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Town & Country April, 2011 the Culture: Art
Town & Country April, 2011 The Culture: Art Shows of the Season Rachel Wolf Who'll claim contemporary art supremacy this month: L.A. or New York? California's newest art impresario, Los Angeles's Museum of Contemporary Art director Jeffrey Deitch, is finally making waves in his new home. Along with a team of graffiti gurus, he'll launch the country's first full-scale museum survey of street art. "ART IN THE STREETS" (April 17-Aug. 8 at the Geffen Contemporary) traces the movement from its roots-with works by Keith Haring and Jean-Michel Basquiat to contemporary practitioners like Banksy and Shepard Fairey. It's already deliciously controversial: In December, Deitch was accused of censorship when he painted over a MoCA-commissioned mural by the street artist Blu meant to promote the April exhibition. (Deitch thought residents would be offended by the antiwar work, which depicted coffins shrouded in $1 bills.) And contentiousness won't be in short supply on the East Coast either, thanks to KARA WALKER, the New York artist best known for her raunchy silhouettes and stop-motion animations about race and womanhood. On April 23, Walker mounts her largest exhibition of new work since 2008, a two-venue show at Chelsea's Sikkema Jenkins gallery and Lehmann Maupin's Lower East Side locale (through June 4). Of particular interest is a new video that builds on the scenic work Walker did for Lincoln Center's recent production On the Levee, a drama about the worst river flood, pre-Katrina, in U.S. history. . -
Nathaniel Mary Quinn
NATHANIEL MARY QUINN Press Pack 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM NATHANIEL MARY QUINN BORN 1977, Chicago, IL Lives and works in Brooklyn, NY EDUCATION 2002 M.F.A. New York University, New York NY 2000 B.A. Wabash College, Crawfordsville, IN SOLO EXHIBITIONS 2019 Madison Museum of Art, Madison, WI (forthcoming) 2018 The Land, Salon 94, New York, NY Soundtrack, M+B, Los Angeles, CA 2017 Nothing’s Funny, Rhona Hoffman Gallery, Chicago, IL On that Faithful Day, Half Gallery, New York, NY 2016 St. Marks, Luce Gallery, Torino, Italy Highlights, M+B, Los Angeles, CA 2015 Back and Forth, Rhona Hoffman Gallery, Chicago, IL 2014 Past/Present, Pace London Gallery, London, UK Nathaniel Mary Quinn: Species, Bunker 259 Gallery, Brooklyn, NY 2013 The MoCADA Windows, Museum of Contemporary and African Diasporan Arts Brooklyn, NY 2011 Glamour and Doom, Synergy Gallery, Brooklyn, NY 2008 Deception, Animals, Blood, Pain, Harriet’s Alter Ego Gallery, Brooklyn, NY 2007 The Majic Stick, curated by Derrick Adams, Rush Arts Gallery, New York, NY The Boomerang Series, Colored Illustrations/One Person Exhibition: “The Sharing Secret” Children’s Book, The Children’s Museum of the Arts, New York, NY 2006 Urban Portraits/Exalt Fundraiser Benefit, Rush Arts Gallery, New York, NY Couture-Hustle, Steele Life Gallery, Chicago, IL 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 2004 The Great Lovely: From the Ghetto to the Sunshine, curated by Hanne -
Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
Oral History Interview with Patricia Faure, 2004 Nov. 17-24
Oral history interview with Patricia Faure, 2004 Nov. 17-24 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Patricia Faure on November 17, 22, 24, 2004. The interview took place in Beverly Hills, California, and was conducted by Susan Ehrlich for the Archives of American Art, Smithsonian Institution. Patricia Faure and Susan Ehrlich have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview MS. SUSAN EHRLICH: This is Susan Ehrlich interviewing Patricia Faure in her home in Beverly Hills, California, on November 17, 2004, for the Archives of American Art of the Smithsonian Institution. This is Disc Number One, Side One. Well, let’s begin with your childhood, where were you born, when were you born, and tell me about your early life and experience? MS. PATRICIA FAURE: I was born in Milwaukee, Wisconsin on April 8, 1928. I grew up there as well, went to school there, until I was 15, when we moved to Los Angeles, because after I was born, immediately after I was born, I got pneumonia. And I had pneumonia at least twice before I was six months old, and at one time the hospital called my parents and said to come and see me, for the last time. -
Fundraiser Catalogue As a Pdf Click Here
RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to -
JEAN-MICHEL BASQUIAT New York, NY 10014
