FOR IMMEDIATE RELEASE May 14, 2012 the ASPEN ART MUSEUM
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Feral Business Research Network, 2020
RAD- MIN READER Feral Business Research Network, 2020 2020 RADMIN 2O2O Edited by Angela Piccini and Kate Rich ISBN: URL: https://feraltrade.org/radmin/RAD- MIN_READER_2020.pdf Published by Feral Business Research Network in February 2020. This document is copyright of all contributing authors. Some rights reserved. It is published under the CC BY-NC Licence. This licence lets others remix, tweak, and build upon the text in this work for non-commercial purposes. Any new works must also acknowledge the authors and be non-commercial. However, derivative works do not have to be licensed on the same terms. This licence excludes all photographs and images, which have rights reserved to the original artists as listed in this publication. Printing RADMIN READER 2020. DESIGN BY Image: Angela Piccini, University of Bristol LILANI VANE LAST www.vanelast.co.uk 2 RADMIN READER–2O2O 71 CONTENTS P.4 Introduction - Organising Through a RADMIN Lens 1O RADMIN - Call for Festival Participation 12 The Viriconium Palace - ‘The Shares’ a Meal and a Bucket of Money 16 Incidental Unit - W5: Workshop on the Open Brief 28 Common Wallet - Common Wallet: an Experiment in Financial Commoning 34 RADMIN - Budget 36 Minopogon - Working Tasks 44 FoAM - Dark Arts, Grey Areas and Other Contingencies 56 Bristol Co-operative Gym - Upstanding Citizens 6O RADMIN- Raffle 7O Printing Note Image: FoAM Printing RADMIN READER 2019. Image: Kate Rich, University of the West of England (UWE) 7O RADMIN READER–2O2O 3 Organising Feral Business Research Network / through Kate Rich and Angela Piccini a RADMIN lens What is radical admin? We digress. -
KARL HAENDEL & JAY Defeo
KARL HAENDEL & JAY DeFEO: PINK CUP AND THE FACTS September 12 – October 14, 2017 1018 Madison Avenue, New York Opening Reception: Tuesday, September 12, 6-8 pm NEW YORK, August 15, 2017 – Mitchell-Innes & Nash is pleased to announce Pink Cup and The Facts, a two- person exhibition of works on paper by Karl Haendel and Jay DeFeo, on view at 1018 Madison Avenue from September 12 through October 14. The exhibition highlights the importance of drawing in each artist’s practice as well as the varied potential of the medium itself. This will be the gallery’s second exhibition of each artist and the first time the two artists will be exhibited together. The exhibition is an exploratory dialogue between the work of two artists dedicated to the particularities of making drawings. In the process of forming the exhibition, Karl Haendel traveled from Los Angeles to The Jay DeFeo Foundation in Berkeley to spend time immersed in Jay DeFeo’s drawings, examining the range of marks, evidence of pencil hardness, effect of varied pressure, composition, and diverse subject matter in DeFeo’s work, communing with those details through the lens of his own deep experience with the medium. Along with her dexterity across diverse mediums, including painting, photography, photocopy, and collage, Jay DeFeo (1929-1989) consistently devoted herself to meditative and labor-intensive graphite works on paper. The familiar and iconic forms in DeFeo’s oeuvre appear across subject matters and periods, including works from the Tripod, Pink Cup, Compass, and Reflections of Africa series, in which DeFeo found meaning in the studied repetition of a transmuted form over many years. -
Walead Beshty
