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Hanne Darboven Abstract Correspondence
1 Hanne Darboven Abstract Correspondence Hanne Darboven Abstract Correspondence Published on the occasion of the exhibition Hanne Darboven, A Survey April 11 - May 24, 2013 Castelli “i can’t describe so i will write”: Hanne Darboven’s Abstract Correspondence Cathleen Chaffee “The simplest thing we could say would be that art—all art, abstract or not— reveals what the subject makes of its condition—the condition of language. It shows what the subject … invents to face the paradox of a condition on which we are dependent but which to a large, definitive extent we cannot control.”1 – Birgit Pelzer For many years, I have had a maxim on composition by Hanne Darboven pinned above my writing desk, a statement she repeated so often it became a kind of manifesto: “I do like to write and I don’t like to read / one plus one is one two.”2 When Darboven was alive, I repeated the adage because it was affirming and even encouraging to know that she was probably sitting at a desk in Harburg, near Hamburg laying words, numbers, and symbols down on the page, diligently completing sheaves of work. The idea that made her pick up a pen each day may opposite page have required research and been difficult to conceptualize, but writing it out, 15/2/74 - 4/3/74. NYC “TODAY”, 1974 giving it symbolic form, was just a matter of time. However, it was not just the Pen and marker on amount of writing Darboven seemed to so fluidly produce that made her inspi- a 32-page notebook 1 3 8 /4 x 5 /4 inches rational as a writer; it was her approach to the reader. -
Department of Film and Video Archive
Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers. -
Une Bibliographie Commentée En Temps Réel : L'art De La Performance
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4. -
David Askevold
Pop culture BOOK RELEASE ISBN 13: 978‐0‐86492‐659‐3 hc $50 / 144 pp / 8.5 x 10.5 David Askevold Pub Date: September 2011 (Canada & U.S.) Goose Lane Editions and Art Gallery of Nova Scotia Once Upon a Time in the East Edited by David Diviney David Askevold broke into the art scene when his work was included in the seminal exhibition Information at New York’s MOMA 1970, helping cement Conceptualism as a genre. He later became recognized as one of the most important contributors to the development and pedagogy of conceptual art; his work has been included in many of the genre’s formative texts and exhibitions. David Askevold: Once Upon a Time in the East takes readers on an eclectic journey through the various strains of Askevold’s pioneering practice — sculpture and installation, film and video, photography and photo‐text works, and digital imagery. David Askevold moved from Kansas City to Halifax in 1968 to lecture at the Nova Scotia College of Art and Design. During the early 1970s, his famous Projects Class brought such artists as Sol Lewitt, Vito Acconci, John Baldessari, Dan Graham, and Lawrence Weiner to work with his students, focusing critical attention on his adopted city and on his own unorthodox approach to making art. He quickly became one of the most important conceptual artists practicing in Canada, and throughout his career, he remained at the vanguard of contemporary practice. David Askevold: Once Upon a Time in the East features essays by celebrated writer‐curators Ray Cronin, Peggy Gale, Richard Hertz (author of The Beat and the Buzz), and Irene Tsatsos, as well Askevold’s contemporaries including Aaron Brewer, Tony Oursler, and Mario Garcia Torres. -
Passie of Professie. Galeries En Kunsthandel in Nederland
UvA-DARE (Digital Academic Repository) Passie of professie. Galeries en kunsthandel in Nederland Gubbels, T. Publication date 1999 Link to publication Citation for published version (APA): Gubbels, T. (1999). Passie of professie. Galeries en kunsthandel in Nederland. Uniepers. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 Expansie, differentiatie en distinctie 1985-1995 Gevestigde galeries in soorten en maten De oudere generatie 'Geen enkele galerie in Nederland heeft het zo lang volgehouden als Espace.' aldus H. Koomen-de Langen en J. Torringa in de catalogus die ter gelegenheid van het veertigja rig bestaan van de galerie verscheen.1 Espace vierde in 1997 haar jubileum met een ten toonstelling in het Frans Halsmuseum in Haarlem, de stad waar de galerie de eerste vier jaar van haar bestaan gevestigd was. -
