DOCSLIB.ORG

Volatility Liquidity and Malleability Replicating the Art of the 1960S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volatility Liquidity and Malleability Replicating the Art of the 1960S Volatility, Liquidity and Malleability: Replicating the Art of the 1960s Bryony Rose Bery UCL Research Degree: History of Art I, Bryony Rose Bery, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 1 Abstract Reviewing Robert Morris’ 9 at Leo Castelli exhibition of December 1968, Max Kozloff used the terms volatility, liquidity and malleability. These physical characteristics suggest the precarious nature of the objects exhibited and are deployed throughout this thesis to explore the material, theoretical and ethical implications of sculpture replication in the twentieth century. A methodological approach that bridges art history and conservation-based perspectives will allow many of the current concerns surrounding replication to be expanded upon. The 1960s is seen as a key moment for the types of art objects being produced but also reproduced and a shift in practices and attitudes is traced. Issues of authenticity, materiality, authorship, historical narrative, conceptual intention and the various meanings ascribed to the term replica are considered. The purpose and status of the original or replica is scrutinised in the context of a history of replication. As a museum and artistic strategy, there are various motives for creating replicas. Here, a series of carefully selected historical case studies are used as test cases to draw attention to the acute problems posed when works are made from ephemeral or vulnerable materials, works that have to be performed, works that perform a process or behave naturally and works within a replicated exhibition enterprise. Concentrating on artworks produced in America and Europe, the thesis recasts artists and their works to highlight the precariousness of materials and meanings, documentation and actions, performativity and duration. A work’s inherent vice is seen in terms of what will be termed its ‘ephe-materiality’ and its replica as a re-action in the continuous present. The relationship of surface to support, materials that act out or perform their own instability, provides a platform from which to readdress the idea of a single, finished work and its exhibitable life and afterlife within a museum today. 2 Contents Acknowledgements 4 List of Figures 6 Introduction 16 1. Framing Marcel Duchamp: The Case of Richard Hamilton’s Large Glass 38 2. Process and Precariousness: The Ephe-materiality of Richard Serra, 76 Gilberto Zorio and Barry Flanagan 3. With Time Re-Action: The Performative Remakes of Robert Morris and 107 Michelangelo Pistoletto 4. Nature and Second Nature: Barry Flanagan and Rafael Ferrer 136 5. When Attitudes Become All About Attitudes Towards Form: Recasting 167 the latex works of Keith Sonnier and Eva Hesse Conclusion 202 Notes 212 Figures 260 Bibliography 302 3 Acknowledgements Firstly I would like to thank the AHRC for funding this collaborative PhD project. This thesis would not have been possible without the support, knowledge and enthusiasm of my supervisors; Professor Briony Fer at UCL and Dr Matthew Gale at Tate. Throughout my academic career, Briony Fer has been invaluable and I am extremely grateful for her insightful observations and guidance. Matthew Gale has also provided support not only for the Tate-related cases but also to the project as a whole. The collaborative aspect of this PhD has enabled me access and experience that has benefited the project and I would therefore like to take this opportunity to thank both UCL and Tate. Staff and colleagues in the History of Art Department at UCL and the Research, Conservation and Curatorial Departments within Tate have been a constant source for discussion and I feel very fortunate to have been part of the research communities at both institutions. As well as my supervisors then, I would like to give particular thanks to Dr Jennifer Mundy, Head of Collection Research, Tate, who invited me to co-edit the 2007 autumn issue of Tate Papers which was based on Inherent Vice: The Replica and its Implications in Modern Sculpture, a closed workshop held at Tate Modern on 18-19 October 2007. This workshop provided an excellent forum to better understand the field of replication as my project started and I am grateful to have been asked to attend and contribute to the online publication. Dr Emma Richardson has always been available to discuss any material matters and has been extremely helpful since joining the History of Art department at UCL as Lecturer in Material Studies. I would also like to thank Professor Robert Lumley and Libby Sheldon for their feedback at my upgrade. Art historians, conservators, curators, artists, artist studios and estates and various museums worldwide have provided much primary and archival