Jennifer Allora & Guillermo Calzadilla Biography
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Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor
NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark -
Okwui Enwezor
Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 Okwui Enwezor. Okwui Enwezor (1963 –2019) Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 PAMELA M. LEE In 2019, mention of the “global art world” and its thematic cognates—glob - alism and “global contemporary” art among them—is likely to inspire more cyni - cism than excitement. Critics have their reasons. The phenomenon of global contemporary art seems a foregone conclusion at this late date, the ubiquity of its biennials and fairs inversely proportional to the size of the art world’s most privileged demographic. That such art may be du jour among the collecting class—the stuff of oligarchic portfolios, vanity museums, and private founda - tions—is wholly consistent with the lengthening itineraries of finance capital. If the “global art world” was ideally premised on the rejection of Euro-American parochialisms, an expansion of hemispheric perspectives, and the rewriting of art-historical canons, the hegemony of such markets effectively reproduces the most entrenched relations of power. The passing of Okwui Enwezor (1963–2019), the most influential curator of the past quarter-century, challenges us to revisit these conventions and nuance their historiography in turn, for Enwezor repeatedly identified the contradictory prospects of this emergent global art world. Over the course of a pathbreaking career, the rhetoric of antinomies structured his critical and curatorial engage - ments, whether addressing the afterlives of African independence movements, the transnational biennial as an exhibition model, or the rise of global networks and postcolonial constellations, necessarily uneven in their distribution among diverse populations and actors. -
Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E
CRITICAL REALISM IN CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of Essex, 2007 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 FfdoesPieszak Pieszak UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Alexandra Oliver It was defended on April 1, 2014 and approved by Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art & Architecture Barbara McCloskey, Associate Professor, History of Art & Architecture Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Josh Ellenbogen, Associate Professor, History of Art & Architecture ii Copyright © by Alexandra Oliver 2014 iii CRITICAL REALISM IN CONTEMPORARY ART Alexandra Oliver, Ph.D. University of Pittsburgh, 2014 This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a “critical realism” that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as “fit” or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. -
Aliza Shvarts Cv
A.I.R. ALIZA SHVARTS CV www.alizashvarts.com SOLO AND TWO PERSON EXHIBITIONS 2018 Off Scene, Artspace, New Haven, CT 2016 Aliza Shvarts, Kevin Kavanagh Gallery, Dublin, Ireland 2010 Knowing You Want It, UCLA Royce Hall, Los Angeles, CA SELECTED GROUP EXHIBITIONS 2019 Study Session: Aliza Shvarts, Ayanna Dozier, and Narcissister, The Whitney Museum, NYC 2019 In Practice: Other Objects. SculptureCenter, Long Island City, NY th 2018 ANTI, 6 Athens Biennale. Athens, Greece 2018 A new job to unwork at, Participant Inc, NYC 2018 Aliza Shvarts, Patty Chang & David Kelley. Marathon Screenings, Los Angeles, CA. 2018 International Festival of Arts&Ideas, Public art commission. New Haven, CT 2017 (No) Coma Cuento, Universidad de los Andes, Bogotá, Colombia 2017 Aliza Shvarts and Devin Kenny, Video Artists Working Group, Artists Space, NYC 2017 Goldman Club (with Emanuel Almborg), Dotory, Brooklyn, NY 2016 Situational Diagram: Exhibition Walkthrough, Lévy Gorvy Gallery, NYC 2016 SALT Magazine and Montez Press present, Mathew Gallery, NYC 2016 eX-céntrico: dissidence, sovereignties, performance, The Hemispheric Institute, Santiago, Chile 2016 Subject to capital, Abrons Arts Center, NYC 2015 Soap Box Session: Directing Action, ]performance s p a c e[ London, England. 2015 Learning to Speak in a Future Tense, Abrons Arts Center, NYC 2015 The Magic Flute (with Vaginal Davis), 80WSE Gallery. NYC 2015 On Sabotage (screening), South London Gallery, London GRANTS AND AWARDS 2019 A.I.R Artist Fellowship, A.I.R Gallery -
FELIX GONZALEZ-TORRES and KEN OKIISHI: the Evolution and Representation of Experience
