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Alicia Mccarthy
Alicia McCarthy The Wonderful Weave That Binds Us November 13, 2019 Interview by Sasha Bogojev and portrait by Delon Isaacs This year, as we celebrate our 25th anniversary, Juxtapoz is honored to sit down and talk with a Bay Area artist who represented the scene surrounding the magazine when it was founded. Back in the 1990s, San Francisco was the mecca for skateboarding kids around the world, but also a vibrant underground art hub, spreading a colorful, contagious vibe around the world through zines, music and occasional features in print. The immediacy of the burgeoning scene connected with other rebellious youth cultures, creating a unique language of punks, surfers, and graffiti outlaws hanging out in the Mission that marked and influenced generations way beyond the Bay Area. Certainly among those artists is Alicia McCarthy, whose work fuses the honest energy of the scene. Folk, graffiti, punk, and abstraction all weave into a labyrinth of loose lines, unexpected visuals and spontaneous personal marks, and the legacy of the Mission School remains a model for many emerging creatives. Meeting Alicia at the opening of her solo show with Copenhagen's V1 Gallery back in 2018 and having the opportunity to huddle together at the opening of her debut solo show with Brussels' Alice Gallery earlier in 2019 was like being granted access to a documentarian of that time and place. While I had a massive appreciation for her work for the reasons cited, as well as our mutual interests, this conversation revealed a whole new dimension of meanings behind her captivating colorful weaves. -
ISSUE 10 - Proving the Power of Art and Artists Pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU Pg.20 09 14 22 28
OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, Los Angeles, California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20 09 14 22 28 A Foundation for the Future This issue of OMAG highlights the Foundation connected. Through the Foundation Integrated Otis prepares diverse students of Program, a beloved first-year educational Learning course, freshmen work with an art and design to enrich our world VOL.10 IN THIS ISSUE: SPRING 2011 experience that generations of Otis alumni have external, real world “site partner.” The site- through their creativity, their skill, credited for much of their success and penchant partner project focuses on sustainability and and their vision. for lifelong learning. Otis is the only college of the environment, and embodies another Foundation Development art and design on the West Coast that offers a tenet of Foundation: Knowledge carries with Founded in 1918, Otis is L.A.’s first 02 24 full Foundation Year curriculum. The program is it a responsibility to use it mindfully within independent professional school of Makers + Thinkers Mei-Lee and the Art of Legacy also unique in its approach to preparing students the community. visual arts. Otis’ 1200 students pursue for the competitive, fast-paced 21st century while Students share their first-year engagement BFA degrees in advertising design, continuing to honor time-tested fundamentals. -
The Los Angeles
Otis College of Art and Design Ben Maltz Gallery 9045 Lincoln Boulevard, Los Angeles, CA 90045 www.otis.edu/benmaltzgallery; [email protected]; (310) 665-6905 ©2014, Binding Desire: Unfolding Artists Books Otis College of Art and Design, Ben Maltz Gallery ISBN: 0-930209-34-6 This book is published in conjunction with the exhibition Binding Desire: Unfolding Artists Books, January 25-March 30, 2014, organized by the Ben Maltz Gallery at Otis College of Art and Design. The project is funded in part by The Gladys Krieble Delmas Foundation. All rights reserved. No part of this book may be reproduced in any form by any electronic or me- chanical means (including photography, recording, or information stor- age and retrieval) without permission in writing from publisher. Publisher: Otis College of Art and Design, Ben Maltz Gallery Editors: Cathy Chambers, Meg Linton, Sue Maberry Designer: Sheldon Forbes Publication Format: iBook Images: Unless noted otherwise, photography and videography by Kathleen Forrest, Derek McMullen, Sarah Morton, and Chris Warner i Contents • Introduction – Meg Linton • L.A. Bound – Kathleen Walkup • Plates of Works in the Exhibition • Curricular Connections • Public Programming • Biographies • Acknowledgements ii Introduction by Meg Linton Binding Desire: Unfolding Artists Books presents a sampling of works from the Otis Millard Sheets Library’s Spe- cial Collection of artists’ books dating from the 1960s to the present. This teaching collection is one of the larg- est in Southern California with over 2,100 objects and it includes work by such luminaries as Vito Acconci, Joseph Beuys, and Ed Ruscha as well as significant work from major pro- duction centers like Beau Geste Press, Paradise Press, Printed Matter, Red Fox Press, and Women’s Studio Workshop. -
Mapping Robert Storr
Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. -
GUILLERMO KUITCA Biography
SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338 www.speronewestwater.com GUILLERMO KUITCA Biography 1961 Born Buenos Aires, Argentina. Lives and works in Buenos Aires. Awards 2018 Chevalier de l’Ordre des Arts et des Lettres, France Selected Solo Exhibitions 1974 Galeria Lirolay, Buenos Aires 1978 Galeria Christel K., Buenos Aires 1980 Fundacion San Telmo, Buenos Aires 1984 Galeria Del Retiro, Buenos Aires 1985 Elizabeth Franck Gallery, Knokke-Le-Zoute, Belgium (catalogue) 1986 “Guillermo Kuitca: Siete Ultimas Canciones,” Galeria del Retiro, Buenos Aires Thomas Cohn Arte Contemporanea, Rio de Janeiro 1987 Galeria del Retiro, ARCO, Feria Internacional de Arte Contemporanea, Madrid (catalogue) Galeria Paulo Figueiredo, Sao Paulo 1989 Thomas Cohn Arte Contemporanea, Rio de Janeiro Galeria Atma, San Jose, Costa Rica Argentina Pavilion, “XVIII Bienal,” Sao Paulo (catalogue) 1990 Annina Nosei Gallery, New York Galerie Barbara Farber, Amsterdam (catalogue) “Guillermo Kuitca,” Kunsthalle Basel, Basel Thomas Solomon’s Garage, Los Angeles “Guillermo Kuitca,” Witte de With Center for Contemporary Art, Rotterdam (catalogue) “Guillermo Kuitca,” Stadtisches Museum, Mulheim 1990-91 Galleria Gian Enzo Sperone, Rome, 14 December 1990 – 15 January 1991 (catalogue) 1991 Annina Nosei Gallery, New York (catalogue) Galerie Barbara Farber, Amsterdam 1991-92 “Projects 30: Guillermo Kuitca,” The Museum of Modern Art, New York, 13 September – 29 October 1991; Newport Harbor Art Museum, Newport Beach, 7 February – 29 March 1992; -
A Solo Exhibition by Los Angeles Based Artist, Ruby Neri
David Kordansky Gallery is pleased to present, This is me, is that you? a solo exhibition by Los Angeles based artist, Ruby Neri. The opening reception will be held on Saturday, June 20th from 6 to 9pm and the exhibition will be on view through August 8, 2009. Neri’s works are executed in ceramic, plaster and paint. They depict women, men, portraits of lovers, horses and landscape in a bold and expressionistic fashion. Born in the seventies into the collegial environment of artists in San Francisco, Ruby Neri’s initial influences were the painters and ceramicists closely associated with her father, the Bay Area Figurative sculptor, Manuel Neri. Her works have steadily built upon these early influences to reflect her interest in an increasingly wide variety of visual sources: American Folk Artists such as Edgar Tolson, early twentieth century German Expressionism such as Ernst Ludwig Kirchner, and mid-century modern European sculptors such as Alberto Giacometti and Marino Marini. Accordingly, her paintings and sculptures are marked by a commitment to figurative forms that are modeled expressively by hand and animated by the application of unabashed colors, decorative patterning, and incised painted lines. Suggestive social groupings of men and women alongside or riding on horses, stand and sit naked— not nude; the figures are confrontational in pose and spirit. They recall Greek Kouroi, sculptures of unclothed young men striding forward. They are defiant and proud as active subjects, not passive artists’ models. This energy is heightened by Neri’s delight and involvement in an intuitive act of making. Handfuls of plaster added to an armature and built up over time are evident in the larger sculptures, which she also carves away in some places, a process that provides the figures with their own strong physical materiality. -
