DOCSLIB.ORG

Lara Pan Curates Fordproject's Inaugural Exhibition When the Fairy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lara Pan Curates Fordproject's Inaugural Exhibition When the Fairy Lara Pan curates fordPROJECT’s inaugural exhibition When the Fairy Tale Never Ends (New York, NY) Altpoint Capital Partners, parent company of Ford Models, is pleased to announce that the inaugural exhibition at its new contemporary art space fordPROJECT will be When the Fairy Tale Never Ends curated by Lara Pan. The exhibition will open to the public on January 20, 2011 and will include works by both established and emerging artists including Michaël Aerts, Eleanor Antin, Valentina Battler, carballo-farman, Henry Darger, Wim Delvoye, Braco Dimitrijevic, Eagleton- Enright, Kent Henricksen, Natacha Ivanova, Robert Lazzarini, Panni Malekzadeh, Vincent Olinet, Gretchen Ryan and Kenny Scharf. Pan will take over fordPROJECT’s dual-level penthouse located at 57 W 57 (a historic Warren + Wetmore building) to create a rich environment that explores the concept of fairytale and myth as they merge with the realities of contemporary life. Panni Malekzadeh, Peep Show, oil on linen, 62 x 89 inches. The title of Pan’s show is derived from overarching themes of beauty, intrinsic value, the transgressive quality of fairytales in contemporary culture and the often unrealistic adolescent expectations for an idyllic life. In exploring these themes Pan highlights that certain archetypes have morphed over time, some in subtle ways and others quite drastically. An example is Eleanor Antin’s The Little Match Girl Ballet, a 26-minute performance piece captured on video in 1975 in which the artist, dressed in a tutu, entertains a captive gallery audience with a monologue explaining her strategy for becoming a famous ballerina. Antin’s performance is the physical manifestation of the sociological pressures that women face in modern western society. In Caraballo- Farman’s video installation Midnight we see Cinderella magically changed from princess to pauper at increasing speeds leaving the viewer to wonder if, like Antin, Cinderella’s transformation is naive fantasy. Three works in the exhibition draw immediate parallels between the youthful feminine notions of an idyllic life and the harsh realities many women face worldwide. In the aptly titled Girls in A Peril, Gretchen Ryan depicts two young children in frilly pageant costume and make up standing in an apocalyptic landscape with no guardian but a tiny Chihuahua. The image is evocative of little girls performing in pageant competitions but there is also a pedophilic component to these toddlers made up as women especially when we consider the disturbingly direct gaze of the older child. Panni Malekzadeh is more overt in her sexual commentary with Peep Show, a large pastel colored depiction of the interior of a brothel, with the overlay of a neon sign advertising live girls, a reminder of the sordid realities of the sex industry. What is most disturbing in the neon outline is a toddler playing with a doll alongside the advertisement for sexual entertainment. Children’s fantasies feature strongly in Robert Lazzarini’s distorted Nursery Wallpaper. Lazzarini distorts the vintage wallpaper depicting lambs, butterflies and kittens, signifying, according to the artist, that adult life doesn’t always adhere to our youthful expectations. More lighthearted is Kenny Scharf’s Junglasia a colorful painting that gives the viewer direct access into the artist’s fantastical imagination. The jungle inspired painting is otherworldly and consistent with the surrealist style that Scharf has perfected over the course of his career. The painting generates positive emotional response and harkens back to familiar childhood images of smiling cartoon characters. On the opposite side is Kent Hendricksen’s image of two headed angels and snakes surrounded by images borrowed from Paradise Lost. Another concept explored in Pan’s exhibition in the concept of value. As our culture becomes increasingly obsessed with material possessions and fame and fantasy shifts from dreams of being a fairytale princess to dreams of becoming a celebrity, many artists working today have documented and commented upon this shift in their work. Michaël Aerts air cargo trunks fashioned into an obelisk underscores the emptiness of contemporary empires. Similarly Eagleton-Enright’s