2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
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JAMES FUENTES KIKUO SAITO March 3–April 3, 2021 James
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] KIKUO SAITO March 3–April 3, 2021 James Fuentes is pleased to present works by KIKUO SAITO. Kikuo Saito (1939–2016) was born in Tokyo and moved to New York City in 1966 at the age of 26, curious about the city’s burgeoning artistic movements. Saito had began painting a decade prior, building a steady understanding of traditional Japanese arts alongside contemporary movements such as the Gutai Group, while working for three years in the studio of established traditional painter Sensei Itoh. Landing in San Francisco, Saito traveled to New York by bus, visiting the country’s museums and witnessing its variable and remarkable landscape, confronted by the city’s own topography of signs upon arrival. During his first decade in New York, Saito worked between painting and theater. In many senses, he considered much of life as a performance. For his wordless theater pieces, Saito incorporated ephemeral, nontraditional materials like water and earth with elements of music, movement, and light, drawing inspiration in part from the performance traditions of Kabuki, Noh, and Butoh. These were collaborative works, in which Saito directed dancers and actors while creating stage costumes, sculptural elements, and using his abstract paintings as backdrops. Saito’s theater was well-received and in turn led to collaborations (and further travel) with Robert Wilson, Jerome Robbins, Eva Maier, and Peter Brook. In 1979 he decided to devote his attention entirely to painting, preferring the serene isolation of the studio, where he could physically manipulate paint across ground, over the complex, multi-disciplinary approach behind his theater pieces. -
Mediating Reproduction: Feminism, Art, Activism MCM 0900, CrossListed in Gender & Sexuality Studies and Theatre & Performance Studies
Mediating Reproduction: Feminism, Art, Activism MCM 0900, crosslisted in Gender & Sexuality Studies and Theatre & Performance Studies. Instructor: Beth Capper Office Hours: Tuesdays 1.303.30 PM, and by appt. [email protected] Location: 155 George Street, rm. 202 Seminar time: T/R 10.3011.50 AM Screenings: Mondays, 710 PM Location: Production 2, 135 Thayer Street Location: Henkle Room, 155 George Street How have feminist cultural producers and activists imagined and transformed the politics of reproduction? This course explores the complex meanings of “reproduction” across media, performance, and public culture, with a focus on questions of sexuality, race, labor, and aesthetic practice. Situating reproduction in an expanded frame, we will consider the relationship between biological reproduction and the gendered labor of reproducing social life (e.g., domestic labor, sex work, care work). We will examine how ideas about reproduction have been central to the regeneration of race and nation; how the gendering of labor reproduces capitalist social relations; and how feminists have variously theorized and practiced alternative conceptions of reproduction in relation to the politics of labor, difference, and community. Throughout, we will pay special attention to the entanglements of artistic labor with women's reproductive labor. Topics include: eugenics, housework/welfare rights activism, art workers movements, biotechnologies, queer kinship, and feminist utopias. Artists include: Betye Saar, Mierle Ladermann Ukeles, Ursula Biemann, Andrea Fraser, Suzanne Lacy, SubRosa, and María Magdalena CamposPons. Required Books: Charlotte Perkins Gilman, Herland. Course Requirements Attendance and Participation: Your attendance and participation are crucial to the success of this seminar. You are expected to come to class prepared to contribute meaningfully to our discussions with your own questions and critical commentaries on course materials. -
This Is the Drexel
How to Build a The Fight A Bittersweet Great Teacher Against Malaria Goodbye [DREXELWINTER/SPRING 2013 /////// MAGAZINE //////// VOLUME 23 NO. 1 ] COLLEEN WOLFE, BA’08 AJAMU JOHNSON, Michael Brennan, PhD’12, BS’02 is ‘hacking’ for good AMRITA BHOWMICK, MPH’10 This is the Drexel 40 under 40 DREW GINSBURG, BS’09 40 Ambitious Drexel Alumni, Doing Amazing Things 117 Total number of years that Drexel has competed in athletics. And each of those years is now covered in detail at the new Janet E. and Barry C. Burkholder Athletics Hall of Fame, which opened with a gala event at the Daskalakis Athletic Center in early December. The new Hall of Fame is an interactive exhibit that allows visitors to view a complete history of Drexel Athletics, including information on Drexel greats, retired numbers, memorable moments, all- time rosters and more (see story, Page 21). THE LEDGER [ A NUMERICAL ANALYSIS OF LIFE AT DREXEL ] Number of MacBooks held by the new laptop kiosk at the W.W. Hagerty 12 Library—a kiosk that allows students to check out one of 12 MacBooks for free, 24 hours a day, seven days a week. Drexel is the third university in the nation to install this kind of kiosk, and it’s possible that additional machines could be installed around campus in the future. Said Drexel Libraries Dean Danuta A. Nitecki: “This was a great opportunity to match a specific student need with library staff’s ongoing exploration of cutting-edge technologies.” Total raised so far by the College of Medicine’s annual Pediatric AIDS Benefit Concert (PABC). -