University of Vermont ScholarWorks @ UVM UVM College of Arts and Sciences College Honors Theses Undergraduate Theses 2017 FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience Ashlin Artemesia Ballif The University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/castheses Recommended Citation Ballif, Ashlin Artemesia, "FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience" (2017). UVM College of Arts and Sciences College Honors Theses. 44. https://scholarworks.uvm.edu/castheses/44 This Undergraduate Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM College of Arts and Sciences College Honors Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. Ashlin Ballif Honors Thesis FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience CONTENTS Introduction (Pg. 2-4) Part I: Gonzalez-Torres and Tangibility (Pg.5-15) Part II: Okiishi and Technology (Pg.16-24) Conclusion (Pg.25-28) Bibliography (Pg. 29-30) Images (Pg. 31-32) Introduction The two artists Ken Okiishi and Felix Gonzalez-Torres--though separated by a generation--both use physical objects to signify the loss of human presence, connection or connections. Both instill meaning into familiar physical objects such as candy, clocks, or television screens, and both are able to provoke feelings associated with the kinds of presence objects can represent – without that actual presence. Gonzalez-Torres worked during a time when digital technology was not yet an existent medium, while Okiishi worked during a time in which the technological world and its social effects are central to his work and message. -
David Maljkovic 19 03-09 05 15
david maljkovic 19_03-09_05_15 Press Release 11.03.2015 Blondeau & Cie is delighted to present, in collaboration with Annet Gelink Gallery, Amsterdam, an exhibition by David Maljkovic, New Collection. This first presentation of this artist’s work in Geneva follows on from a number of major solo shows, including the recent In Low Resolution at Palais de Tokyo, Paris. Maljkovic’s work is a highly controlled variant exploitation of formalist concerns. While narrative is the driving element at the origination of a project, the artist’s varied means of visual implementation profoundly modifies and compromises its supremacy. The process of construction within a set of formal directives encrypts the narrative and postulates what Maljkovic describes as a new semantic logic. His overall project is engaged in the variable relationship between form and content in art terms; it is within this relationship that Maljkovic negotiates his formal methods and disjunctive intentions. Virtually all of Maljkovic’s work is engaged with historical and technological markers that are characterized by situations both local and universal. In each, the erosion and corruption of memory are the subjects that are left for the viewer to re-organize. The subject of defective memory and the use of collage, in its more literal as well as more complex application, is a formal principle for dislocation, subtraction and juxtaposition for Maljkovic’s mythical “missing archive”. For the exhibition New Collection, Maljkovic deconstructs and revisits a set of his earlier works from Blondeau & Cie collection which are reinterpreted to become the source of new works. The artist undertakes to re-read and conjure memories in order to bring together works separated by time span and the evolution of his thoughts. -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
Sharjah Art Foundation Announces the Late Okwui Enwezor As Curator of Sharjah Biennial 15
For Immediate Release 4 November 2019 Hoor Al Qasimi (left). Photo: Sebastian Böttcher; Okwui Enwezor (right). Photo: Chika Okeke-Agulu Sharjah Art Foundation Announces the Late Okwui Enwezor as Curator of Sharjah Biennial 15 Foundation Director Hoor Al Qasimi to Co-Curate Alongside Working Group Members Tarek Abou El Fetouh, Ute Meta Bauer, Salah M. Hassan and Chika Okeke-Agulu, with the Support of an Advisory Committee Including David Adjaye, John Akomfrah and Christine Tohme SB15 Opens March 2021 in Sharjah, United Arab Emirates Sharjah Art Foundation (SAF) in Sharjah, UAE, today announced the renowned critic and curator Okwui Enwezor (1963–2019) as curator of the next Sharjah Biennial, opening in March 2021. Enwezor conceived the 15th edition of the Sharjah Biennial (SB15), entitled Thinking Historically in the Present, as a platform to reflect on the past fourteen editions of the Biennial and to consider the future of the biennial model. In accordance with Enwezor’s wishes, SB15 will be realized with the support of Sharjah Art Foundation Director Hoor Al Qasimi as co-curator alongside a working group of Enwezor’s longtime collaborators: curator Tarek Abou El Fetouh; professor and Founding Director of NTU CCA Singapore Ute Meta Bauer; art historian and Cornell University professor Salah M. Hassan; and art historian and Princeton University professor Chika Okeke-Agulu. Al Qasimi and the SB15 Working Group will oversee the development and implementation of Enwezor’s curatorial concept in collaboration with an advisory committee composed of architect Sir David Adjaye, artist John Akomfrah and Ashkal Alwan Director Christine Tohme, who will provide additional consultation on the Biennial. -
Gallery Korea 2013