vase contains an answer to a universal question. Engraved on the inside of the vase, the answer is only attainable if the vase is broken – inherently destroying its monetary value. Artist Wim Delvoye describes his tattooed pigs as “living piggy banks” – as the pigs grow and the design changes and expands the investment value of the work also changes. Vincent Olinet’s massive gilded crown Notre époque a la poèsie qu’elle mérite is oversize and garish in every sense, made of brass and semi precious stones its most important feature is its sheer size. The value is not in the materials or what it signifies, making the translation to “our time has poetry it deserves” particularly poignant. About fordPROJECT / [email protected] fordPROJECT will launch in January 2011 as an exclusive gallery space designed for site specific installations, exhibitions, artist commissions, art collectives, curatorial programs, collaborative initiatives, unique events and more. Under the direction of Rachel Vancelette and Tim Goossens, fordPROJECT will present a unique alternative to the traditional fine art models and will offer innovation for artists, curators, collectors, organizations, institutions and estates. 1 Lara Pan (b. 1974, Belgrade, Former Yougoslavia) is a independent curator based in Paris and Brussels. She received her BA in Art History from Belgrade University and went on to pursue Philosophy at the Sorbonne University, Paris. In 2005, Lara Pan founded The New Art Project, a curatorial initiative that explores different possibilities in curatorial practices and their evolution with the institutions and collections. Recent international exhibitions include Wim Delvoye’s Torre at the Peggy Guggenheim Collection in Venice, Italy (June 2009) and Pandora’s Sound Box during Performa, New York (2009) and Atmospheres in Montreal, Canada (2010). Exhibiting Artists: Michaël Aerts (b.1979). Lives and works in Ghent, Belgium. Media: objects, sculpture, installations and related drawings. He has exhibited extensively in solo and group shows including the US, Spain, Belgium, Italy, Netherlands and Germany. Representing galleries: Deweer Gallery, Otegem, Belgium; Federico Luger Gallery, Milan, Italy; Ron Mandos Gallery, Amsterdam. Eleanor Antin (b.1935). Media: Filmmaker, performance, installation and multimedia. Attended The High School of Music & Art in New York and received a BA in creative writing and art from the City College of New York in 1958. Antin was a central contributor to the conceptual and performance art practice of the 1970s. Representing galleries: Barbara Krakow Gallery, Boston, MA; Ronald Feldman Fine Arts, New York, NY. Valentina Battler (b. 1946) is a graduate of the St Petersburg Conservatory and a professional concert pianist and teacher by training. Media: paint, ink on paper. Her aesthetic explores some of the nuanced and complex interactions between painting and music in addition to having been influenced by the linear and expressive character of Chinese scroll painting. Examples of work are held in a range of public and private collections in Paris, Moscow, New York and Shanghai. caraballo-farman (Leonor Caraballo b. 1971 & Abou Farman b. 1966 ). Working in collaboration between New York & Buenos Aires since 2001. Media: video, installation and photography. Awarded a Guggenheim Fellowship (Film and Video) and a Strategic Opportunity Stipend, New York Foundation for the Arts in 2010. Henry Darger (1892-1973). A self-taught artist, Darger lived and worked in Chicago. Media: drawing, watercolour, collage and mixed media. The range and scope of his work did not come to wider notice until after his death. Representing gallery: Andrew Edlin Gallery, New York, NY. Wim Delvoye (b.1965, Wervik, Belgium). Lives and works in Gentbrugge, Belgium. Media: sculpture and installation. Has exhibited extensively, including Europe, US, Canada, China, Taiwan and Brazil. Representing galleries: Deweer Gallery, Otegem, Belgium; Galerie Emmanuel Perrotin, Paris, France & Miami, Florida; Galerie Rodolphe, Brussels, Belgium and Sperone Westwater, New York, NY. Braco Dimitrijević (b.1948, Sarajevo, Yugoslavia). Lives and works in Paris, France. Media: painting and photography. Graduated Zagreb Academy 1971 and subsequently attended St Martins College of Art & Design, London. Participated in Documenta 1972 and 1977 and the Venice Biennale, 1990 and 1993. Eagleton – Enright (Alex Eagleton b.1979 Athens, Greece & Brock Enright b.1976 New York City). Media: installation and mixed media. Eagleton attended University of Colorado and graduated from Parsons School of Design in 2004. Enright received a BA in Fine Art from Maryland Institute College of Art and a Masters in Fine Art from Columbia University. 