[email protected] — WWW.RODOLPHEJANSSEN.COM 1/20 Walead Beshty Biography Born 1976, London, United Kingdom Lives and works in Los Angeles Education 2002 MFA, Yale University School of Art, New Haven, CT 1999 BA, Bard College, Annandale-on-Hudson, NY Solo Exhibitions 2015 - Walid AlBeshti, Regen Projects, Los Angeles, CA USA - Insitute fo Fine Arts, New York University, NY - Disponible, Travesia Cuatro, Guadalajara, Mexico 2014 - Gastarbeiten, Capitain Petzel, Berlin, Germany - A Partial Disassembling of an Invention Without a Future: Helter-Skelt er and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, The Barbican Center, Lon don, UK - Performances Under Working Conditions, Petzel, New York, NY - Thomas Dane Gallery, London, UK - Selected Bodies of Work, Regen Projects, Los Angeles, CA 2013 - Fair Use, The Power Station, Dallas, TX - Walead Beshty, Le 8 rue Saint-Bon, Paris, France 2012 - Travel Pictures, Thomas Dane Gallery, London, UK 2011 - PROCESSCOLORFIELD, Regen Projects, Los Angeles, CA - A Diagram of Forces, Malmö Konsthall, Malmö, Sweden / Centro de Arte Dos de Mayo, Madrid, Spain - Securities and Exchanges, Ullens Center for Contemporary Art, Beijing, China - Diapositives, Galerie Rodolphe Janssen, Brussels, Belgium [email protected] — WWW.RODOLPHEJANSSEN.COM 2/20 2009 - Legibility on Color Backgrounds, Hirshhorn Museum and Sculpture Gar den, Washington, DC - Pulleys, Cogwheels, Mirrors, and Windows, University of Michigan Muse um of Art, Ann Arbor, MI (Ex. cat) -
Words Without Pictures
WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine -
VIELMETTER LOS ANGELES Press Release Karl Haendel Double
VIELMETTER LOS ANGELES Press Release Karl Haendel Double Dominant January 25– March 7, 2020 Part I Opening Reception: Saturday, January 25, 4 – 7 pm Part II Opening Reception: Saturday, February 15, 6 – 8 pm Vielmetter Los Angeles is excited to announce Double Dominant, an exhibition of new drawings by Karl Haendel. This suite of 24 monumental drawings will be presented in two parts. Part one, made up the first twelve drawings, will open January 25 with a reception from 4- 7pm; part two, a re-hang of the show with twelve 1700 S Santa Fe Ave #101 Los Angeles, CA 90021 +1 213 623 3280 vielmetter.com new drawings, will open on February 15 with a reception from 6 – 8pm. A volume reproducing the complete set of works, published by Triangle Books with an essay by Natilee Harren, will accompany the exhibition. We asked the artist to share his thoughts on the work: “The first Double Dominant drawing I made was of Emily’s hand. I was thinking about intermingling my touch with hers–a kind of shared tactility and intimacy. And I knew drawing my wife’s hand (now ex-wife, but that’s a long and different story) at this huge scale had something to do with power. Subsuming myself in a sense. When finished, the drawing was a strange force in the room. It was of course a kind of portrait, but it also occupied the room as if it were its own embodied sculptural presence. But the interplay of touch, intimacy, and power that got me to that first drawing was likely not going to transmit to the audience (and not their business anyway–best left for our therapist). -
Walead Beshty Biography
WALEAD BESHTY BIOGRAPHY Born in 1976, London, UK. Lives and works in Los Angeles, CA. Education: M.F.A., Yale University School of Art, New Haven, CT, 2002 B.A., Bard College, Annandale-on-Hudson, NY, 1999 Selected Solo Exhibitions: 2021 “Walead Beshty: Foreign Correspondence (October 1, 2012 – January 14, 2021),” Galerie Eva Presenhuber, Zurich, Switzerland, March 27 – April 24, 2021 2020 “Walead Beshty: Industrial Uniforms,” MAST Foundation, Bologna, Italy, January 25 – September 20, 2020 “Standard Deviations,” Kunst Museum Winterthur, Winterthur, Switzerland, January 25 – August 9, 2020 2019 “Walead Beshty: Abstract of A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench,” Petzel