Video Circuits
"Written on top of ments at VIDEO CIRCUITS DECEMBER 4 - JANUARY 2, 1974 McLAUGHLIN LIBRARY UNIVERSITY OF GUELPH Preface and Acknowledgements This exhibition grew out of a mutual interest in video tape as an art form shared by Eric Cameron, Professor of Fine Art, Ian Easterbrook and Noel Harding of the Television Unit, Audio Visual Services at the University of Guelph . In the past we have explored the photographic image as an art form in an exhibition on the history of the still photograph from 1845 to 1970 . But this is our first exhibition of a sampling of video tape used as an expressive medium by artists . The selection of tapes was governed by our intention of presenting a show typifying what is happening in video art today . For this reason we have included tapes by established artists, faculty and students . At the University of Guelph courses in video art have been taught by Allyn Lite, Eric Cameron and Noel Harding and have been offered to students in the Department of Fine Art about once a year for the past three years . Arising out of the teaching of video tape an exchange program has been organized with the Nova Scotia College of Art and Design and another planned with the California College of Arts and Crafts . Examples of tapes by students from these two schools and from this university are included in the exhibition . We are grateful to Ian Easterbrook for co-ordinating the administrative and technical requirements of this exhibition, also to Noel Harding for contacting artists and to Eric Cameron for writing the introduction to the exhibition . -
Ron Shuebrook
RON SHUEBROOK Home Address: 95 Nottingham Street Guelph, ON N1H 3M9 Home Telephone: Telephone: (519) 766-4744 E-mail Address: [email protected] Canadian Citizen since 1987 I. GENERAL INFORMATION A. Education Dates Attended Degree Certificate Date Granted Institution Kent State University, Ohio 1970-72 MFA with major in painting, and June, 1972 additional studies in printmaking, sculpture, philosophy, and art history Blossom-Kent Summer Program, 1971 (Summer) Graduate coursework in painting Kent State University with visiting artists R. B. Kitaj, Leon Golub, and others Fine Arts Work Center, 1969-70 Fellowship in painting Provincetown, Massachusetts with Myron Stout, Fritz Bultman, Phillip Malicoat, Robert Motherwell, and others Kutztown University, Pennsylvania 1968-69 MEd in Art Education 1969 Haystack Mountain School of 1965 & 1967 Graduate coursework in Crafts, Deer Isle, Maine (Summers) printmaking and painting Kutztown University, Pennsylvania 1961-65 BSc in Art Education 1965 Pennsylvania Art Teaching Certification, K - 12 B. Recent Academic Appointments July 2008 to Present Professor Emeritus, OCAD University, Toronto, Ontario. May- June 2011 Visiting Instructor, Drawing and Painting Workshop, Haystack Mountain, School of Crafts, Deer Isle, Maine January 19- 29, 2010 Visiting Instructor, Drawing Marathon, New York Studio School of Drawing, Painting & Sculpture, New York City, New York Ron Shuebrook Curriculum Vitae Page 2 of 41 July 1, 2005 – June 30, 2008 Professor, Faculty of Art, Ontario College of Art & Design (now OCAD University), Toronto, Ontario Coordinator and Professor, OCAD Florence Program, Italy, January through May 2007. 2000 to June 30, 2005 President and Chief Executive Officer, Ontario College of Art & Design, Toronto, Ontario. Represented OCAD with the Ministry of Training, Colleges, and Universities, Council of Ontario Universities, Association of Independent Colleges of Art and Design, Canadian Association of Institutes of Art and Design, and other external organizations. -
Trees in the Forest July 23–Sept. 2, 2016 Curated by Kari Rittenbach