82 Gansevoort Street JEAN-MICHEL BASQUIAT New York, NY 10014 p (212) 966-6675 allouchegallery.com Born 1960, Brooklyn, NY Died 1988, Manhattan, NY SELECTED SOLO EXHIBITIONS 2018 Boom for Real, Shirn exhibition hall, Frankfurt, Germany 2015 Basquiat: The Unknown Notebooks, Brooklyn Museum, Brooklyn, NY 2015 Jean-Michel Basquiat: Now’s the Time, Art Gallery of Ontario, Ontario, Canada. Travelled to: Guggenheim Bilbao, Bilbao, Spain 2013 Jean-Michel Basquiat: Paintings and Drawings, Galerie Bruno Bischofberger, Zurich, Switzerland 2012 Warhol and Basquiat, Arken Museum of Modern Art, Ishøj, Denmark 2010 Jean-Michel Basquiat, The Fondation Beyeler, Basel, Switzerland. Traveled to: City Museum of Modern Art, Paris, France 2006 The Jean-Michel Basquiat show, Fondazione La Triennale di Milano, Milan, Italy 2006 Jean-Michel Basquiat 1981: The Studio of the Street, Deitch Projects, New York, NY 2005 Basquiat, Curated by Fred Hoffman, Kellie Jones, Marc Mayer, and Franklin Sirmans Brooklyn Museum, New York, NY Traveled to: Museum of Contemporary Art, Los Angeles, CA, The Museum of Fine Arts, Houston, TX 2002 Andy Warhol & Jean-Michel Basquiat: Collaboration Paintings, Gagosian Gallery, Beverly Hills, CA 1998 Jean-Michel Basquiat: Drawings & Paintings 1980-1988, Gagosian Gallery, Beverly Hills, CA 1997 Jean-Michel Basquiat: Oeuvres Sur Papier, Fondation Dina-Vierny-Musée Maillol, Paris, France 1996 Jean-Michel Basquiat, Serpentine Gallery, London, England; Palacio Episcopal de Mágala, Málaga, Spain 1994 Jean-Michel Basquiat: Works in Black and White, -
Ed Ruscha Continues His Wordplay
The New York Times November 3, 2016 GAGOSIAN Ed Ruscha Continues His Wordplay Farah Nayeri In Ed Ruscha’s new canvases, on display at Gagosian in London, words are presented in logical sequences and in diminishing or augmenting typeface. Ed Ruscha, via Gagosian LONDON — Every week or so, Ed Ruscha drives for three hours from his home in Los Angeles to his cabin in the Californian desert. There, the artist engages in what he describes as “events of plain living” — fixing a faucet, feeding a bird, watering a neglected tree. “L.A. changes constantly, and the things that we all appreciated are not going to be there next week,” Mr. Ruscha said in an interview at the Gagosian Gallery in London, where he is showing 15 new works. “I like the no-change part of the desert.” That desert landscape seems to serve as a backdrop to many of the new canvases on display here (through Dec. 17). This is Gagosian’s first show of Ruscha paintings since an exhibition at its Rome gallery in 2014-15, and comes on the heels of the “Ed Ruscha and the American West” survey at the de Young Museum in San Francisco. Many of the new canvases hanging in London are the color of sand, and — as is the Ruscha trademark — covered with words. The novelty is that the words are presented in logical sequences and in diminishing or augmenting typeface. On one canvas, for example, the word “Galaxy” is inscribed in large letters at the top, followed in a pyramid of diminishing characters by “Earth,” “U.S.A.,” “State,” “City,” “Block,” “Lot” and “Dot.” “The new things are about micro and macro: from the smallest atom to the universe,” said Bob Monk, a Gagosian director who has known Mr. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Calder / Miró Constellations
For Immediate Release Calder / Miró Constellations Pace Gallery Acquavella Galleries 32 East 57th Street, New York 18 East 79th Street, New York April 20 – June 30, 2017 April 20 – May 26, 2017 Joint Opening Reception: Wednesday, April 19, 5:30–8 p.m. New York—Pace Gallery and Acquavella Galleries are pleased to announce "Calder / Miró: Constellations," featuring the Constellations series of Alexander Calder and Joan Miró, respectively. The distinct yet complementary presentations illuminate the startling affinities between the two artists, who at the time the series were created, were separated by the Atlantic during World War II and unable to communicate. Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series—neither of which were actually named "Constellations" by the artists themselves. Calder: Constellations will be on view from April 20 through June 30 at Pace Gallery, 32 East 57th Street, and Miró: Constellations will be on view from April 20 through May 26 at Acquavella Galleries, 18 East 79th Street. A joint opening reception will be held on Wednesday, April 19 from 5:30 to 8 p.m. at both galleries. "This exhibition will be a landmark, both in our history of documenting the achievements of Alexander Calder and in our long and productive relationship with the Acquavella Galleries," says Marc Glimcher. "The two artists tapped into a powerful artistic current, which allowed them to create these unique but resonant series, while they were totally isolated from each other. -