Gallery, New York, NY, October 24 – December 14, 2019 "Walead Beshty: 3 Pictures," Rodolphe Janssen, Brussels, Belgium, September 5 – October 14, 2019 “Walead Beshty,” Musée d’art moderne et contemporain, Geneva, Switzerland, May 29 – September 8, 2019 2018 “Walead Beshty: Aggregato,” Thomas Dane Gallery, Naples, Italy, September 25 – December 22, 2018 “Equivalents,” Regen Projects, Los Angeles, CA, March 2 – April 7, 2018 2017 “Open Source,” Petzel Gallery, New York, NY, April 20 – June 17, 2017; catalogue “Walead Beshty: Transparencies,” Rat Hole Gallery, Tokyo, Japan, March 24 – June 25, 2017 2016 “Automat,” Galerie Eva Presenhuber, Zürich, Switzerland, June 12 – August 27, 2016 2015 “Walead Beshty,” Great Hall Exhibition, Institute -
On-Screen Reading
RAD- MIN READER 2O2O P.4 1O 12 16 28 34 36 44 56 6O 7O RADMIN 2O2O Edited by Angela Piccini and Kate Rich ISBN: URL: https://feraltrade.org/radmin/RAD- MIN_READER_2020.pdf Published by Feral Business Research Network in February 2020. This document is copyright of all contributing authors. Some rights reserved. It is published under the CC BY-NC Licence. This licence lets others remix, tweak, and build upon the text in this work for non-commercial purposes. Any new works must also acknowledge the authors and be non-commercial. However, derivative works do not have to be licensed on the same terms. This licence excludes all photographs and images, which have rights reserved to the original artists as listed in this publication. DESIGN BY LILANI VANE LAST www.vanelast.co.uk 2 RADMIN CONTENTS P.4 Introduction - Organising Through a RADMIN Lens 1O RADMIN - Call for Festival Participation 12 The Viriconium Palace - ‘The Shares’ a Meal and a Bucket of Money 16 Incidental Unit - W5: Workshop on the Open Brief 28 Common Wallet - Common Wallet: an Experiment in Financial Commoning 34 RADMIN - Budget 36 Minopogon - Working Tasks 44 FoAM - Dark Arts, Grey Areas and Other Contingencies 56 Bristol Co-operative Gym - Upstanding Citizens 6O RADMIN- Raffle 7O Printing Note Image: FoAM READER–2O2O 3 Organising Feral Business Research Network / through Kate Rich and Angela Piccini a RADMIN lens What is radical admin? We digress. We are nomadic. We are interrupted. We are peripatetic. We steal time and space to organise - from parks, libraries, hotels, coastal paths. -
KARL HAENDEL Born 1976, New York Lives and Works in Los Angeles
KARL HAENDEL Born 1976, New York Lives and works in Los Angeles Education 2003 University of California, Los Angeles, MFA 2000 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1999 Whitney Museum Independent Study Program, New York, NY 1998 Brown University, Providence, RI, BA in Art Semiotics and Art History Solo Exhibitions 2010 Lever House, New York Sir Ernest Shackelton and All The Clocks in My House, Susanne Vielmetter Projects, Los Angeles, CA 2009 Displeasure, Milliken Gallery, Stockholm, Sweeden How to Have a Socially Responsible Orgasm and Other Life Lessons, Harris Lieberman, New York, NY 2008 Kommitment Karl, Sommer Contemporary Art, Tel Aviv, Israel 2007 The Suburban, Chicago, IL I Need Work, Harris Lieberman, New York, NY Last Fair Deal Gone Down, Anna Helwing Gallery, Los Angeles, CA 2006 MOCA Focus: Karl Haendel, Museum of Contemporary Art, Los Angeles, CA Makes a Long Time Man Feel Bad, Sommer Contemporary Art, Tel Aviv, Israel Make Me Down a Pallet on Your Floor, Sorcha Dallas, Glasgow, UK 2005 Grits Ain’t Groceries (All Around the World), Anna Helwing Gallery, Los Angeles, CA 2003 You Can’t Lose What You Ain’t Never Had, Anna Helwing Gallery, Los Angeles, CA Group Exhibitions 2010 Blind Mirror, Raucci/Santamaria, Naples 2009 Borrow and Steal, The Rubell Family Collection, Miami Plug n’ Play, Redling Fine Art, Los Angelos Rotating Views #2 - Works from the Astrup Fearnley Collection, curated by Gunnar B. Kvaran, Hanne Beate Ueland and Grete Årbu, Astrup Fearnley Museum of Modern Art, Oslo PLAY WITH YOUR OWN MARBLES, -
