9 Art Events to Attend in New York City This Week
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Aliza Shvarts Cv
A.I.R. ALIZA SHVARTS CV www.alizashvarts.com SOLO AND TWO PERSON EXHIBITIONS 2018 Off Scene, Artspace, New Haven, CT 2016 Aliza Shvarts, Kevin Kavanagh Gallery, Dublin, Ireland 2010 Knowing You Want It, UCLA Royce Hall, Los Angeles, CA SELECTED GROUP EXHIBITIONS 2019 Study Session: Aliza Shvarts, Ayanna Dozier, and Narcissister, The Whitney Museum, NYC 2019 In Practice: Other Objects. SculptureCenter, Long Island City, NY th 2018 ANTI, 6 Athens Biennale. Athens, Greece 2018 A new job to unwork at, Participant Inc, NYC 2018 Aliza Shvarts, Patty Chang & David Kelley. Marathon Screenings, Los Angeles, CA. 2018 International Festival of Arts&Ideas, Public art commission. New Haven, CT 2017 (No) Coma Cuento, Universidad de los Andes, Bogotá, Colombia 2017 Aliza Shvarts and Devin Kenny, Video Artists Working Group, Artists Space, NYC 2017 Goldman Club (with Emanuel Almborg), Dotory, Brooklyn, NY 2016 Situational Diagram: Exhibition Walkthrough, Lévy Gorvy Gallery, NYC 2016 SALT Magazine and Montez Press present, Mathew Gallery, NYC 2016 eX-céntrico: dissidence, sovereignties, performance, The Hemispheric Institute, Santiago, Chile 2016 Subject to capital, Abrons Arts Center, NYC 2015 Soap Box Session: Directing Action, ]performance s p a c e[ London, England. 2015 Learning to Speak in a Future Tense, Abrons Arts Center, NYC 2015 The Magic Flute (with Vaginal Davis), 80WSE Gallery. NYC 2015 On Sabotage (screening), South London Gallery, London GRANTS AND AWARDS 2019 A.I.R Artist Fellowship, A.I.R Gallery -
Laure Prouvost
Laure Prouvost Language – in its broadest sense – permeates the video, sound, installation and performance work of French multi-media artist Laure Prouvost. Known for her immersive and mixed-media installations that combine film and installation in humorous and idiosyncratic ways, Prouvost’s work addresses miscommunication and things getting lost in translation. Playing with language as a tool for the imagination, Prouvost is interested in confounding linear narratives and expected associations among words, images and meaning. She combines existing and imagined personal memories with artistic and literary references to create complex film installations that twist fiction and reality. At once seductive and jarring, her unique approach to filmmaking employs layered storytelling, quick cuts, montage and wordplay and is composed of a rich, almost tactile assortment of pictures, sounds, spoken and written phrases. The films are most often nestled into carefully constructed environments filled with a dizzying assortment of found objects, from sculptures, painting and drawings to signs, furniture and architectural assemblages, that are connected to the overarching narrative yet act like relics. Laure Prouvost was born in Lille, France (1978) and is currently based in Antwerp. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Recent solo exhibitions include: ‘Melting into one another ho hot chaud it heating dip’, Kunsthalle -
Laure Prouvost
GALERIE NATHALIE OBADIA PARIS - BRUXELLES Laure Prouvost This is the visit 18 September - 31 October 2014 3, rue du Cloître Saint-Merri - 75004 Paris The Nathalie Obadia Gallery is very pleased to present Laure Prouvost’s first solo exhibition in France. Winner of the prestigious Turner Prize in 2013, and the first French artist ever to have been awarded this prize, Laure Prouvost, who is based in London, will present a group of new works in the same vein as the prize-winning piece Wantee (2013) which tells the story of her fictional grandfather, a friend of Kurt Schwitters’, who is supposed to have mysteriously disappeared while digging a conceptual tunnel to Africa, and of her video Grandma’s dream (2013) in which Laure Prouvost immerses us in the imaginary world of her likewise fictional grandmother. As a continuation of these two major works, the artist occupies the gallery and invites us into the Visitor Center, built by her grandmother and grandchildren in honor of her husband and grandfather still to this day, missing. Visitors follow the path of the exhibition as indicated by a platform which leads them toward installations, tapestries, paintings, videos and sculptures, plunging them into an enveloping experience of sound and light. Two of the tapestries, made using collages by the artist, are animated through a system using film projection; a spiral staircase invites the visitor to climb upwards toward a video. Panels act as markers indicating the route to be taken step-by-step. SIGN paintings deconstruct the exhibition space and suggest an alternative ideal arrangement, while the video Burrow Me invites us to follow the traces of a thrilling breakaway. -
The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture
Acts of Public Survival: The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Tess Elizabeth Cumpstone, MA Graduate Program in Women’s, Gender, and Sexuality Studies The Ohio State University 2018 Thesis Committee: Dr. Guisela Latorre, Advisor Dr. Margaret Price Copyright by Tess Elizabeth Cumpstone 2018 2 Abstract “Acts of Public Survival” analyzes how community-based, anti-rape art projects on college campuses challenge the sexist-ableist rhetorical maneuvers that pathologize survivors and position them as outliers requiring special treatment. This violent rhetoric is evident in messages that have been circulated by prominent public figures, as well as entrenched in the policies and administrative responses addressing sexual violence on college campuses. The impact of such rhetoric is the perpetuation and affirmation of the sub-humanization of survivors of sexual trauma. In this thesis, I put disability studies scholarship in conversation with feminist theories on sexual violence and public art in order to highlight the interconnected history of sexism-ableism in the U.S. and the function of anti-rape art projects as artivist practices on college campuses. Specifically, I will be considering Duke University’s Breaking Out Campaign, the University of Chicago’s Clothesline Project, and Emma Sulkowicz’s Mattress Performance (undertaken at Columbia University). I use grounded theory and discourse analysis to interpret digital articles written in reaction to the art projects and to track three common trends in sexist-ableist campus community responses: the narrative of special treatment, the narrative of pathology, and the narrative of willful ignorance. -
UNITED STATES DISTRICT COURT SOUTHERN DISTRICT of NEW YORK PAUL NUNGESSER, Plaintiff, No. 15-Cv-3216 (GHW) Oral Argument Reques
Case 1:15-cv-03216-GHW Document 29 Filed 08/28/15 Page 1 of 32 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK PAUL NUNGESSER, No. 15-cv-3216 (GHW) Plaintiff, Oral Argument Requested v. COLUMBIA UNIVERSITY, TRUSTEES OF COLUMBIA UNIVERSITY, LEE C. BOLLINGER, individually and as agent of Columbia University, and JON KESSLER, individually and as agent of Columbia University, Defendants. MEMORANDUM OF LAW IN SUPPORT OF DEFENDANTS’ MOTION TO DISMISS THE AMENDED & SUPPLEMENTED COMPLAINT PAUL, WEISS, RIFKIND, WHARTON & GARRISON LLP 1285 Avenue of the Americas New York, New York 10019-6064 (212) 373-3000 Attorneys for Columbia University, Trustees of Columbia University, Lee C. Bollinger, and Jon Kessler Case 1:15-cv-03216-GHW Document 29 Filed 08/28/15 Page 2 of 32 TABLE OF CONTENTS Page PRELIMINARY STATEMENT .....................................................................................................1 STATEMENT OF FACTS ..............................................................................................................3 ARGUMENT ...................................................................................................................................6 I. Plaintiff Fails to State a Title IX Claim ...............................................................................6 A. The Conduct Alleged Was Not Sexual Harassment ............................................... 8 B. Plaintiff Was Not Barred from Access to Educational Opportunities .................... 9 C. Title IX Does Not Require that Columbia -
Towards a New Reading of Trauma
TRACING THE SCARS: TOWARDS A NEW READING OF TRAUMA ______________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ______________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ______________________________________________________________________ by Susan Cherie Beam May 2020 Examining Committee Members: Dr. Suzanne Gauch, Advisory Chair, English Dr. Sue-Im Lee, English Dr. Carissa Harris, English Dr. Beverly E. Schneller, External Member, Belmont University i ABSTRACT In our contemporary cultural setting, the notion of “trauma” has been extended far beyond a clinical diagnosis and cultural trope into a signifier denoting a subjective reaction to experiences ranging from small grievances to large-scale tragedies. In a world where stories featuring traumatic subject matter have become part of our daily reading, is how we read, understand, and teach trauma still effective? This dissertation explores the ahistorical, subjective experience of trauma as represented in a selection of contemporary global literature, pushing back against canonical trauma literary theory posed by scholars such as Cathy Caruth and instead, suggests a new mode of reading traumatic representation. I argue that, by exploring both the wounded mind and the wounded body, with attention to the influence of the traumatic context and close-reading the nuance of the figurative language of representation, we have -
Museums, Feminism, and Social Impact Audrey M