material for the project. I would therefore like to thank, in particular, the following people for giving up their time to assist me: Susan K. Anderson, The Martha Hamilton Morris Archivist, Philadelphia Museum of Art; Sylvia Bandi, Hauser & Wirth; Sebastiano Barassi, Acting Head of Collections and Exhibitions, Perry Green, Much Hadham; Mette Carlsen for sharing her research on the topic; Lynne Cooke, Senior Curator, Special Projects in Modern Art, at the National Gallery of Art, Washington DC: Deborah Cullen, Director & Chief Curator, The Miriam & Ira D. Wallach Art Gallery, Columbia University in the City of New York;Kathleen Dickson, Access Officer, BFI National Archive; Rafael Ferrer; Elizabeth Fisher, Curator for Beyond Measure: Conversations Across Art and Science; Ceri-Anne van de Geer, Arts Administrator, Kettle's Yard; Annika Gunanrsson, Curator, Prints and Drawings, Moderna Museet, Stockholm; Susan Hapgood; Margaret Iverson, Professor of Art History and Theory at the University of Essex; Martin Langer, Conservator; Francesco Manacorda; Trina McKeever, Richard Serra’s Studio; John Naylor; Barry Phipps, Fellow, Tutor & Curator of Works of Art, Churchill College, Cambridge; Christian Scheidemann, Contemporary Conservation Ltd; Barbara Sommermeyer Conservator, Hamburger Kunsthalle; Keith Sonnier, his assistant, Jason Reppert, and Lesley Raeside from his studio; Michael R. Taylor, Deputy Director/Chief Curator, Virginia Museum of Fine Arts; and Thea Winther, Conservator, Moderna Museet, Stockholm, Sweden. 4 At Tate, Dr Mark Godfrey, Senior Curator, International Art, ensured that I was involved in the Tate Modern rehang in 2009; and Catherine Wood, Curator, Contemporary Art and Performance, and Kathy Noble, then Assistant Curator, were extremely helpful in relation to Robert Morris’ Bodyspacemotionthings in 2009. Karl Bush, Sculpture Conservation Technician; Katie Dungate, Conservation Administrator; William Easterling, former Sculpture Conservation Technician; Tim Green, Paintings Conservator; Dr Pip Laurenson, Head of Collection Care Research, Marcella Leith, Photography Manager; Elizabeth McDonald, Sculpture Conservator; Derek Pullen, former Head of Sculpture Conservation; Melanie Rolfe, Sculpture Conservator; Patricia Smithen, former Head of Conservation; Gates Sofer, Sculpture Conservator; and Andrew Wilson, Curator Modern and Contemporary British Art and Archives, have all been incredibly helpful and generous with their time, experience and expertise. Staff at Tate Archives and Library have also assisted greatly. Finally, I would not have been able to complete this PhD without the love and patience of my family both young and old. Thank you Robbie, Ella and Delphi especially. 5 List of Figures Figure 1 Robert Morris Untitled 1965, reconstructed 1971 and 1976 Mirror glass and wood, 914 x 914 x 914 mm Tate, purchased 1972 © ARS, NY and DACS, London 2015 Figure 2 Robert Morris Untitled 1965, made in 2008 Exhibited at Beyond Measure: Conversations Across Art and Science in St Peter’s Church, 5 April 2008 - 1 June 2008 Image courtesy of Ceri-Anne van der Geer, Kettle’s Yard Figure 3 The destruction of Robert Morris’ Untitled 1965 exhibited at Beyond Measure: Conversations Across Art and Science Image courtesy of Ceri-Anne van der Geer, Kettle’s Yard Figure 4 Marcel Duchamp The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) 1915-23 Oil, varnish, lead foil, lead wire, and dust on two glass panels, 2775 x 1778 x 86 mm The Philadelphia Museum of Art, bequest of Katherine S. Dreier, 1952 © 2012 Artists Rights Society (ARS), New York /ADAGP, Paris / Succession Marcel Duchamp Figure 5 Marcel Duchamp The Bride Stripped Bare by her Bachelors, Even (The Large Glass) 1915-23, reconstruction by Richard Hamilton 1965-6, lower panel remade 1985 Oil, lead, dust and varnish on glass, 2775 x 1759 mm Tate, presented by William N. Copley through the American Federation of Arts 1975 © Richard Hamilton and Succession Marcel Duchamp/ADAGP, Paris and DACS, London 2015 Figure 6 Richard Hamilton Large Glass 1965-6 As published in the The Almost Complete Works of Marcel Duchamp (exh. cat., Tate Gallery and the Arts Council), London, 18 June-31 July 1966, unpaginated Figure 7 Richard Hamilton’s screenprint poster for his reconstruction of Marcel Duchamp’s Large Glass, Hatton Gallery, Newcastle upon Tyne, 16-27 May 1966 https://twmuseums.org.uk/ 6 Figure 8a Julian Wasser Duchamp Playing Chess with a Nude (Eve Babitz) Duchamp Retrospective, Pasadena Art Museum 1963 Gelatin silver print, 8 x 10 inches © Craig Krull Gallery, 2012 Figure 8b Yasumasa Morimura A Requiem: Theater of Creativity / Self-portrait as Marcel Duchamp 2010 Photograph, 1500 x 1875 mm Copyright the Artist, Courtesy ShugoArts
Load more

Recommended publications
  • TURNER PRIZE: Most Prestigious— Yet Also Controversial
    TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J.