Prickly but Puppyish in San Francisco 5 Artists in 'Energy That Is All
enthusiasm and prickly negativity. Though not a collective, they shared enough to warrant a group label, and as they became celebrated in San Francisco and Prickly but Puppyish in San Francisco beyond, the critic Glen Helfand’s coinage stuck: the 5 Artists in ‘Energy That Is All Around: Mission Mission School. School’ By Ken Johnson April 24, 2014 Chris Johanson’s “The Inside of a Mind” from the early 1990s. Courtesy of the artist, Collection of Mariallidia Marcotulli, Bolinas, Calif. Youth, they say, is wasted on the young, but it wasn’t on the five artists featured in “Energy That Is All Around: Mission School,” an exhibition at the Grey Art Gallery that bristles infectiously with youthful urgency. An untitled work by Margaret Kilgallen from 2000. Estate of Margaret Kilgallen and Ratio 3, San Francisco The artists — Chris Johanson, Margaret Kilgallen, Barry McGee, Alicia McCarthy and Ruby Neri — were Organized by the independent curator Natasha Boas for all born between 1967 and 1970 and came of age while the San Francisco Art Institute, where it appeared last living in San Francisco’s Mission District when it was year, the exhibition presents nearly 130 paintings, still a low-rent neighborhood, in the 1990s on the eve of drawings and sculptures dating from roughly 1990 to the first dot-com boom. Mr. McGee, Ms. McCarthy and 2013. Works by the five are intermixed throughout so Ms. Neri were students at and then graduates of the San that at first it’s hard to tell which are whose without a Francisco Art Institute, while Ms. -
Colson Biography
2525 Michigan Ave., Unit B2, Santa Monica, CA USA 90404 T/ 310 264 5988 F/ 310 828 2532 www.patrickpainter.com GREG COLSON BIOGRAPHY Born Seattle, WA. BA, California State University, Bakersfield, CA. MFA, Claremont Graduate School, CA. Lives and works in Venice, CA. SELECTED SOLO EXHIBITIONS 2013 Patrick Painter Inc, Santa Monica, CA. 2012 Patrick Painter Inc, Santa Monica, CA. Baldwin Gallery, Aspen, CO. 2010 William Griffin Gallery, Santa Monica, CA. 2008 William Griffin Gallery, Santa Monica, CA. 2007 William Griffin Gallery, Santa Monica, CA. 2006 Baldwin Gallery, Aspen, CO. 2005 Griffin Contemporary, Santa Monica, CA. 2004 Griffin Contemporary, Santa Monica, CA. 2002 Sprovieri, London, England Art Affairs, Amsterdam, The Netherlands Baldwin Gallery, Aspen, CO. 2001 Sperone Westwater, New York, N.Y. Galleria Cardi, Milan, Italy Griffin Contemporary, Venice, CA. 1999 John Berggruen Gallery, San Francisco, CA. Gian Enzo Sperone, Rome, Italy Griffin Contemporary, Venice, CA. 1998 Milleventi, Milan, Italy Griffin Contemporary, Venice, CA. 1997 Angles Gallery, Santa Monica, CA. 1996 Krannert Art Museum, University of Illinois, Urbana-Champaign 1995 Angles Gallery, Santa Monica, CA. 1994 Kunsthalle Lophem, Bruges, Belgium Sperone Westwater, New York, N.Y. 1993 Angles Gallery, Santa Monica, CA. 2525 Michigan Ave., Unit B2, Santa Monica, CA USA 90404 T/ 310 264 5988 F/ 310 828 2532 www.patrickpainter.com 1992 Gian Enzo Sperone, Rome, Italy 1991 Konrad Fischer, Dusseldorf, Germany Sperone Westwater, New York, N.Y. 1990 Angles Gallery, Santa Monica, CA. Sperone Westwater, New York, N.Y. 1988 Angles Gallery, Santa Monica, CA. Lannan Museum, Lake Worth, FL. 1987 Angles Gallery, Santa Monica, CA. -
Energy That Is All Around
Contact: Laurie Duke [email protected] or 212/998-6782 ENERGY THAT IS ALL AROUND Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri Early 1990s works on view at NYU’s Grey Art Gallery April 15–July 12, 2014 New York City (February 28, 2014)—Presenting more than 125 works by five artists who launched their careers in a gritty San Francisco neighborhood in the early 1990s, ENERGY THAT IS ALL AROUND/Mission School is the first East Coast museum exhibition to highlight these artworks that have achieved cult-like status in the Bay Area and beyond. Most are never-before- seen early pieces from the artists’ own collections. On view at New York University’s Grey Art Gallery from April 15 to July 12, the show was curated by Natasha Boas and organized by the San Francisco Art Institute (SFAI), where Alicia McCarthy, Barry McGee, and Ruby Neri were students, and where they hung out with Margaret Kilgallen and Chris