2 Kent Henricksen (b.1974, New Haven, CT). Lives and works in New York City. Media: mixed media, silkscreen, embroidery and gold leaf. Received a BA in Fine Art and a BA in English Literature from the University of Colorado at Boulder, CO. Representing galleries: Paul Kasmin Gallery, New York, NY and Hiromi Yoshii Gallery, Tokyo, Japan. Natacha Ivanova (b.1975, St Petersburg, Russia). Media: Received a Diploma from I’Ecole des Beaux Arts, B.V.Logansson in affiliation with I’Académie des Beaux Arts of Russia, St.Petersburg, Russia. Awarded the Grand Prix de Peinture de Saint-Grégoire, Saint-Grégoire,
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • The Perception of the Body in Diderot's Art Criticism and in Modern Aesthetics and Visual Art1
    The percepTion of The body in dideroT's arT criTicism and in modern aesTheTics and visual arT1 by else marie bukdahl ''The landscape thinks itself in me and i am its consciousness'' paul cézanne (in merleau-ponty 1948a: 17) The french philosopher, encyclopédiste and art critic ('avant la lettre'), denis di- derot, was in many ways a precursor to contemporary theoreticians and theories of art, especially as embodied in the intertwining of spectator and art work in the modern tradition, inspired by the phenomenologist maurice merleau-ponty. in this tradition, mind and body are not separated in a cartesian cleavage; rather, the mind (including our perception of the world) is intimately related to the world that we perceive. When interacting with a work of art, we do not merely look at it, we 'enter' it, 'walk' through it, using all our senses. referring to pictorial examples and quotations from painters, sculptors, and art critics, the article epitomizes these features, by which the interactive viewer is experientially drawn into the space of the art forms as spectacularly instantiated in works by artists like barnett newman or richard serra. descartes' philosophy, which had a great impact on Western art and culture, is predicated on a separation of mind from body, much like disembodied eyes with a single perspective. an important early philosopher central to dismantling the car- tesian model and introducing the idea of embodied perception as a basis for this was maurice merleau-ponty (1908-1961). When he wrote Eye and Mind (1964)2 he instigated an important turning point in the history of the aesthetics of art.
    [Show full text]
  • Annual Report 2003 Annual04c 5/23/05 3:55 PM Page 1
    Annual04C 5/23/05 4:17 PM Page 1 MILWAUKEE ART MUSEUM Annual Report 2003 Annual04C 5/23/05 3:55 PM Page 1 2004 Annual Report Contents Board of Trustees 2 Board Committees 2 President’s Report 5 Director’s Report 6 Curatorial Report 8 Exhibitions, Traveling Exhibitions 10 Loans 11 Acquisitions 12 Publications 33 Attendance 34 Membership 35 Education and Programs 36 Year in Review 37 Development 44 MAM Donors 45 Support Groups 52 Support Group Officers 56 Staff 60 Financial Report 62 Independent Auditors’ Report 63 This page: Visitors at The Quilts of Gee’s Bend exhibition. Front Cover: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava. Back cover: Josiah McElheny, Modernity circa 1952, Mirrored and Reflected Infinitely (detail), 2004. See listing p. 18. www.mam.org 1 Annual04C 5/23/05 3:55 PM Page 2 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee David Meissner MILWAUKEE ART MUSEUM THE BOARD OF TRUSTEES Jim Quirk Joanne Murphy Chair Dorothy Palay As of August 31, 2004 EXECUTIVE COMMITTEE Barbara Recht Sheldon B. Lubar Martha R. Bolles Vicki Samson Sheldon B. Lubar Chair Vice Chair and Secretary Suzanne Selig President Reva Shovers Christopher S. Abele Barbara B. Buzard Dorothy Stadler Donald W. Baumgartner Donald W. Baumgartner Joanne Charlton Vice President, Past President Eric Vogel Lori Bechthold Margaret S. Chester Hope Melamed Winter Frederic G. Friedman Frederic G. Friedman Stephen Einhorn Jeffrey Winter Assistant Secretary and Richard J. Glaisner George A. Evans, Jr. Terry A. Hueneke Eckhart Grohmann Legal Counsel EDUCATION COMMITTEE Mary Ann LaBahn Frederick F.