    [Show full text]
  • Stephen Kaltenbach Resume
    Stephen Kaltenbach Resume Born 1940 - Battle Creek, Michigan Solo Exhibitions 2015 “Stephen Kaltenbach: BAD IDEAS” – Another Year in LA, online gallery 2013 “Stephen Kaltenbach: Drawings, Time Capsules and Room Alterations” - Bert Green Fine Art, Chicago, IL 2011 “slantstep 2” – Specific Object, New York City, NY 2010 “LEGEND (annotating the Elephant) - Stephen Kaltenbach " - Another Year in LA Gallery, Los Angeles, CA 2009 "'S Fear" - Another Year In LA Gallery, Los Angeles, CA "Nuclear Projects and Other Works" - Verge Gallery and Studio Project, Sacramento, CA 2008 "Time Capsules" - Another Year in LA, Los Angeles, CA 2007 "ROOM CONSTRUCTIONS: Blueprints and Models" - Another Year in LA, Los Angeles, CA "Fire on Ice" - Marzona Sculpture Park, Verzegnis, Italy 2005 “Objects for Investigation” - Another Year in LA, Los Angeles, CA “Stephen Kaltenbach” - Konrad Fischer, Dusseldorf, Germany 2000 Lawrence Markey Gallery, New York, 1996 Museum of Contemporary Art, Los Angeles, CA (performance) Los Angeles County Museum of Art, Los Angeles, CA (performance) "One-Person Show," Natsoulas Novaloso Gallery, Davis, CA December 1988 "One-Person Show," Natsoulas Novaloso Gallery, Davis, CA Else Gallery, California State University, Sacramento, CA 1987 Biola University, November 10 – December 5, , La Mirada, CA Natsoulas Novaloso Gallery, Davis, CA 1985 Matrix Gallery, Sacramento, CA -??????????????????????????? “Christian Paintings”, December 5, 1985 – January 5, 1986 - Institute for Design and Experimental Art, Sacramento, CA 1982 "Portrait of
    [Show full text]
  • DAME BARBARA HEPWORTH 1903 Wakefield - St
    LE CLAIRE KUNST SEIT 1982 DAME BARBARA HEPWORTH 1903 Wakefield - St. Ives 1975 Marble Form Oil and pencil over gesso-prepared board. Signed and dated lower left Barbara Hepworth 1963. Further signed, titled, dated and inscribed on the reverse. 455 x 660 mm PROVENANCE: Mr and Mrs H. Davidson, Toronto – Private collection, U.S.A. EXHIBITIONS: Barbara Hepworth: Sculpture and Drawings, Gimpel-Hanover Galerie, Zurich, 16 November 1963 - 11 January 1964 (drawings not listed) – Barbara Hepworth: Sculptures and Drawings, Gimpel Fils, London, 2 - 27 June 1964 (drawings not listed) – Focus on Drawings, Art Gallery of Toronto, Toronto, 15 October – 7 November 1965, cat. no. 117. RELATED DRAWINGS IN PUBLIC COLLECTIONS: Art Gallery of Ontario, Toronto – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. – National Gallery of Australia, Canberra – Manchester City Art Gallery – Milwaukee Art Gallery – Piers Art Centre, Stromness, Orkney Islands – Rijksmuseum Kröller-Müller, Otterlo – Tate, London Vision is not sight ‒ it is the perception of the mind. It is the discernment of the reality of life, a piercing of the superficial surfaces of material existence that gives a work of art its own life and purpose and significant power.1 (Barbara Hepworth, 1937) In 1966, in her autobiographical essay A Sculptor’s Landscape, Barbara Hepworth reiterated the mental, rather than the visual inspiration that informed virtually all of her abstract, sculptural drawings from the early 1940s onwards, when she wrote: I rarely draw what I see – I draw what I feel in my body.2 By sculp- tural, I mean that the drawings echoed, were a two-dimensional exploration of her current three- dimensional obsessions.