Johanson. ENERGY THAT IS ALL AROUND features paintings, drawings, sculptures, and installations (including a number of the artists’ classic “cluster” pieces) alongside more recent works created especially for this exhibition. Also included is an extensive selection of ephemera, such as sketches, letters, journals, scrapbooks, and cut-outs. Johanson, Kilgallen, McCarthy, McGee, and Neri came into their own as young visual artists in San Francisco’s Mission District at a time when affordable housing and studio space was still available for those bucking the mainstream. The early 1990s also heralded a Bay Area dot-com boom, which brought an influx of young professionals, upscale shops, chic restaurants, and eviction threats to the Mission District, then a more diverse neighborhood offering cheap rent and food. -
Oakland Museum of California and SFMOMA Join Collections for Unprecedented Exhibition Focusing on Art and Community in California
MEDIA CONTACTS: Scott Horton, 510-735-9200, [email protected] Claudia Leung, 510-318-8459, [email protected] Miriam Newcomer, 415-357-4170, [email protected] Robyn Wise, 415-357-4172, [email protected] Oakland Museum of California and SFMOMA Join Collections for Unprecedented Exhibition Focusing on Art and Community in California Fertile Ground Presents Confluences of Personal Relationships and Historical Forces That Changed the Face of 20th- and 21st-Century Art Opening September 20, 2014 at OMCA (Oakland and San Francisco, CA) May 8, 2014 (Updated August 26, 2014)—The Oakland Museum of California (OMCA) and the San Francisco Museum of Modern Art (SFMOMA) combine their collections for the first time in Fertile Ground: Art and Community in California, an unprecedented exhibition that illuminates local histories and social forces that changed the face of art in—and beyond—the Golden State. Weaving together the museums’ unsurpassed holdings of California art and ephemera, the exhibition tells the stories of four creative communities active in the northern part of the state between the 1930s and the present. In each case, the exhibition shines a spotlight on artists who had their finger on the pulse of their time, and the grassroots conditions that allowed their ideas to flourish. The exhibition runs September 20, 2014 through April 12, 2015 in OMCA’s Great Hall and features a vast array of artworks and historical documents, from monumental paintings to handwritten letters, relating to four key moments in the history of California -
Annual Report
09 annual report | 2009 annual report 2009 annual report 4 Board of Trustees 4 Committees of the Board of Trustees 7 President and Chairman’s Report 8 Director’s Report 11 Curatorial Report 15 Exhibitions 15 Traveling Exhibitions 16 Publications 17 Loans 19 Acquisitions 47 Attendance 48 Education and Public Programs 49 Year in Review 54 Development 57 Donors 67 Support Groups 71 Support Group Officers 74 Staff 76 Financial Report/Statements cover Beth Lipman, Laid Table (Still Life with Metal Pitcher), 2007. Purchase, Jill and Jack Pelisek Endowment, Jack Pelisek Funds, and various donors by exchange. Full credit listing on p. 29. left Evan Baden, Lila with Nintendo DS, 2007. Purchase, with funds from the Photography Council. Full credit listing on p. 28. Unless otherwise noted, all photographs of works in the Collection are by John R. Glembin. board of trustees Through August 31, 2009 BOARD OF TRUSTEES auxiliary Christine Symchych Photography A. Raymond Kehm W. Kent Velde spokespersons Frederick Vogel III Committee Gail A. Lione Chairman Catharine D. Malloy Robert A. Wagner Kevin Miyazaki Joan Lubar Raymond R. Krueger President, Collectors’ Hope Melamed Winter Chair Marianne Lubar Linda Marcus President Corner Carol Lewensohn Jill G. Pelisek Carol Bessler acquisitions and Vice Chair Betty Ewens Quadracci collections Dorothy M. Stadler President, Garden Club Secretary committee Barbara Ciurej Mary Strohmaier Danny L. Cunningham subcommittees George A. Evans, Jr. F. William Haberman Treasurer COMMITTEES OF THE Annual Campaign BOARD OF TRUSTEES Decorative Arts Lindsay Lochman Committee Frederic G. Friedman Committee Madeleine Lubar Jill G. Pelisek Assistant Secretary and executive committee Constance Godfrey Marianne Lubar Chair Legal Counsel Raymond R. -