DOCSLIB.ORG

Nancy Rubins Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

G A G O S I A N Nancy Rubins Bibliography Books and Catalogues: 2014 Doll, Nancy, Nancy Princenthal, and Xandra Eden. Nancy Rubins Drawing, Sculpture, Studies. Prestel Pub. 2012 Rubins, Nancy, Céline Flécheux, and Dave Hickey. Nancy Rubins: Work. Gottingen: Steidl. 2011 Sansone, Luigi, et al. Salvatore Scarpitta: Trajectory. Milan: Silvana Editoriale. Schimmel, Paul, Francis Colpitt, Thomas Crow, Charles Desmarais, Peter Frank, Leta Ming, Rebecca Solnit, and Kristine Stiles. Under the Big Black Sun Los Angeles: The Museum of Contemporary Art and DelMonico Books-Prestel. Smith, Mariann W. Albright-Knox Art Gallery: Highlights of the Collection. London: Scala. 2010 Barak, Ami, Jean-Gabriel Mitterand, Hugo Liao, Lu Leiping, and Hanna Alkema. Art for the World: The City of Forking Paths. Paris–Shanghai: JGM. Galerie. 2008 Eshoo, Amy, ed., Derrick R. Cartwright, James Cuno, Elizabeth Finch, Josef Helfenstein, Glenn D. Lowry, David Mickenberg, Ann Philbin, Earl A. Powell III, Jock Reynolds, and Townsend Wolfe. 560 Broadway: A New York Drawing Collection at Work, 1991-2006. New York: Fifth Floor Foundation in association with Yale University Press. Goldstein, Ann, Rebecca Morse and Paul Schimmel. This Is Not To Be Looked At: Highlights from the Permanent Collection of The Museum of Contemporary Art, Los Angeles. Forward by Jeremy Strick. Los Angeles: The Museum of Contemporary Art. Holt, Steven Skov, and Mara Holt Skov. Manufractured: The Conspicous Transformation of Everyday Objects. San Francisco: Chronicle Books. 2006 Grenier, Catherine. Los Angeles 1955-1985. Paris: Centre Pompidou/Panama Musees. Schlegal, Eva, Marie-Therese Harnoncourt, et al. L.A. Women, Wien: Schlebrügge. 2005 Delehanty, Suzanne, et al. Converge 2. Miami: Miami Art Museum of Dade County Association, Inc. Flécheux, Céline. Poster #3: Nancy Rubins Table and Airplane Parts 1990-2005, Drawings 2000-2003. Exhibition brochure. Dijon: Fonds régional d’art contemporain de Bourgogne. Richer, Francesca and Matthew Rosenzweig, eds. No. 1: First Works by 362 Artists. New York: D.A.P./Distributed Art Publishers, Inc. Taylor, Brandon. Art Today. Laurence King Publishing, pp. 162-3. 2004 Baldesarri, John, Meg Cranston, and Thomas McEvilley.100 Artist’s See God. New York: Independent Curators International. 2003 Achille Bonito, Oliva. Belvedere dell’arte Orizzonti. Florence: Skira, Fort Belvedere. Landauer, Susan, et al. The not-so-still life. University of California Press, San Jose Museum of Art. Pace, Linda, et al. Dreaming Red Creating ArtPace. New York: Distributed Art Publishers. Virilio, Paul. Unknown Quantity. London: Thames & Hudson Ltd. (Fondation Cartier pour l’art Contemporain). W W W . G A G O S I A N . C O M G A G O S I A N Weibel, Peter and Gunter Holler-Schuster. M_ARS Kunst und Krieg (Art and War). Graz: Hatje Cantz Verlag. 2002 Fuller, Diana Burgess. Art/Women/California 1950-2000. San Jose: University of California Press and San Jose Museum of Art. Flécheux, Céline, Didier Larnac, Benjamin Laurent-Aman, Peter Fletcher and Jean- Francois Lacalmontie. Mesure Démesure. Nancy, France: City of Nancy and l’Ecole Nationale Supérieure d’Art de Nancy. Boulton Stroud, Marion. New material as new media: the Fabric Workshop and Museum. Cambridge: MIT Press. 