    [Show full text]
  • 2014 Annual Report
    Wadsworth Atheneum Museum of Art Annual Report 2014 REPOR T from the President and Director & CEO Renewing the Wadsworth Atheneum The past twelve months have been one of the most transformative chapters in the long and illustrious history of the Wadsworth Atheneum. From completing the second phase of our $33 million roof-to-basement renovation, bringing our campus of five historic buildings into the 21st century, to maintaining the museum’s standards for excellence in scholarship, acquisitions, and groundbreaking exhibitions, Daniel Wadsworth’s “spirit of genius” has continued to inspire creative collaboration and forward momentum since the museum first opened to the public 170 years ago on July 31, 1844. Increased commitments from generous funders energized the massive renewal project. The year began on a high note with the thrilling news of a $5 million award from the State of Connecticut, bringing the State’s total investment in our building renovation to $25 million and ensuring that we could confidently enter the final phase of work on the Wadsworth and Morgan Memorial Buildings. We extend our utmost gratitude to Governor Malloy and his administration for their trust in our mission, and we are fully committed to our crucial role as a thriving cultural destination with a measurable economic impact for the State of Connecticut. Another transformative moment came with the unexpected announcement of the largest single bequest in the museum’s history — $9.6 million from the estate of former museum member Charles H. Schwartz. This significant gift, designated for the acquisition of European artworks from the 18th century or earlier, was immediately put to good use by our curatorial team’s newest member, Susan Morse Hilles Curator of European Art Oliver Tostmann.
    [Show full text]
  • WINTER 2015 “Mccoll Center Celebrates Artists – the Tell Us About the Homemade Dinners You Have Hosted in Your Mccoll Center Studio
    WINTER 2015 “McColl Center celebrates artists – the Tell us about the homemade dinners you have hosted in your McColl Center studio. makers of contemporary art in all forms. Food has been a priority for us ever since we started working together. No matter where we would install ourselves we would always prepare our own meals, regardless of having a Craft is important to this region’s cultural kitchen. This is something we enjoy sharing with whoever is around us. At McColl Center we heritage and creative practice and McColl incorporated this aspect of our lives into our residency project. Center embraces Craft as one of our ten This ritual has helped us to better connect with Purépecha families, who have taught us that Spheres of Impact. you don’t need much money to be hospitable and a good host. For us as visitors to their home we feel great and our goal is for our collaborators to feel the same way. This session is a humbling ensemble of What was the response from the visiting master artisans: Angelica Morales, Juan Rosas, and vibrant talent that we are honored to bring Inés Leal? What and with whom have they shared and learned during their time at McColl to Charlotte.” Center? Suzanne Fetscher Juan Rosas worked in McColl Center’s printmaking studio, gave a couple of master classes at Central Piedmont Community College (CPCC) in Charlotte, shared know-how with Durham- President & CEO based artist Antoine Williams and collaborated with us to take his craft beyond ceramics. Angelica Morales joined us during our movie events throughout North Carolina and addressed audiences on behalf of artisans from Michoacán, she gave a demonstration at the Sawtooth We sat down with Dignicraft members Omar Foglio, Paola Rodriguez, and Jose Luis School for Visual Art in Winston-Salem and collaborated with Windgate Artist-in-Residence Figueroa and asked them about their experience and the many relationships that were Betsy Birkner at the Center on a series of her signature ceramic Armors.