FOR IMMEDIATE RELEASE Contact: Doug Kubek April 15, 2019 312.499.4254 [email protected] MIERLE LADERMAN UKELES to DELIVER COMMEN
FOR IMMEDIATE RELEASE Contact: Doug Kubek April 15, 2019 312.499.4254 [email protected] MIERLE LADERMAN UKELES TO DELIVER COMMENCEMENT ADDRESS FOR THE SCHOOL OF THE ART INSTITUTE OF CHICAGO Ukeles will receive an honorary doctorate from the School, along with Dawoud Bey, Isaac Julien and Chris Ware CHICAGO—The School of the Art Institute of Chicago (SAIC), a global leader in art and design education, will welcoMe celebrated artist Mierle LaderMan Ukeles who will deliver the School’s coMMenceMent address on Monday, May 13, at Wintrust Arena, 200 East CerMak Road. Ukeles, an activist artist known for her feMinist works, will receive an honorary doctorate froM the School, along with esteeMed honorees, photographer Dawoud Bey, whose latest body of work was recently featured at the Art Institute of Chicago; filMMaker Isaac Julien and cartoonist and SAIC aluM Chris Ware (SAIC 1991–93). “We are honored to welcoMe Mierle, Dawoud, Isaac and Chris,” said SAIC President Elissa Tenny. “These visionary leaders are inspirations to our graduates. Like theM, SAIC artists, designers and scholars pursue the questions that expand our understanding, increase our coMpassion and help Make our shared society better.” Since 1938, SAIC has awarded honorary degrees to an elite group of individuals who have Made significant contributions to art, design, scholarship and culture. Past recipients include Marina AbraMovic, Judy Chicago, Jeanne Gang, Theaster Gates, Kerry JaMes Marshall, Yoko Ono, Patti SMith and Kanye West, and SAIC aluMs Tania Bruguera (MFA 2001), Jeff Koons (SAIC 1975–76) and David Sedaris (BFA 1987). More than 900 students are expected to receive undergraduate and graduate degrees and post-baccalaureate certificates froM the prestigious art and design college. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Carmel Pine Cone, February 8, 2013 (Main News)
PEBBLE BEACH NATIONAL PRO-AM 2013 A SPECIAL ATSECTION INSIDE &TODAYS CARMELT PINE CONE — The pros and celebrities schedules, ticket info, how to get there & more… Volume 99 No. 6 On the Internet: www.carmelpinecone.com February 8-14, 2013 Y OUR S OURCE F OR L OCAL N EWS, ARTS AND O PINION S INCE 1915 Super Bowl coach is last-minute add to Pro-Am Hardy: Vesuvio By MARY SCHLEY tequila party HIS TEAM didn’t win the Super Bowl, but head coach Jim ‘disgusting’ Harbaugh was able to console himself at least a little by joining the field of this week’s AT&T and ‘appalling’ Pebble Beach National Pro-Am, one of the most popular and suc- n Pepe: Take it back or I’ll sue cessful tournaments on the PGA Tour. By MARY SCHLEY “He played last year, and he’s a friend of the tournament, and A CARMEL resident who wants the town to be quiet obviously, he’s a major draw,” and a restaurateur who wants it to have a bit more nightlife Monterey Peninsula Foundation are battling over plans for a racy party in the rooftop bar at a CEO Steve John, who oversees the downtown restaurant. tournament, said Thursday from At Tuesday’s council meeting, Carolyn Hardy asked the the 1st Tee at the Monterey council to protect her First Amendment right to free speech Peninsula Country Club Shore about what she feels is best for the town, but city attorney Course as celebrities and top pros PHOTOS/GETTY IMAGES Don Freeman advised the mayor and council to stay out of a started their first round of com- San Francisco 49ers coach Jim Harbaugh made quite a fashion statement with some local fight that could end up in court. -
Myths to Live By: Uncovering the Veiled Past of Actress/Artist Minnie Ashley by Roy Collins William A
Myths to Live By: Uncovering the Veiled Past of Actress/Artist Minnie Ashley by Roy Collins William A. Chanler, Editor On or about June 16th, 1845, 17-year-old Bridget Lyons set sail by ferry from County Cork, Ireland to Liverpool, England. From Liverpool she gained passage aboard the packet ship Concordia, bound for Boston, Massachusetts in the United States. The year 1845 marked the beginning of the ill-fated Potato Famine in Ireland, a dark period that would last six years. It brought mass starvation, poverty, and a multitude of deaths across the island. During the famine period, it was typical for Irish families to send their able-bodied children to seek opportunity in Europe and across the Atlantic to North America. The exact location of the residence where Bridget had resided in County Cork remains uncertain. We know only Photo circa 1898 by Benjamin Falk that later in life Bridget Lyons (then Bridget Tully) would marry John Campbell in Fall River, Massachusetts in 1861. On that marriage record her father was listed as William Lyon and her mother as Catherine (Curly) Lyon. The letter “S” at the end of the surname may have been dropped when transcribed by the town clerk as it was the only time the surname was spelled without the “S.” Most emigres traveled to the United States and Canada on the well-established Mc Corkell Line which offered sea-worthy sailing ships equipped to haul both passengers and freight. Depending upon the fare paid for passage, emigres had the choice of either a small cabin or state room, comparable in size to a small hotel room. -