2001 Newman, Amy. On the Needs of Visual Artists: A Roundtable 2001. Colorado Springs: The Marie Walsh Sharpe Art Foundation. Princenthal, Nancy, Jennifer Dowley et al. A Creative Legacy, A History of the National Endowment for the Arts: Visiting Artists’ Fellowship Program 1966- 1995. New York: Harry N. Abrams, Inc. in association with the National Endowment for the Arts. ----------. Nancy Rubins: Sculptures and Drawings. New York: Paul Kasmin Gallery. 2000 ----------. Parallels and Intersection: A Remarkable History of Woman Artist In California, 1950-2000. Berkeley: University of California Press. Trouche, Ann et al. Fonds Regional d’Art Contemporain de Bourgogne, 1984-2000. FRAC Bourgogne & Les Auteurs. 1999 Johnstone, Mark. Contemporary Art in Southern California. Sydney: Craftsman House, G&B International. Graham, Julie, Maria Friedrich and Francesco Bonami. Powder. Aspen Art Museum. 1998 ----------. The Visual Arts Awards. The Flintridge Foundation. 1997 Chamberlain, Karen. Nancy Rubins. Aspen Art Museum. Davies, Hugh M. et al. Blurring the Boundaries-Installation Art 1969-1996. San Diego: Museum of Contemporary Art. Hopps, Walter et al. Sunshine & Noir: Art in LA 1960-1997. Humlebaek: Louisiana Museum of Modern Art. Marcoci, Roxana, Diana Murphy and Eve Sinaiko, eds. New Art. New York: Harry N. Abrams, Inc. Nittve, Lars and Helle Crenzien, et al. Sunshine & Noir: Art in L.A. 1960–1997. Humlebaek, Denmark: Louisiana Museum of Modern Art. 1995 ---------. L’object dans l’art contemporain. Annemasse: FRAC Rhone-Alpes. Kertess, Klaus et al. 1995 Biennal Exhibition. New York: Whitney Museum of American Art. Conkelton, Sheryl. Projects: Nancy Rubins (brochure, no. 49). New York: The Museum of Modern Art. di Suvero, Mark, et al. Socrates Sculpture Park. Long Island City: Socrates Sculpture Park. Kanjo, Kathryn & Lisa Liebman. Nancy Rubins. San Diego: Museum of Contemporary Art San Diego Publications. Yard, Sally, ed. inSITE94: A Binational Exhibition of Installation and Site-Specific Art. San Diego: Installation Gallery. 1994 Heyler, Joanne and Anders Michelsen, et al. (cut) Los Angles- 90’ernes Kunstscene. Copenhagen: Kunstforeningen. 1993 Albertazzi, Liliana. DifférenteS NatureS: Visions de l’art contemporain. Turin: Lindau.Kunz, Martin. Enclosion. Exhibition catalog. New York: The New York Kunsthalle. W W W . G A G O S I A N . C O M G A G O S I A N Oliva, Achille Bonito and Helena Kontova, et al. Aperto ‘93. Milan: Giancarlo Politi Editore. Rosenberg, Barry A. Simply Made in America. Ridgefield: The Aldrich Museum of Contemporary Art. 1992 Pagel, David. Nancy Rubins. Vienna: Galerie Krinzinger. Schimmel, Paul, et al. Helter Skelter: LA Art in the 1990’s. Los Angeles: The Museum of Contemporary Art. The Louis Comfort Tiffany Foundation 1991 Awards. New York: The Louis Comfort Tiffany Foundation. 1991 ----------. Lost & Found. New York: Sculpture Center. Object/Context, Indiana: The University Museum, Indiana University of Pennsylvania 1990 Pritkin, Renny, et al. New Langton Arts: The First Fifteen Years. San Francisco: New Langton Arts. 1988 Brice, John R., Gary Garrels and Jock Reynolds, et al. Sculpture at the Point: Three Rivers Arts Festival 1988. Pittsburgh: Three Rivers Arts Festival. 