzt ist. Die Beteiligten berichten über den Planungs- und Umsetzungsprozess, über die Ergebnisse, über erste Erfahrungen mit den entwickelten Produkten und über den ideellen und strategischen Hintergrund. Mit Dr. Wolfgang Muchitsch Direktor Universalmuseum
    [Show full text]
  • 04408-9781455245659.Pdf
    Macroeconotnics and the Environtnent ©International Monetary Fund. Not for Redistribution This page intentionally left blank ©International Monetary Fund. Not for Redistribution Macroeconon1ics and the Environn1ent Proceedings of a Seminar May 1995 editor Ved P. Gandhi International Monetary Fund ©International Monetary Fund. Not for Redistribution © 1996 International Monetary Fund Design and production: IMF Graphics Section Library of Congress Cataloging-in Publication Data Macroeconomics and the enviroment I edited by Ved P. Gandhi p. em. Includes bibiographical references. ISBN 1-55775-536-1 I. Enviromental economics-Congresses. 2. Macroeconomics-Congresses. 3. Economic policy-Congresses. I. Gandhi, Ved P. (Ved Parkash) II. International Monetary Fund. HC79.E5M323 1996 333.7-dc20 96-8789 CIP Price: $22.50 Address orders to: External Relations Depm1ment, Publication Services International Monetary Fund, Washington D.C. 20431 Telephone: (202) 623-7430: Telefax: (202) 623-720 I Internet: [email protected] ©International Monetary Fund. Not for Redistribution Contents Page Preface v 1. Macroeconomics and the Environment: Summary and Conclusions . 1 Ved P. Gandhi 2. Welcoming Remarks . 23 Margaret Kellj' Session 1. Analytics 3. How Macroeconomic Policies Affect the Environment: What Do We Know? . 29 Ved P. Gandhi and Ronald T. McMorran 4. Macroeconomic Policies and the Environment . 44 Stein Hansen Discussion Discussant's Comments . 65 A ndnrw Steer Other Discussion . 68 5. How the Environment Affects the Macroeconomy . 76 David Pearce and Kirh H arnilton Discussion Discussant's Comments ........ ................... 95 Kirit Parihh Other Discussion ................................ 100 Session 2. Integration of Economic and Environmental Accounts 6. Environmental Accounting: A Framework for Assessment and Policy Integration .... ..... .... ........... ... ..107 Peter Bartelmus I' ©International Monetary Fund.
    [Show full text]
  • TERENCE KOH Born 1980, China
    TERENCE KOH Born 1980, China. Lives and works in NY. SELECTED GROUP EXHIBITIONS 2003 Attack – The Kult 48 Klubhouse, K48 and Deitch Projects, NYC, NY. Today’s Man, Hiromi Yoshii, Tokyo, Japan. Game Over, Grimm/Rosenfeld, Munich, Germany. Mixer 03, Monique Meloche Gallery, Chicago, Illinois. Now Playing, D’Amelio Terras, NYC, NY. Today’s Man, John Connely Presents, NYC, NY. DL: The Down Low in Contemporary Art, Longwood Art Gallery, Bronx, New York. Retreat, Peres Projects, Los Angeles, California. Hovering, Peres Projects, Los Angeles, California. 2004 Such things I do just to make myself more attractive to you, Peres Projects, Los Angeles, California. Biennial Exhibition, Whitney Museum of American Art, NYC, NY. Get Off! Exploring the Pleasure Principle, Museum of Sex, NYC, NY. Do a Book: Asian Artists Summer Project 2004, Plum Blossoms, NYC, NY. The Black Album, Maureen Paley/Interim Art, London, England. The Temple of Golden Piss, Extra City - Center for Contemporary Art, Antwerp, Belgium. Harlem Postcards Fall 2004, The Studio Museum in Harlem, NYC, NY. Phiiliip: Divided By Lightening, Deitch Projects, NYC, NY. 2006 Log Cabin, Artists Space, NYC, NY. No Ordinary Sanctity, Kunstraum Deutsche Bank, Salzburg, Austria. (curated by Shamim Momin) The Zine UnBound: Kults, Werewolves and Sarcastic Hippies, Yerba Buena Center for the Arts, San Francisco, California. Blankness Is Not a Void, Standard, Oslo, Norway. (curated by Gardar Eide Einarsson) SELECTED SOLO EXHIBITIONS 2011 Mary Boon Gallery, NYC, NY. 2009 Flowers for Baudor Baudelaire, Vito Schnabel Gallery, NYC, NY. ansonias, Galerie Thaddaeus Ropac, Paris, France. Auta no Tama Raku, Domanus Gallery, Port-au-Prince, Haiti 2008 Captain Buddha, Schirn Kunsthalle, Frankfurt, Germany Love for Eternity, MUSAC, Museo de Arte Contemporáneo de Castilla y León, Leon, Spain.
    [Show full text]
  • Goings Ralph
    LOUIS K. MEISEL GALLERY RALPH GOINGS Biography Updated: 2/14/20 BORN 1928 Corning, CA EDUCATION 1965 Sacramento State College, Sacramento, CA; M.F.A. 1953 California College of Arts and Crafts, Oakland, CA; B.F.A. SOLO EXHIBITIONS 2005 Great Goings: Vintage Pick-up Trucks and Diner Paintings, Louis K. Meisel Gallery, New York, NY 2004 Ralph Goings: Four Decades of Realism, The Butler Institute of American Art, Youngstown, OH 2003 Ralph Goings: Paintings & Watercolors, Vintage & Current Works, Bernarducci Meisel Gallery, New York, NY 1997 Ralph Goings: Photorealism, Solomon Dubnick Gallery, Sacramento, CA 1996 O.K. Harris Works of Art, New York, NY 1994 Ralph Goings, A Retrospective View of Watercolors: 1972-1994, Jason McCoy Inc., New York, NY 1991 O.K. Harris Works of Art, New York, NY 1988 O.K. Harris Works of Art, New York, NY 1985 O.K. Harris Works of Art, New York, NY 1983 O.K. Harris Works of Art, New York, NY 1980 O.K. Harris Works of Art, New York, NY 1977 O.K. Harris Works of Art, New York, NY 1973 O.K. Harris Works of Art, New York, NY 141 Prince Street, New York, NY 10012 | T: 212 677 1340 | F: 212 533 7340 | E: [email protected] LOUIS K. MEISEL GALLERY 1970 O.K. Harris Works of Art, New York, NY 1968 Artists CooperatiVe Gallery, Sacramento, CA 1962 Artists CooperatiVe Gallery, Sacramento, CA 1960 Artists CooperatiVe Gallery, Sacramento, CA GROUP EXHIBITIONS 2019 Reality Check: Photorealist Watercolors, Herbert F. Johnson Museum, Cornell UniVersity, Ithaca, NY, April 27 – July 28 50 Years of Realism, Centro Cultural Center Bank of Brazil, Rio de Janeiro, May 22 – July 29 2017-18 From Lens to Eye to Hand: Photorealism 1969 to Today, traVeling exhibition: Parrish Art Museum, Water Mill, NY August 6, 2017 – Jan.
    [Show full text]