    [Show full text]
  • Sculpting Lives S1E1, Barbara Hepworth
    Sculpting Lives podcast transcript Series 1, Episode 1: Barbara Hepworth This document is an accessible transcript of the podcast audio. Subscribe and listen: https://audioboom.com/posts/7525504-sculpting-lives-barbara-hepworth [music] Sara Matson: She managed her brand, fair play. Eleanor Clayton: A normal person from Wakefield; A remarkable artist but a remarkable woman. Stephen Feeke: Hepworth was odd because she didn't see herself as a feminist at all and didn't see herself as “I'm a pioneering woman”. She just felt she was a pioneering sculptor. Barbara Hepworth: I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society. [music] Jo Baring: Hello, and welcome to Sculpting Lives the podcast by me, Jo Baring. Sarah Victoria Turner: And me, Sarah Turner. Jo, this is our first podcast and episode. Why are we doing this? Jo Baring: We met in our professional lives. You are Deputy Director of the Paul Mellon Centre, and I am Director of the Ingram Collection. We have a shared interest in art, but we realised when we met that we are really fascinated by sculpture in particular. Also, during the course of our discussions, we realised that women artists and women sculptors, in general, are less commercially successful than men, less represented in national institutions, museums, possibly have less gallery shows and we really wanted to unpick why that happens.
    [Show full text]
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • 201914Th-28Th September Programme of Events
    A TWO WEEK CELEBRATION OF MUSIC AND THE ARTS IN ST IVES CORNWALL ST IVES SEPTEMBER FESTIVAL 201914th-28th September Programme of Events Visit our website for updates and online booking: www.stivesseptemberfestival.co.uk and follow us on facebook, twitter and instagram. Tickets & Information Unless otherwise stated, tickets are available from: St Ives School of Painting l www.stivesseptemberfestival.co.uk Outside Workshops l Cornwall Riviera Box Office: 01726 879500 For outside workshops we recommend l Visit St Ives Information Centre, St Ives Library, Gabriel Street, St Ives TR26 2LU you bring sturdy walking shoes (or Opening hours: Mon to Sat 9.30am-5pm, Sun 10am-3pm 01736 796297 trainers) and either warm waterproof l Tourist Offices in Penzance, Truro, St Mawes, St Austell, Bodmin, Launceston, clothing, sunhats and sun cream as Liskeard. appropriate. We meet at Porthmeor l Tickets on the door if available. Studios but a few landscape workshops are based at the Penwith Studio, Information Points accessed via a steep cobbled ramp. l Café Art, The Drill Hall, Royal Square, St Ives. Mon, Wed, Fri, Sat 10am-4pm - Tues, Thurs 10am-5pm, Sun 11am-4pm l Outside Mountain Warehouse, Fore Street, Sat 14th and 21st 10am-5pm Pre-Concert Suppers The 2019 Festival Raffle Café Art, The Drill Hall, Win Cheese and Chocolate. Prize is donated by ‘Cheese On Coast’ and ‘I Should Chapel Street, St IvesTR26 2LR Coco’. Raffle tickets can be bought at a number of venues, including The Guildhall Vegetarian hot meals served in an and Café Art during the Festival. The winner will be announced at the end of October.
    [Show full text]
  • 2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London
    REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author 2 0 0 jT COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D.