Displaced Colombian Mothers‟ Narratives of Crianza A
Internal Exiles: Displaced Colombian Mothers‟ Narratives of Crianza A Thesis Submitted to the College of Graduate Studies and Research In Fulfillment of the Requirements For the Degree of Master of Arts In the Department of Psychology University of Saskatchewan Saskatoon Canada By Katherine Satizábal Parra © Copyright Katherine Satizábal Parra, June 2016. All rights reserved. PERMISSION TO USE In presenting this thesis/dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation. Requests for permission to copy or to make other uses of materials in this thesis/dissertation in whole or part should be addressed to: Head of the Department of Psychology University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada i ABSTRACT In Colombia, the politics and violence of a mostly rural and remote internal armed conflict have spanned decades, displacing millions of women into internal exile in the large cities. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Kikuo Saito CV(2021)
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] KIKUO SAITO b. 1939, Tokyo, Japan d. 2016, New York, NY SOLO EXHIBITIONS 2021 Kikuo Saito, James Fuentes, New York, NY 2019 To Paint with Drawing, Loretta Howard, New York, NY (catalog) Lyrical Abstraction: Small Scale, Lori Bookstein Projects, New York, NY 2018 Works on Paper, Lori Bookstein Projects, New York, NY Kikuo Saito: Resonant Tension, Loretta Howard, New York, NY (catalog) 40 Years, Octavia Art Gallery, Houston, TX Never Before Seen Paintings from the Estate, Jonathan Novak Contemporary Art, Los Angeles, CA 2017-18 Works from the Estate, Jonathan Novak Contemporary Art, Los Angeles, CA 2017 Kikuo Saito, Octavia Art Gallery, Houston, TX; New Orleans, LA 2016-17 Color and Drawing, Golden Artist Colors at the Sam & Adele Golden Gallery, New Berlin, NY (catalog) 2016 The Final Years, Leslie Feely, New York, NY (catalog) 2015 New Paintings, Robert Kidd Gallery, Birmingham, MI Kikuo Saito, Octavia Art Gallery, New Orleans, LA; Houston, TX; San Antonio, TX (catalog) 2014 Paintings and Works on Paper, Leslie Feely Fine Art, New York, NY (catalog) 2012 Works on Paper, Jill Newhouse Gallery, New York, NY (catalog) Vision's Gallery, Asagaya Art College, Tokyo, Japan 2011 Paintings, Elaine Baker Gallery, Boca Raton, FL 2010 New York Design Center, New York, NY 2009 Paintings, Leslie Feely Fine Art, New York, NY 2006 Recent Paintings and Works on Paper, Gallery Thiele, Linz, Austria (catalog) Paintings, Salander-O’Reilly Galleries, New York, NY 2005 -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University -
“Prospect 3: Notes for Now,” Or P.3, The
Bright Prospects Linda Yablonsky October 31, 2014 Artforum International THERE’S ALWAYS A GOOD REASON to be in New Orleans. Last weekend, the draw was “Prospect 3: Notes for Now,” or P.3, the resonant third edition of the international biennial that Dan Cameron created in 2007, two years after Hurricane Katrina doused city and spirit. Under artistic director Franklin Sirmans, P.3 opened with work by fi fty-eight artists from the Americas, Asia, Europe, and the Middle East planted in eighteen venues around town. On Thursday, October 23, a few visiting dealers and collectors joined a veritable congress of American museum curators to track them down. During a press conference at the Ashé Cultural Arts Center, where Sirmans and P.3 executive director Brooke Davis Ander- son introduced the biennial, the fi rst people I saw were the Mu- seum of Modern Art’s Stuart Comer and Thomas Lax. Spread across the room were the Whitney’s Christopher Lew, Andy Warhol Museum director Eric Shiner, Bronx Museum director Holly Block, and Carnegie Museum curator Dan Byers. The Artist Tavares Strachan Speed Museum curator Miranda Lash, ICA Philadelphia exhibi- tion director Ingrid Schaff ner, and Jewish Museum deputy director Jens Hoff mann would soon appear, along with both Rita Gonzalez and Christine Y. Kim of the Los Angeles County Museum of Art, where Sirmans heads the department of contemporary art. All gave the same reason for being there: “Franklin.” Despite the support, Sirmans seemed nervous when he spoke of the anchors for his citywide show: Walker Percy’s 1961 New Orleans novel of displacement, The Moviegoer; a Gaugin-in-Tahiti painting; and the cultural cannibalism of the early twentieth-century, Brazilian Antropofágico movement.