Stereo view high above the Columbia River at former Indian campsite. Carleton E. Watkins, Courtesy Oregon Historical Society (bb014690) TREES IN THE FOREST JULY 23–SEPT. 2, 2016 CURATED BY KARI RITTENBACH Andrei Koschmieder, Plant on radiator (if the phone rings...), detail, 2012. Courtesy the artist and Real Fine Arts, New York Arts, New detail, 2012. Courtesy the artist and Real Fine Martha Rosler, Seattle: Hidden Histories, 1991–95. Courtesy the artist and York Arts Intermix, New Electronic 84” x 84” x 8” diameter © Jackie Winsor. Courtesy Paula Cooper Gallery, New York Courtesy the artists detail, 2016. , 1971-72. Wood and twine. , 1971-72. Wood Bound Grid Nina Könnemann, Madagascar, 2004. Courtesy the artist Toyota Sunflower, Sunflower, Toyota Jackie Winsor, Jackie Winsor, (1995), XP (2001), Vista (2006), 7 (2009), 2016 Real Life magazine #19, Winter 1989 Jen Shear & Vinnie Smith, Jen Shear & Vinnie Windows Disclaimer: 95 Windows Courtesy the artist and 47 Canal, New York Courtesy the artist and 47 Canal, New Elise Duryee-Browner, Elise Duryee-Browner, Martin Beck, video still from The Environmental Witch-Hunt, 2008. Charles Gaines, Trisha Brown Dance, Set 7, 1980–1981, Cibachrome photographs, ink on Strathmore paper. Set of 4 small drawings, 2 large drawings and 2 photographs. Small drawings: 11” x 19 drawings and 2 photographs. Small drawings: 11” YU Tim Young & Ben Blackwell Young Tim YALE UNION 800 SE 10th Ave Portland, Oregon 97214 Courtesy the artist. Photos: Howard Fried, Fireman’s Conflict Resolution #4 and Fireman’s Conflict Resolution #5, 1982. Los Angeles Projects Los Vielmetter Susanne and York New Gallery, Cooper Paula Courtesy Gaines. -
A Pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1
MANIFESTO PAMPHLET 18/19.10.2008 A pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1. The historic avant-gardes of the early 20th century and the neo- avant-gardes in the 1960s and 70s created a time of radical manifestos. 2. We now live in a time that is more atomised and has less cohesive artistic movements. 3. At this moment, there is a reconnection to the manifesto as a document of poetic and political intent. 4. This is a declaration of artistic will and new-found optimism. 5. New modes of publication and production are a means to distribute ideas in the form of texts, documents, and radical pamphlets. 6. This futurological congress presents manifestos for the 21st century. This event is urgent. 1 MANIFESTO PAMPHLET 18/19.10.2008 Gilbert & George (1969) SPONSOR’S FOREWORD In an exciting journey to discover the future of travel and relaunch their brand, Kuoni has partnered with a series of prominent experts from the worlds of contemporary lifestyle, fashion, art, architecture, music and literature. The latest in its ongoing series of collaborations sees Kuoni partner with the Serpentine Gallery, and, from 18 – 19 October, Kuoni is proud to be the headline sponsor of the Serpentine Gallery Manifesto Marathon. Through the sponsorship of the Manifesto Marathon, Kuoni will collect new perspectives on travel and develop these into a ‘new culture of travelling’–a selection of luxury, unique and authentic travel experiences. The Kuoni and Serpentine Gallery relationship is based on a common sense of curiosity and passion for innovation. Moreover, the concept of the Manifesto Marathon closely mirrors the Kuoni Getaway Council –an ever-evolving group of prolific experts and innovative thinkers from different fields, industries and countries– which was set up as a platform for exchanging ideas and finding new ways to innovate in travel. -
Torch of the Mystics Spring 2017