    [Show full text]
  • The Hepworth Wakefield's First Sculpture Prize Opens
    PRESS RELEASE Date of issue: 20 October 2016 THE HEPWORTH WAKEFIELD’S FIRST SCULPTURE PRIZE OPENS AS GALLERY PRESENTS ITS MOST AMBITIOUS SHOW EVER An exhibition by the four artists shortlisted for the inaugural Hepworth Prize for Sculpture - Phyllida Barlow, Steven Claydon, Helen Marten and David Medalla – opens at The Hepworth Wakefield on 21 October 2016. The show, which includes new and recent work, is the most ambitious ever mounted by the gallery. The winner of the £30,000 prize will be announced at an award dinner at The Hepworth Wakefield on 17 November 2016. Sculpture is the art form of the moment – and this new Prize aims to demystify contemporary sculpture. Visitors to the exhibition will be encouraged to experience, debate and judge the Prize for themselves. The shortlist is multi-generational and covers the widest range of work in the medium. The Hepworth Prize for Sculpture recognises a British or UK-based artist of any age, at any stage in their career, who has made a significant contribution to the development of contemporary sculpture. The shortlist reflects the wide range of sculptural practice taking place in the UK today. The Prize was created to celebrate the gallery's 5th anniversary during 2016. Significantly, it is named after Barbara Hepworth, one of Britain's greatest sculptors and arguably its most celebrated female artist, who was born and brought up in Wakefield. The Hepworth Wakefield has the largest number of works by the artist on permanent display anywhere in the UK. Sophie Bowness, art historian and granddaughter of Barbara Hepworth, said: "The Hepworth Prize for Sculpture is a fitting legacy to Barbara Hepworth, one of Britain's greatest sculptors, whose career was enhanced through a variety of awards from early in her professional life." The Hepworth Wakefield’s Director, Simon Wallis said: “Britain is home to a long line of great sculptors from Barbara Hepworth, Henry Moore and Anthony Caro and beyond.
    [Show full text]
  • Contemporary Art Society Annual Report 1967-68
    Front Cover: Henry Moore Knife Edge-Two Piece. Presented to the Nation by the Contemporary Art Society and the artist, 1967. Chairman's Report June 27th 1968 Foundation Collection. Our most recent Patron I have pleasure in presenting my report which covers the Society's activities party at the Tate was held on May 16th to mark the close of the Barbara Her Majesty Queen Elizabeth The Queen Mother from June last year until today. Peter Meyer, whom we were very pleased to Hepworth Exhibition. Dame Barbara welcome back on the Committee as was the Guest of Honour, first at a Executive Committee Honorary Treasurer at last year's buffet supper in the restaurant, and later Whitney Straight CBE MC DFC Chairman Annual Meeting, will be dealing with at a party in the Gallery, where Anthony Lousada Vice-Chairman the Society's financial affairs in his hundreds of our members were able to Peter Meyer Honorary Treasurer speech which follows mine and deals meet Dame Barbara and have a last The Hon John Sainsbury Honorary Secretary with our financial year which ended on look at the wonderful exhibition. This G. L. Conran was such a successful evening that we Derek Hill December 31st 1967. As well as welcoming Peter Meyer are very much hoping to repeat one on Bryan Robertson OBE similar lines at the end of the Henry The Hon Michael Astor back to the Committee we were very The Lord Croft happy to elect Joanna Drew, whose Moore Exhibition in September. We are, Alan Bowness knowledge will I am sure be of great as always, most grateful to the Trustees James Melvin value.
    [Show full text]
  • Tate Papers Issue 12 2009: Lucy R. Lippard
    Tate Papers Issue 12 2009: Lucy R. Lippard http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/lippa... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue Curating by Numbers Lucy R. Lippard Cultural amnesia – imposed less by memory loss than by deliberate political strategy – has drawn a curtain over much important curatorial work done in the past four decades. As this amnesia has been particularly prevalent in the fields of feminism and oppositional art, it is heartening to see young scholars addressing the history of exhibitions and hopefully resurrecting some of its more marginalised events. I have never become a proper curator. Most of the fifty or so shows I have curated since 1966 have been small, not terribly ‘professional’, and often held in unconventional venues, ranging from store windows, the streets, union halls, demonstrations, an old jail, libraries, community centres, and schools … plus a few in museums. I have no curating methodology nor any training in museology, except for working at the Library of the Museum of Modern Art, New York, for a couple of years when I was just out of college. But that experience – the only real job I have ever had – probably prepared me well for the archival, informational aspect of conceptual art. I shall concentrate here on the first few exhibitions I organised in the 1960s and early 1970s, especially those with numbers as their titles. To begin with, my modus operandi contradicted, or simply ignored, the connoisseurship that is conventionally understood to be at the heart of curating. I have always preferred the inclusive to the exclusive, and both conceptual art and feminism satisfied an ongoing desire for the open-ended.