Lucas Samaras New York City, No-Name, Re-Do, Seductions
For Immediate Release Lucas Samaras New York City, No-Name, Re-Do, Seductions 510 West 25th Street, New York September 15 – October 21, 2017 Opening Reception: Thursday, September 14, 6 – 8 p.m. New York—Pace Gallery is pleased to announce Lucas Samaras: New York City, No-Name, Re-Do, Seductions, an exhibition of new work by the artist encompassing 184 photographs in a seven-room installation. The artist’s thirty-fifth exhibition with Pace, New York City, No-Name, Re-Do, Seductions will be on view from September 15 to October 21, 2017, at 510 West 25th Street, and an opening reception will be held on Thursday, September 14 from 6 to 8 p.m. Pace will publish a catalogue that includes a new text by Samaras to accompany the exhibition. In his over 50-year career, Lucas Samaras has pursued a wildly diverse, post-modern practice—creating drawings, furniture, paintings, installations, jewelry, sculptures, and photographs. His work in photography began with his pioneering AutoPolaroid and Photo-Transformation self-portraits, made between 1969 and 1976, which feature his costumed or disguised self as the subject and were often manipulated with added colors or abstracted renditions of his own body. Samaras’s experimentation with photography has evolved throughout his career as new technologies have emerged, and, since the early 2000s, he has focused on digital photography and video. Using Photoshop to further manipulate and challenge the representative nature of the medium, Samaras’s photographs present distorted images of everyday subjects and continue his practice of blurring the boundaries between art and life. -
Drawings from the Marron Collection to Be Copresented by Acquavella
Drawings from the Marron Collection to be copresented by Acquavella Galleries, Gagosian, and Pace Gallery at Pace’s space in East Hampton August 12–20, 2020 Pace Gallery, 68 Park Place, East Hampton, New York Ed Ruscha, Red Yellow Scream, 1964, tempera and pencil on paper, 14 3/8 × 10 3/4 inches (36.5 × 27.3 cm) © Ed Ruscha August , Acquavella Galleries, Gagosian, and Pace Gallery are pleased to announce a joint exhibition of works on paper from the esteemed Donald B. Marron Collection, belonging to one of the twentieth and twenty-first century’s most passionate and erudite collectors. The exhibition will be on view August –, , at Pace’s recently opened gallery in East Hampton, New York. In a continuation of the three galleries’ partnership with the Marron family to handle the sale of the private collection of the late Donald B. Marron, this intimate presentation offers a glimpse into the coveted Marron estate of over masterworks acquired over the course of six decades. The exhibition will feature almost forty works on paper including sketches and studies as well as fully realized paint and pastel pieces. Works on view range from early modern masterpieces by Henri Matisse, Raoul Dufy, and Fernand Léger; to nature studies by Ellsworth Kelly and an exemplary acrylic from Paul Thek’s final series; to contemporary pieces by Mamma Andersson, Leonardo Drew, Damien Hirst, Jasper Johns, and Brice Marden, among others. A focused presentation on Ed Ruscha’s typographic and image-based drawings and a selection of his inventive artist’s books will round out the exhibition. -
John Stezaker's Collages Using Black-And-White Film Photos and Old
Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 Page: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 Keyword: Whitechapel Gallery Dillon, Brian, John Stezaker: What a carve up, The Guardian, 29 January 2011 John Stezaker’s collages using black-and-white fi lm photos and old postcards are nostalgic but also uncanny and absurd. As a career-spanning exhibition of his work opens at the Whitechapel Gallery, Brian Dillon pays tribute to a sly romantic What a Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 hPage: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 carveKeyword: Whitechapel Gallery up image might be used to make art, he English artist thus obviating the tedium of free- John Stezaker, hand drawing. But when he took the whose uncanny machine to his bedroom, he found collages are all he could squeeze on to a sheet of the subject of a paper was a corner of the picture: career-spanning Big Ben, a few turrets and a stretch exhibition at the of red sky. He tried painting over it in Whitechapel Gal- his best approximation of an “expres- lery, tells a revelatory tale about the sionist-psychedelic” style, but when T he turned off the projector the result origins of his luminous art. Stezaker was born in Worcester in 1949; when was “horrifi c”.