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Museum Studies Theses History and Social Studies Education 5-2019 Museums, Feminism, and Social Impact Audrey M. Clark State University of New York College at Buffalo - Buffalo State College, [email protected] Advisor Nancy Weekly, Burchfield Penney Art Center Collections Head First Reader Cynthia A. Conides, Ph.D., Associate Professor and Coordinator of the Museum Studies Program Department Chair Andrew D. Nicholls, Ph.D., Chair and Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to https://history.buffalostate.edu/. Recommended Citation Clark, Audrey M., "Museums, Feminism, and Social Impact" (2019). Museum Studies Theses. 21. https://digitalcommons.buffalostate.edu/museumstudies_theses/21 Follow this and additional works at: https://digitalcommons.buffalostate.edu/museumstudies_theses Part of the Feminist, Gender, and Sexuality Studies Commons, Museum Studies Commons, and the Women's History Commons I Abstract This paper aims to explore the history of women within the context of the museum institution; a history that has often encouraged collaboration and empowerment of marginalized groups. It will interpret the history of women and museums and the impact on the institution by surveying existing literature on feminism and museums and the biographies of a few notable female curators. As this paper hopes to encourage global thinking, museums from outside the western sphere will be included and emphasized. Specifically, it will look at organizations in the Middle East and that exist in only a digital format. This will lead to an analysis of today’s feminist principles applied specifically to the museum and its link with online platforms. -
SATELLITE Art Show Announces Programming and Exhibitors for Its South Beach Debut, Miami Arts Week 2016
PRESS CONTACT Molly Krause [email protected] Molly Krause Communications www.molly.nyc SATELLITE Art Show announces programming and exhibitors for its South Beach debut, Miami Arts Week 2016 Offerings include an 800-gallon cereal bowl performance installation from Jen and Paul; a queer strip club orchestrated by a Julliard-trained ballet dancer; two virtual reality lounges; a fully functional post-feminist tattoo parlor; a performance art space with nonstop programming; and nightly after-hours entertainment in SATELLITE’s onsite Pérez Art Museum Miami Contemporaries Penthouse New York, NY and Miami, FL — November 23, 2016 — Taking over the entirety of a retro, Miami Vice-style dive hotel in South Beach this December will be SATELLITE Art Show: four stories of repurposed hotel rooms and lobby space packed with immersive, experiential, often- participatory exhibitions and programming. SATELLITE, now in its second year but its first in the new location and format, is an artist-run and concept-driven alternative art fair that positions itself at the confluence of art, music, performance, new media, and technology. “We believe art can be marketable and still have a soul,” said SATELLITE director Brian Whiteley of the fair’s experiential emphasis. “SATELLITE visitors can browse works from a Venice Biennale U.A.E. Pavilion participant in one room, then walk next door and step inside a virtual reality aromatherapy pod. They can walk out of the fair with both a museum-quality artwork and a new tattoo.” Aside from the fair’s conceptual presentations, SATELLITE’s repurposed hotel spaces will house a dynamic array of interactive installations. -
Art and Information Come High Resolution Photography to Digitise Museum Together to Convey Content, Meaning and Narrative
http://dx.doi.org/10.14236/ewic/EVA2018.34 Of Museums and Digital Culture: A landscape view Tula Giannini Jonathan P. Bowen Professor of Information Professor of Computing School of Information School of Engineering Pratt Institute London South Bank University New York, USA London, UK http://mysite.pratt.edu/~giannini/ http://www.jpbowen.com [email protected] [email protected] A book on Museums and Digital Culture, edited by the two authors of this paper, is planned for publication in 2019. The book is structured in ten parts, typically with around three contributed chapters in each part. This paper will survey each of these areas to provide a landscape view of the overall topic, together with some personal conclusions and views on future directions by the authors. What distinguishes this museum book from others, is its focus on digital culture and art, digital behaviour, and the interaction of real and virtual life, and how this increasingly impacts museums as they move into the future. We trace the development of digital culture from its foundations in the 1940s with the work of Shannon, inventor of information theory and Turing, father of computer science, to present. A key concept is to bring diverse perspectives and voices on the 21st century museum, from inside and beyond the museum walls, of artists, academics, and professionals, as museums transform into the digital future. Archives. Digital art. Digital culture. Digital heritage. Exhibitions. GLAM. Libraries. Museums. Philosophy. Strategy. mind, a new book (Giannini & Bowen 2019) is 1. BACKGROUND planned to cover the interleaving of museums and digital culture with respect to a number of different I’m going online aspects and viewpoints. -
Press Release Laure Prouvost, Could Cool Claoud (2021)