Download This Judgment
Thornton v Telegraph Media Approved Judgment Neutral Citation Number: [2011] EWHC 1884 (QB) Case No: HQ09X02550 IN THE HIGH COURT OF JUSTICE QUEEN'S BENCH DIVISION Royal Courts of Justice Strand, London, WC2A 2LL Date: 26/07/2011 Before : THE HONOURABLE MR JUSTICE TUGENDHAT - - - - - - - - - - - - - - - - - - - - - Between : SARAH THORNTON Claimant - and - TELEGRAPH MEDIA GROUP LTD Defendant - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Ronald Thwaites QC & Justin Rushbrooke (instructed by Taylor Hampton) for the Claimant David Price QC & Catrin Evans (instructed by David Price Solicitors and Advocates) for the Defendant Hearing dates: 4, 5, 6, 8 July - - - - - - - - - - - - - - - - - - - - - Judgment Mr Justice Tugendhat : 1. Sarah Thornton makes two claims in this action: one in libel and one in malicious falsehood. Both claims arise out of a review (“the Review”) written by Lynn Barber of Dr Thornton’s book “Seven Days in the Art World” (“the Book”). The Review was published in the print edition of the Daily Telegraph dated 1 November 2008, and thereafter in the online edition until taken down at the end of March 2009. The Defendant is the publisher (“the Telegraph”). 2. The pre-action protocol letter written by solicitors for Dr Thornton is dated 23 March 2009. The first meaning complained of, as subsequently set out in the Particulars of Claim, was that Dr Thornton had dishonestly claimed to have carried out an hour-long interview with Ms Barber as part of her research for the Book, when the true position was she had not interviewed Ms Barber at all, and had in fact been refused an interview. Thornton v Telegraph Media Approved Judgment 3. The second complaint, that of malicious falsehood, was that in the Review Ms Barber had stated that Dr Thornton gave copy approval to the individuals mentioned in the book whom she had interviewed, that is to say the right to see the proposed text in advance of publication, and to alter it, or to veto its publication. -
Artnet News - Artnet Magazine
1/12/2017 Artnet News - artnet Magazine Search Artists Galleries Auction Houses Events Auctions News artnet Magazine ARTNET NEWS News May 19, 2006 Reviews TURNER PRIZE SHORTLIST ANNOUNCED Features The shortlist for the 2006 Turner Prize has been announced, featuring a group Books of artists who are rather fresh, especially to U.S. audiences: 38yearold Tomma Abts, an abstract painter who has showed at the Wrong Gallery and People is presently represented by greengrassi; 35yearold video artist Phil Collins, last seen in New York with an exhibition at Tanya Bonakdar Gallery featuring Videos disaffected youths from the streets of Istanbul belting out karaoke renditions of Horoscope songs by The Smiths; 33yearold mixedmedia artist Mark Titchner, known for drawing on billboard art and corporate logos; and 41yearold Rebecca Newsletter Warren, who is represented by Matthew Marks and creates voluptuous, blob Spencer’s Art Law Journal like sculptures of women. Subscribe to our RSS feed: The British tabloid press has, rather predictably, latched onto the big breasts of Warren's sculptures as this year's scandal, referring to the artist as a "pervy potter" (though if an obsession with outsized breasts be a crime, its hard to imagine the British tabloid press being in a position to say anything about it). Fans can judge for themselves when an exhibition of work by the finalists opens at the Tate, Oct. 3, 2006Jan. 21, 2007. The 2006 Turner jury consists of Lynn Barber, Margot Heller, Matthew Higgs, Andrew Renton and Tate director Nicholas Serota, and announces the winner of the £25,000 prize on Dec. -