    [Show full text]
  • Ten Galleries Whose Founders Quit the Big City to Become Cultural
    November 30, 2018 Ten Galleries Whose Founders Quit The Big City To Become Cultural Trailblazers in the Heartland by Laura van Straaten “I’m the Gagosian of Memphis now,” jokes Matt Ducklo whose gallery Tops recently expanded to a second space. Six years ago, he opened the first location in the basement of a printing and stained-glass factory — to get down there, it’s a treacherous spelunk through a junk-filled hallway. The newer location is tucked into a small park nearby. Of course, the foot traffic in Memphis doesn’t quite compare to the throngs of gallerygoers in Chelsea. “If five people show up on a Saturday, I’m happy,” admits Ducklo. After an MFA at Yale and almost a decadelong career in photography in New York, economic pressures forced Ducklo to reconsider his priorities, “I thought, My goal in life was not to live in New York City but to do creative things, he recalls. He headed home to Tennessee where he quickly discovered, as he puts its, “the joy and despair of having a gallery that is far from a major art capital.” Ducklo’s in good company. He is one of ten gallerists I’ve discovered over the last few years who renounced their big-city careers on the coasts to create new art spaces in their heartland hometowns, or, in one case, the small town where a spouse’s career is. I first met most of these gallerists at art fairs like those opening next week in Miami — including NADA, Untitled, Pulse, and others in New York and even internationally.
    [Show full text]
  • ROBERT LAZZARINI Born, New Jersey, 1965 Lives and Works in New York
    L A L E H J U N E G A L E R I E ROBERT LAZZARINI born, New Jersey, 1965 Lives and works in New York EDUCATION 1990 BFA, School of Visual Arts, New York SOLO EXHIBITIONS 2013 Robert Lazzarini, Honor Fraser, Los Angeles, California, United States. Robert Lazzarini (damage), Marlborough Chelsea, New York, NY, United States. funerary lions, Wadsworth Atheneum, Hartford, CT, United States. 2012 Robert Lazzarini, Marlborough Chelsea, New York, NY, United States. 2011 Modern Art Museum, Fort Worth, TX, United States. 2010 friendly-hostile-friendly, Paul Kasmin Gallery, New York, NY, United States. guns, knives, brass knuckles, FLAG Art Foundation, New York, NY, United States. guns, knives, brass knuckles, Honor Fraser , Los Angeles, California, United States. 2009 Robert Lazzarini: guns and knives, Aldrich Museum, Ridgefield, CT 2006 sewer covers, Ratio 3, San Francisco, CA drawings, Deitch Projects, New York, NY Robert Lazzarini: Seen/Unseen, Mint Museum of Art, Charlotte, NC untitled - Robert Lazzarini works on paper, Davidson College, Davidson, NC 2003 robert lazzarini, Virginia Museum of Fine Arts, Richmond, VA 2000 studio, Pierogi, Brooklyn, NY 1998 violin, Pierogi, Brooklyn, NY L A L E H J U N E G A L E R I E Picassoplatz 4 CH-4052 Basel [email protected] T +41.61. 228.77.78 L A L E H J U N E G A L E R I E SELECTED GROUP EXHIBITIONS 2013 We Are Young, Laleh June Galerie, Basel Tectonic, The Moving Museum, Dubai Bad For You, curator Beth Rudin DeWoody, Shizaru, London 2012 artgenève, Palexpo, Laleh June Galerie, Geneva Art Stage Singapore, Marina Bay Sands, Laleh June Galerie, Singapore Parts and Services, Eric Firestone Gallery, New York, New York, United States.