AART320R-01 520R-01 TORCH OF THE MYSTICS SPRING 2017 Instructor: Scott Benzel Graduate Assistant: Owen Hutchinson Mondays 9:30-12:20 am A216 Office Hours by appointment Mondays and Thursdays please email to make an appointment: [email protected] or [email protected] Required texts: ALL TITLES REFER TO TEXTS IN THE PDF FOLDER Course Description: “Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.”- Sol Lewitt Torch of the Mystics is a seminar class addressing the strong historical interaction between art and 'outsider', utopian, non-Euclidian, vitalist, and 'mystical' philosophies. Approximately one third of class time will be devoted to lectures and two-thirds of class time will be devoted to discussions of readings and presentations. Presentations are periods for 2 class members to share writing, lectures, presentations or work related to thematic threads of the class. A final project is due on the last day of class. The final project may be an artwork or a written essay. Regular attendance, class participation, a presentation, and a final project must be completed for a passing grade. Grading will be as follows: 1. Attendance and participation in discussions = 50% 2. Presentation = 25% 3. Final Project= 25% Attendance and Behavior: Please arrive on time. 2 or more unexcused absences for lectures or critiques will result in a lowered grade, more than 3 will result in a failing grade. Please do not sleep, talk, text, use the internet, laptop, or phone for non-class-related purposes during class or you will be asked to leave and counted absent. -
Sammlungfischer Kat10.Qxd:Sammlung Fischer
Friedrich Meschede Stumme Freiheit oder Versuch eines Porträts nach ephemeren Archivalien The freedom of silence – or the attempt at making a portrait from archival ephemera Seit der Eröffnung seiner Galerie im Oktober 1967 hatten Ausstellungen »bei Konrad Fischer« für die Wertschätzung und Wahrnehmung konzeptueller Kunst in Europa Maßstäbe gesetzt: aufgrund der Künstler, die Konrad Fischer einlud, bei ihm auszustellen, in Gestalt der spezifischen Werke, die jeweils für den Raum in der Neubrückstraße 12 in Düsseldorf geschaffen wurden, und schließ- lich wegen des Einflusses auf die öffentlichen und privaten Sammlungen, in die die Arbeiten von der Galerie aus gelangt sind. Die Chronologie der Ausstellun- gen von 1967 bis 1992, die anlässlich des 25-jährigen Bestehens der Galerie in der Edition Marzona unter dem Titel »Galerie mit Bleistift« (eine Wortschöpfung von Bruce Nauman),1 publiziert wurde, ist zugleich eine Kunstgeschichte jener Jahre in Düsseldorf und darüber hinaus. Man findet kaum weitere Beispiele für eine derartige Intensität an Innovation in der bildenden Kunst jener Jahre. Aus der engen Zusammenarbeit mit den Künstlern entwickelte sich Freundschaft und ein Vertrauensverhältnis, das Kennzeichen und Grundlage für den kontinu- ierlichen Zuwachs vieler Sammler war, die »bei Konrad Fischer« ihre Werke erworben haben. Man kann auch umgekehrt sagen, aus Vertrauen und Freund- schaft heraus konnten ungewöhnliche Ausstellungen entwickelt werden, weil bei Konrad Fischer das Verständnis und ein Auge für das Neue, Herausfordernde und -
A Feminist Inheritance? Questions of Subjectivity and Ambivalence in Paul Mccarthy, Mike Kelley and Robert Gober
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 A Feminist Inheritance? Questions of Subjectivity and Ambivalence in Paul McCarthy, Mike Kelley and Robert Gober Marisa White-Hartman Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/334 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] A FEMINIST INHERITANCE? QUESTIONS OF SUBJECTIVITY AND AMBIVALENCE IN PAUL MCCARTHY, MIKE KELLEY AND ROBERT GOBER by Marisa White-Hartman A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 MARISA WHITE-HARTMAN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Dr. Anna Chave ––––––––––––––––––– Date Chair of Examining Committee Dr. Claire Bishop Date Executive Officer Dr. Mona Hadler Dr. Siona Wilson Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract A FEMINIST INHERITANCE? QUESTIONS OF SUBJECTIVITY AND AMBIVALENCE IN PAUL MCCARTHY, MIKE KELLEY AND ROBERT GOBER by Marisa White-Hartman Adviser: Professor Anna Chave This dissertation assesses the impact of feminist art of the 1970s on specific projects by three male artists: Paul McCarthy’s performance Sailor’s Meat (1975), Mike Kelley’s installation Half a Man (1989) and Robert Gober’s 1989 installation at the Paula Cooper Gallery.