CALL FOR ARTISTS 2013GALLERY KOREA This catalogue is made for the exhibitions presented by Gallery Korea of the Korean Cultural Service New York Limited edition, January 2014 Published by Korean Cultural Service New York 460 Park Avenue 6th Floor, New York, NY 10022 Tel : +1 212 759 9550 Fax : +1 212 688 8640 [email protected] www.koreanculture.org Copyright © 2014 by Korean Cultural Service New York All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recovering, or by any information storage and retrieval system, without permission in writing from the publisher. Director : Woo Sung Lee (New York) Curator : Hee Sung Cho (New York) Designed by Eunyoung Kang Edited by Juhea Kim CONTENTS Message From The Director Message From Preface 2013 TAKE OLD ROAD NEW WAY 2.20 - 3.29.2013 Seongmin Ahn, Judy Glasser, Jeanne Heifetz, Jung S Kim Eun Jung Rhee, Kyung Hwa Shon and Shyun Song POLLINATION: OVERLAPPINGS GALLERY KOREA OF THE KOREAN CULTURAL SERVICE NEW YORK IN TIME AND IN PLACE POLLINATION Overlappings in Time and in Place 09.11 - 10.25.2013 Jae Yong Chun, Kira Nam Greene, Roman M. Hrab, Kyung Jeon, Sun Doo Kim, Young Tai Kim, Hein Koh, Gyu Chae La, Jongil Ma, Lee Puckett, George Raggett, Juju U and Elizabeth Winton NATURE’S TEMPO: SIGNS, LINES AND SHAPES NATURE’S TEMPO signs, lines and shapes 11.13 - 12.18.2013 Elly Cho, Yoko Fukushima, Yiji Hong, Jin Hong Kim, Inmi Lee, Jei Ryung Lee and Annalisa Vobis Korean Cultural Service Korean New York First and foremost, I would like to express my most sincere congratulations to the participating artists of Call for Artists 2013. -
Kendell Geers
Kendell Geers Employing a wide range of references — from the realms of history of art, pornography, iconography and kitsch — Kendell Geers questions artistic value and mocks the notion of originality. His work reveals razor-sharp humour that plays with the viewer’s repulsion and ridicules racial or religious stereotypes. Kendell Geers was born in South Africa and now lives and works in Brussels. At the 1993 Venice Biennale he officially changed his date of birth to May 1968, a momentous year in world history for human liberation and equality. Geers creates work that aims to disrupt commonly accepted moral codes and principles. Laden with complex and deep political implications, it is challenging and confrontational. At the same time, Geers’ minimalist aesthetics generate a subtle poetic undertone. His use of language, ready-mades, neon, glass, icons, film, chevron tape and other objects confront the viewer head on. They often startle the eye and require a degree of interrogation from the spectator. Geers’ work is currently included in the 2021 Bruges Triennial and Kortrijk Triennial 2021 in Belgium. ‘Love, By Any Means Necessary’, the sixth solo exhibition for the artist at Stephen Friedman Gallery, opened in February 2020. Geers curated ‘IncarNations: African Art as Philosophy’ in 2019 with Congolese collector Sindika Dokolo at Palais des Beaux-Arts (BOZAR), Brussels. A major retrospective of his work curated by Okwui Enwezor was held at Haus der Kunst, Munich in 2013. He participated in Documenta 14 in 2017 and Documenta 11 in 2002 in Kassel, Germany. Geers’ work was included in the Venice Biennale in 2019, 2007 and 1993. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
"The Camera Is Not a Machine Gun"
Fred Ritchin | Reviews "The Camera Is Not a Machine Gun" At Kevin Kwanele’s Takwaito Barber, Lansdowne Road, Khayelitsha, Cape Town, in the time of AIDS, 16 May 2007. All photos courtesy New Museum I often wished during those years that I could be a lyricist with a camera. I would look at Edward Weston’s work and envy the freedom to be lyrical. I took great delight in his and many other photographers’ work. I envied them the freedom to photograph a landscape apparently without concern for the implications of its possession. —David Goldblatt, Interview with Okwui Enwezor, 1998 For most of David Goldblatt’s career, which began in the early 1960s, nearly everything that he saw was contextualized by the distorting prism of apartheid. The ownership and use of land, as well as housing, jobs, marriage, schooling and countless other facets of everyday life, were all powerfully linked to the color of one’s skin. Partially as a result, Goldblatt chose to photograph the manifestations of apartheid in shades of gray until, after Nelson Mandela’s ascension, his medium evolved into color. “During those years color seemed too sweet a medium to express the anger, disgust and fear that apartheid inspired,” the photographer told photo historian Mark Haworth-Booth in the beautifully produced 2005 book Intersections, a volume that precedes the exhibition “Intersections Intersected: The Photography of David Goldblatt,” on view at New York’s New Museum through October 11. Suburban garden and Table Mountain, Bloubergstrand, Cape Town, 9 January 1986 A member of a Lithuanian Jewish family that had come to South Africa to escape religious persecution, Goldblatt described himself as a “self-appointed observer and critic of the society into which I was born.” And he was, choosing a probing, dispassionate style of photography that sought complexity and nuance, rather than an overtly activist stance.