    [Show full text]
  • KEITH SONNIER BIOGRAPHY Born in Mamou, Louisiana, 1941. Education
    KEITH SONNIER BIOGRAPHY Born in Mamou, Louisiana, 1941. Education: University of Southwestern Louisiana, Lafayette, Louisiana, B.A., 1963. Douglass College, Rutgers University, New Brunswick, New Jersey, M.F.A., 1966. Lives in New York City. Selected Solo Shows: 1968 Galerie Rolf Ricke, Koln, West Germany. 1970 Leo Castelli Gallery, NYC, NY. Stedelijk van Abbemuseum, Eindhoven, The Netherlands. 1971 The Museum of Modern Art, NYC, NY. 1973 The Kitchen, NYC, NY. 1974 Leo Castelli Gallery, NYC, NY. 1975 Leo Castelli Gallery, NYC, NY. 1976 Leo Castelli Gallery, NYC, NY. 1977 Ace Gallery, Los Angeles, California. 1978 Leo Castelli Gallery, NYC, NY. The Clocktower, Institute for Art and Urban Resources, NYC, NY. 1979 Museum Haus Lange, Krefeld, Germany. Leo Castelli Gallery, NYC, NY. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France. 1981 Portland Center for the Visual Arts, Portland, Oregon. 1982 Leo Castelli Gallery, NYC, NY. 1983 P.S. 1, Institute for Art and Urban Resources, Long Island City, New York. 1984 The Hara Museum of Contemporary Art, Tokyo, Japan. Leo Castelli Gallery, NYC, NY. 1985 Leo Castelli Gallery, NYC, NY. 1987 Alexandria Museum of Art, Alexandria, Louisiana. 1988 The Chrysler Museum, Norfolk, Virginia. 1989 Leo Castelli Gallery, NYC, NY. Hirshhorn Museum, Washington, DC. Cranbrook Academy, Bloomfield Hills, Michigan. KEITH SONNIER BIOGRAPHY (continued) : Selected Solo Shows: 1990 Städtisches Museum Abteiber Mönchengladbach, Mönchengladbach, Germany. California State University Art Museum, Long Beach, California. 1992 Musée-Chateau d’Annecy, Annecy, France. Leo Castelli Gallery, NYC, NY. Sprengel Museum, Hannover, Germany. Kunsthalle Nurnberg, Nurnberg, Germany. Kunstverin St. Gallen, St. Gallen, Switzerland. 1994 The Drawing Center, NYC, NY.
    [Show full text]
  • (OPENING) Another Energy: Power to Continue Challenging
    ANOTHER ENERGY Press Release vol.2 APRIL 21, 2021 (OPENING) Another Energy: Power to Continue Challenging - 16 Women Artists from around the World APRIL 22 [THU] - SEPTEMBER 26 [SUN], 2021 MORI ART MUSEUM [53F, ROPPONGI HILLS MORI TOWER] AGED 71 to 105, ALL ACTIVE AND BUSY AT WORK! The Mori Art Museum, Tokyo, is proud to present Another Energy: Power to Continue Challenging - 16 Women Artists from around the World from Thursday, April 22 to Sunday, September 26, 2021. Recent years have witnessed growing moves worldwide to right inequalities around aspects of identity such as gender, race, ethnicity, and beliefs, and attach greater value to diversity. Also in contemporary art for the past decade or so, attention has turned increasingly to female artists who began their contemporary art careers between the 1950s and 1970s and continue to stay active as artists today. Another Energy focuses on 16 of these female artists in their 70s or older, from across the globe, who continue to embark on new challenges. Ranging in ages 71-105 with their careers spanning over 50 years, they are originally from 14 different countries, and equally diverse in their current locations. Nonetheless, what these women share regardless of recognition or evaluation by art museums and the art market is a determination to pursue their own distinctive creative paths in turbulent environment and times. Showcasing their wide array of powerful works from paintings, video, sculptures, to large-scale installations and performances, about 130 works to total, this exhibition contemplates the nature of the special strength or what one may call the driving force - “ another energy ” - of these artists.
    [Show full text]