    [Show full text]
  • Gardner's Art Through the Ages
    Understanding Art by Lois Fichner-Rathus Transition Guide, 9th Edition to 10th Edition Fichner-Rathus 9th Edition Fichner-Rathus 10th Edition Chapter Number & Title Chapter Number & Title Chapter 1 - What is Art? Chapter 1 - What is Art? Chapter 2 - Visual Elements of Art Chapter 2 - Visual Elements of Art Chapter 3 - Principles of Design Chapter 3 - Principles of Design Chapter 4 - Style, Form and Content Chapter 4 - Style, Form and Content Chapter 5 - Drawing Chapter 5 - Drawing Chapter 6 - Painting Chapter 6 - Painting Chapter 7 - Printmaking Chapter 7 - Printmaking Chapter 8 – Imaging: Photography, Film, Video, and Chapter 8 - Imaging: Photography, Film, Video, and Digital Arts Digital Arts Chapter 9 – Sculpture Chapter 9 - Sculpture Chapter 10 – Site-Specific Art Chapter 10 – Site-Specific Art Chapter 11 – Architecture Chapter 11 - Architecture Chapter 12 – Craft and Design Chapter 12 - Craft and Design Chapter 13 – The Art of the Ancients Chapter 13 - The Art of the Ancients Chapter 14 – Classical Art: Greece and Rome Chapter 14 - Classical Art: Greece and Rome Chapter 15 – Christian Art: From Catacombs to Chapter 15 - The Age of Faith Cathedrals Chapter 16 – The Renaissance Chapter 16 - The Renaissance Chapter 17 – The Age of Baroque Chapter 17 – The Age of Baroque Chapter 18 – Art Beyond the West Chapter 18 - Non-Western Perspectives Chapter 19 – Modern Art Chapter 19 - Modern Art Chapter 20 – The Twentieth Century: The Early Years Chapter 20 - The Twentieth Century: The Early Years Chapter 21 - The Twentieth Century: Post-war to Chapter 21 - The Twentieth Century: Postwar to Postmodern Postmodern Chapter 22 - Art in the Twenty-first Century: A Chapter 22 - Art in the Twenty-first Century: A Global Perspective Global Perspective Image Comparison – by Chapter Understanding Art , 9th Edition Understanding Art , 10th Edition Chapter 1- What is Art? Chapter 1- What is Art? CO Dale Chihuly.
    [Show full text]
  • Fabricators Art 5.7.06
    Looks Brilliant on Paper. But Who, Exactly, Is Going to Make It? - New York Times 05/06/2006 11:25 PM May 7, 2006 ART Looks Brilliant on Paper. But Who, Exactly, Is Going to Make It? By MIA FINEMAN WHEN Jeff Koons's giant topiary sculpture "Puppy" was installed at Rockefeller Center in May 2000, the three-week-long process involved about 100 riggers, planters, engineers and studio assistants. They erected a 43-foot-high stainless steel armature, which they covered with foam and blanketed with some 70,000 flowering plants. Robert Lazzarini, who started out as an assistant in Mr. Koons's studio, called on 45 different contractors — from chromers and acid engravers to graphic designers, silk-screeners and metalworkers — to fabricate his weirdly disorienting sculpture of a New York City phone booth, which became the hit of the 2002 Whitney Biennial. For "Wave UFO," the teardrop-shaped installation she exhibited at last year's Venice Biennale that created video light shows based on projections of visitors' brain waves, Mariko Mori needed a dozen industrial fabricators, as well as architects, composers and computer technicians. Each of these projects garnered loads of attention for the enormous effort they involved. Yet much of the actual labor was performed not by the artists themselves, but by an army of technicians, studio assistants, artisans and engineers who worked behind the scenes. As art with high production values has become increasingly common, the role of the artist has evolved into something closer to that of a film director who supervises a large crew of specialists to realize his or her vision.
    [Show full text]
  • The Sculptural Encounter As an Embodied Cognitive Experience
    Making Connections: The Sculptural Encounter as an Embodied Cognitive Experience A project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Fleur Elizabeth Summers Master of Arts (Fine Art) RMIT University Bachelor of Arts (Fine Art) Hons RMIT University Bachelor of Science University of Queensland School of Art College of Design and Social Context RMIT University December 2019 i Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the project is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. I acknowledge the support I have received for my research through the provision of an Australian Government Research Training Program Scholarship. Fleur Summers 20 December 2019 ii Acknowledgment of Country RMIT University acknowledges the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nation on whose unceded lands we conduct the business of the University. RMIT University respectfully acknowledges their Ancestors and Elders, past and present. RMIT also acknowledges the Traditional Custodians and their Ancestors of the lands and waters across Australia where we conduct our business. Acknowledgements Dr Kristen Sharp (Senior Supervisor) Professor David Thomas (Associate Supervisor) Dr Jenny Robinson and Associate Professor Keely Macarow (Interim Supervisors) Special thanks to: My partner Stephen Dixon and our children Oskar, Lillah and Stella Summers Dixon for supporting, enduring and celebrating the PhD process.