1986 ----------. New Langton Arts 1986. San Francisco: New Langton Arts. Siff, Mary Elena, et al. Southern California Assemblage: Past and Present. Santa Barbara Contemporary Arts Forum. 1985 A Decade of Visual Arts at Princeton University: Faculty 1975-1985. Princeton: The Art Museum, Princeton University. 1982 ----------. Sculptors at UC Davis, Pat and Present. Davis: University of California. Articles and Reviews: 2020 Gotthardt, Alexxa. “Nancy Rubins’s Monumental Sculptures Vibrate with Wild Intensity.” Artsy, May 24. 2018 Enright, Robert. “The Fitter.” Border Crossings, Spring (Vol. 37, No. 1). Lucie-Smith, Edward. “Nancy Rubins – A Woman of Conviction.” Artlyst, Feb 19. Cumming, Laura. “Nancy Rubins – Diversifolia, Crossroads – review.” The Guardian, Feb 11. Spence, Rachel. “The dystopian vision of Nancy Rubins’ junkyard zoo.” Financial Times, Feb 2. 2017 Creahan, D. “New York – LA Invitational at Gagosian Gallery Through December 16, 2017.” ArtObserved, Nov 19. Morse, Jared. “An Interview with Nancy Rubins.” The Nasher Sculpture Center, Sep 9. Railey, Michelle. “A Bouquet of Canoes: Seven Things About Big Edge.” Amos magazine, Jul 2. ----------. “Nancy Rubins.” The Modern Art Notes Podcast, May 18. 2015 ----------. “Nancy Rubins Talks About Her Massive New Monochrome Sculpture in Austin.” artnet, Jul 29. Wong, Caleb. “Artist describes creative process behind campus canoe statue “Monochrome for Austin.” The Daily Texan, Mar 6. Ward, Arden. “Watch the largest sculpture in University of Texas history come to life.” Culturemap Austin, Feb 3. Ketterer, Samantha. “New 50-foot-tall sculpture makes waves on campus.” The Daily Texan, Jan 22. Rousch, Andrew. “Building Landmarks.” Alcalde, Jan 15. 2014 Plagens, Peter. “Full-Metal Chaos and Graphic Fury.” The Wall Street Journal, Aug 16– W W W . G A G O S I A N . C O M G A G O S I A N 17. Jones, Darren. “Nancy Rubins.” Artforum, Aug 12. ----------. ”Nancy Rubins.” The New Yorker, Aug 11 & 18. Aichele, K. Porter. “Through 5/5: Nancy Rubins: Drawing, Sculpture & Studies – at the Weatherspoon.” CVNC, March 1. Byrresen Petersen, Lars. “Nancy Rubins's Friend Fluid Metal.” Visionaire, July 16. Halle, Howard. “Q&A: Nancy Rubins.” Time Out New York, July 17–30. Hamer, Katy Diamond. “New York Tales... Nancy Rubins.” Flash Art Online, July 28. Patterson, Tom. “Solo shows by two widely-known artist in Winston-Salem, Greensboro.” Winston-Salem Journal, Apr 12. Schwendener, Martha. “Nancy Rubins.” The New York Times, Aug 1. Small, Rachel. “What Nancy Rubins does with 20,000 Pounds of Metal.” Interview, July 17. 2013 Hoberman, Mara. “Nancy Rubins.” Artforum, May 13. Frank, Priscilla. “Meet The Four Artists Honored At MOCA’s Women in the Arts Luncheon.” The Huffington Post, Nov 7. 2010 Pomonis, Mary Anna. “Jet Set Saturdays: Nancy Rubins at Gagosian” ArtLurker. June 19 Sutton, Kara and Bae, Koun. “Nancy Rubins at the Gagosian Gallery, Beverly Hills” Flaunt Magazine Online. June 5. Knight, Christopher. “Art Review: Nancy Rubins @ Gagosian Gallery” Los Angeles Times Culture Monster Blog. June
Recommended publications
  • Nancy Rubins: Moma and Airplane Parts That Visited Fondation Cartier Pour L'art Contemporain 2002/2003