Press Release
PRESS RELEASE Phil Collins soy mi madre 24 November – 18 December 2009 Victoria Miro Gallery hosts the European premiere of soy mi madre, the latest film by Phil Collins, in his second solo exhibition with the gallery. Eliciting the complex and ambiguous relationship between the camera and its subject, Phil Collins’ work examines individual and collective systems of representation. Collins’ multifaceted practice is based on a close engagement with place and community, and has addressed issues of ethnicity, gender, and political and linguistic identity through participatory events often organised in regions of social upheaval. In producing these projects, which have ranged from castings to a dance-a-thon to press conferences, Collins appropriates aspects of the documentary tradition and fuses them with elements of popular culture to create tender, affectionate, and sometimes melancholic descriptions of humanity. In soy mi madre, Collins expands on these themes by using the format of the telenovela. Commissioned in 2008 by the Aspen Art Museum as part of the Jane and Marc Nathanson Dintiguished Artist in Residency Program, in this work Collins focuses on the Latino and immigrant populations of Colorado, a sizable percentage of which hail from northwestern Mexico. In Aspen itself, this community figures mainly as a non-resident low-qualified work force, dispersed through a ring of satellite towns from which it commutes daily. At the same time alluding to and refuting the preconceived glamorous image of Aspen, Collins made a work in resonance with the cultural context of this specific population. The telenovela is one of the most popular products of Latin America. -
Walead Beshty
WALEAD BESHTY Born 1976, London, UK Lives and works in Los Angeles, CA EDUCATION 2002 MFA, Yale University School of Art, New Haven, CT, USA 1999 BA, Bard College, Annandale-on-Hudson, NY, USA SOLO EXHIBITIONS 2021 Foreign Correspondence, Galeria Eva Presenhuber, Zurich, Switzerland 2020 Walead Beshty: Industrial Portraits, Fondazione MAST, Bologna, Italy Standard Deviations, Kunst Museum Winterhur, Switzerland 2019 Abstract of A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, Petzel, New York Three Pictures, Galerie Rodolphe Janssen, Brussels, Belgium Walead Beshty, Musée d'art moderne et contemporain, Geneva, Switzerland 2018 Picture Industry: a provisional history of the Technical Image 1844-2018, LUMA, Arles, France Aggregato, Thomas Dane Gallery, Naples, Italy Equivalents, Regen Projects, Los Angeles, CA, USA 2017 Open Source, Petzel Gallery, New York, NY, USA Transparencies, Rat Hole Gallery, Tokyo, Japan 2016 Automat, Galerie Eva Presenhuber, Zurich, Switzerland 2015 Walead Beshty, Great Hall Exhibition, Institute of Fine Arts, New York University, New York, NY, USA Travesía Cuatro, Guadalajara, Mexico Walid AlBeshti, Regen Projects, Los Angeles, CA 2014 Gastarbeiten, Capitain Petzel, Berlin, Germany Performances under Working Conditions, Petzel, New York, NY, USA Marginalia, Thomas Dane Gallery, London, UK A Partial Disassembling of an Invention without a Future: Helter-Skelter and Random Notes in which the Pulleys and Cogwheels are Lying around at Random All over the Workbench, Curve Gallery, Barbican Centre, London, UK Selected Bodies of Work, Regen Projects, Los Angeles, CA 2013 Walead Beshty, 8 rue Saint-Bon, Paris, France Fair Use, Power Station, Dallas, TX (Ex.