    [Show full text]
  • Curriculum Vitae Jonathan T. D. Neil 1
    Curriculum Vitae Jonathan T. D. Neil Director Sotheby’s Institute of Art - Los Angeles Claremont Graduate University [email protected] Education: ● Columbia University, PhD History of Art, 2010 ● Columbia University, MA History of Art, 1999 ● Cornell University, BArch, 1997 Fellowships & Awards: ● C.V. Starr Fellowship, Columbia University (2002-04) ● Frieda B. & Milton F. Rosenthal Art History Fellowship, Columbia University (2000-01) ● President’s Fellow, Columbia University (1999-2000) ● Department of Art History Travel Fellowship, Columbia University (1999) Administrative Leadership: Founding Director, Sotheby’s Institute of Art at Claremont Graduate University, March 2013- Present ​ Established Sotheby’s Institute of Art’s Los Angeles campus and academic partnership with Claremont Graduate University and its Peter F. Drucker and Masatoshi Ito Graduate School of Management, School of Arts and Humanities, and Getty Leadership Institute. Responsibilities include: developing and overseeing all aspects of graduate program operations including offices and staff dedicated to marketing, recruitment, admissions, curriculum development and design, faculty recruitment and evaluation, extracurricular programming, career development, community engagement, alumni relations and fundraising. This includes regular collaboration and consultation with the Deans and Directors of the University’s seven Schools and Centers, as well as the University’s senior leadership team, including the Provost, Vice President of Finance, Vice President of Advancement, and Associate Vice President of Marketing and Communications. The Director also coordinates the LA program operations with the global leadership team of Sotheby’s Institute of Art, including the Directors of the New York and London campuses, the Global Head of Admissions and Recruitment, the Global Head of Marketing, and the Program Directors of the Institute’s degree and non-degree programs.
    [Show full text]
  • ROBERT LAZZARINI Das Unheimliche Lars Dittrich And
    ROBERT LAZZARINI Das Unheimliche OPENING: SATURDAY, 01 NOVEMBER / 6 – 8 PM EXHIBTION: 01 NOVEMBER 2014 - 10 JANUARY 2015 topographic contours otherwise undetectable to the naked eye or even enhanced photographic capture. Congruent with the Op Art of the 1960s, which transferred two-dimensional moiré patterns onto the canvas in pursuit of an optical phenomenology—a kind of visceral vision— Lazzarini’s paintings intersperse moments of visual dissonance with reprieve. The use of Shadow Moiré techniques not only anticipated the digital contour mapping used in most contemporary scanning technology— both 2D and 3D—but also echo Surrealist photography’s erstwhile attraction to the shadows and doublings that the movement’s adherents believed “convulsed” reality into a form of signification. With Lazzarini’s paintings, the notion of the uncanny speaks to this doubling, to the unsettling repetitions that lie deep at the heart of the Surrealist aesthetic. In this, the Ronchi screen that generates physical maps of surfaces figures as both a technological and psychological mediation, at once revealing and repressing optical and cognitive content. Lars Dittrich and André Schlechtriem are proud to announce the second solo exhibition at the gallery Robert Lazzarini currently lives and works in New in Berlin by the American artist Robert Lazzarini. York and has exhibited with major institutions Opening November 1st and running through including the Modern Art Museum of Fort Worth, January 10th, Das Unheimliche marks the first Texas; the Whitney Museum of American Art, New painting presentation by Lazzarini and explores York; the Virginia Museum of Fine Arts; the Aldrich the three-dimensional mappings of Shadow Moiré Museum, Connecticut; and the Taipei Museum of Topography, a technique developed around the Contemporary Art.
    [Show full text]