Laure Prouvost, Could Cool Claoud (2021). HD digital video (still). Courtesy Laure Prouvost, Galerie Nathalie Obadia (Paris, Brussels), carlier | gebauer (Berlin, Madrid) and Lisson Gallery (London, New York, Shanghai) 2021-04-08 10:07 CEST Laure Prouvost creates an escapist universe at Kunsthal Charlottenborg where we can dream of embracing each other again This spring, Kunsthal Charlottenborg is proud to reopen with the first solo exhibition in Scandinavia with Turner Prize winning artist Laure Prouvost who represented France at the 58th International Art Biennial in Venice. The exhibition Our elastic arm hold in tight through the claoudspresents a new film work and coincides with this year’s programme at CPH:DOX. Exhibition period: 21 April – 8 August 2021 Opening: 21 April 2021, 12-20 Press view: 21 April 2021, 11-12 Laure Prouvost works with a richly imaginative artistic language encompassing film and installation as well as sculpture, sound and performance. She is known for her sensuous and evocative immersive installations where the boundaries between fiction and reality become blurred and the ambiguities of language are explored. For Our elastic arm hold in tight through the claouds, Prouvost will transform Kunsthal Charlottenborg’s entire north wing into a labyrinthine and other- worldly installation. Conceived as a total experience, centered around a new video installation, co-commissioned with the Australian Centre for Contemporary Art (ACCA) in Melbourne, the exhibition will introduce audiences to the spirited, absorbing and frequently humourous hallmarks of Prouvost’s diverse artistic practice. In this enticing exhibition, whispering, erotic voices will share the space with fragile glass sculptures, a Flemish tapestry, raspberry-eating fish and flowers unfurling their petals. -
SPEAK TANIA BRUGUERA, DOUGLAS GORDON, LAURE PROUVOST, CALLY SPOONER 2 March – 21 May 2017 Serpentine Sackler Gallery
Press Release SPEAK TANIA BRUGUERA, DOUGLAS GORDON, LAURE PROUVOST, CALLY SPOONER 2 March – 21 May 2017 Serpentine Sackler Gallery Speak, at the Serpentine Sackler Gallery, brings together four artists – Tania Bruguera, Douglas Gordon, Laure Prouvost, Cally Spooner – and coincides with the Serpentine Gallery’s survey of the late British conceptual artist John Latham. The artists in Speak each extend and update Latham’s radical world view with their own sense of urgency. The Sackler space is transformed with an installation of video, light, sound and a video bid for Cuban presidency and a composition of drawings, sound and a single live body in a state of warm-up. Each artist explores language as a medium for action, exchange and disruption. Together, they reveal how Latham’s ideas continue to resonate: from taking an unconventional approach to the reception and transference of knowledge to prioritising the role of the artist in society as an agent for change. Tania Bruguera directly addresses political and humanitarian issues in her native Cuba through performance and long-term social engagement projects. Her interventions parallel the ambitions of the Artist Placement Group (APG), co-founded by John Latham, which positioned the artist inside industry with the potential to effect change. For this exhibition, Bruguera has made a video that builds on her recent announcement to run for presidency in Cuba. Douglas Gordon was first introduced to John Latham in his years as a student at Glasgow School of Art (1984–8), and Latham remained an influential figure on Gordon’s work. He has responded to the architecture of the Serpentine Sackler Gallery by creating a new site-specific text installation incorporating Latham’s text works, drawing out their shared interest in the relationship between language and time. -
Sex and Power on Campus
572 Armstrong et al.Small Sex and Power on Campus Elizabeth A. Armstrong,1 Kamaria B. Porter,2 and Katelyn Kennon3 Sexual Citizens: A Landmark Study of Sex, Power, and Assault on Campus. Jennifer Hirsch and Shamus Khan, New York: W.W. Norton & Company, 2019. In 2014, Columbia University had a problem with campus sexual assault. So did other universities, but Columbia was the site of a visible protest. To highlight university failure to respond to her sexual assault and those of others, undergraduate art student Emma Sulkowicz carried a 50-pound mattress everywhere she went on campus during her senior year.4 The compelling symbolism of the campaign (and likely its Ivy League context) generated coverage in the New York Times and other high-profile venues.5 Columbia is far from the only university to experience a public relations crisis related to its handling of sexual violence, but it may be unique in its response. In 2015, it enlisted—and funded—an interdisciplinary team of faculty members to engage in a multi-method study of undergraduate social life at Columbia and Barnard—the Sexual Health Initiative to Foster Transformation (SHIFT). Sex- ual Citizens, co-authored by anthropologist Jennifer Hirsch and sociologist Shamus Khan, is a product of this multiyear effort. Based on extensive ethnographic and interview research, the book offers a new framework for thinking about campus sex- ual assault. Taking a public health approach, Hirsch and Khan focus on context— offering a refreshing contrast to the tendency of sexual violence research to zero in on the characteristics of individual victims and perpetrators.