    Nancy Rubins: Moma and Airplane Parts That Visited Fondation Cartier Pour L'art Contemporain 2002/2003

    For Immediate Release NANCY RUBINS MOMA AND AIRPLANE PARTS 1995 THAT VISITED FONDATION CARTIER POUR L'ART CONTEMPORAIN 2002/2003 THEN VISITED FORTE BELVEDERE IN 2003 AND IS NOW AT SCULPTURECENTER Release Date: New York – SculptureCenter is pleased to present a solo exhibition by esteemed contemporary August 18, 2006 sculptor Nancy Rubins. Commissioned through SculptureCenter’s Artist-in-Residence program Nancy Rubins will transform SculptureCenter’s main space with a new installation. Nancy Rubins: Exhibition: MoMA and Airplane Parts 1995 that visited Fondation Cartier pour l'art contemporain 2002/2003 then Nancy Rubins; MOMA and Airplane visited Forte Belvedere in 2003 and is now at SculptureCenter will be on view September 10 – November Parts 1995 that visited Fondation 18, 2006 with an opening reception on Sunday, September 10th 4-6pm. Cartier pour l'art contemporain 2002/2003 then visited Forte For SculptureCenter Nancy Rubins will use airplane parts in a configuration specifically adapted Belvedere in 2003 and is now at to SculptureCenter’s main space. Rubins will reconfigure parts of a work dating from 1995, SculptureCenter furthering her ongoing study of form and her practice of reutilizing materials. What were once discarded materials are gathered, assembled, de-installed, stored and reassembled. With each Exhibition Dates: new set of parameters, a new configuration is possible. The title of the resulting piece presented September 10 – November 18, this fall, MoMA and Airplane Parts 1995 that visited Fondation Cartier pour l'art contemporain 2006 2002/2003 then visited Forte Belvedere in 2003 and is now at SculptureCenter, translates this approach: each sculpture gains from its overlapped history, while recreating a new set of Press Preview: circumstances from which it is inseparable.
  • Kristine Stiles

    Kristine Stiles

    Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN­13: 978­0­226­77451­0 (cloth) ISBN­13: 978­0­226­77453­4 (paper) ISBN­13: 978­0­226­30440­3 (e­book) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress Cataloguing­in­Publication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 978­0­226­77451­0 (cloth : alkaline paper) — ISBN 978­0­226­77453­4 (paperback : alkaline paper) — ISBN 978­0­226­30440­3 (e­book) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.48­1992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an X­man, dot­man war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re­draw it in a different posmon...
  • Nancy Rubins Diversifolia

    Nancy Rubins Diversifolia

    G A G O S I A N 7 February 2018 NANCY RUBINS DIVERSIFOLIA Opening reception: Tuesday, February 6, 6–8PM February 7–April 14, 2018 6-24 Britannia Street London WC1X 9JD I am interested in the balance, the engineering and tenuousness of the objects, as well as the dynamic tension and energy. A continuum starts happening with one piece attached to another . the way that crystals or cells grow. I’m interested in the bigger picture. —Nancy Rubins Gagosian is pleased to present “Diversifolia,” an exhibition of new sculpture and drawings by Nancy Rubins. This is Rubins’s first solo exhibition in London. Page 1 of 3 Rubins transforms found objects and industrial refuse into expertly orchestrated abstractions that are fluid and rhizomatic in nature. Achieving this expressive fluidity at such a large scale requires precise engineering; in her recent work, she has employed a structural property called “tensegrity,” wherein individual parts are arranged in balanced compression and secured with tensile cables. Clusters of like objects—airplane parts, boats, carousel creatures, and more—seem to explode into space in all directions, propelled by their aggregated momentum. In the scientific names of plants, “diversifolia” indicates a single species possessed with a considerable variety of leaf. Rubins’s sculptures, though devoid of leaves per se, are bouquet- like arrangements comprised of a wide range of animal forms—giraffes, storks, tortoises, crocodiles, wolves, and hogs—cast in iron, bronze, brass, and aluminum. Though easily recognizable for their intended use in garden decor or signage, Rubins treats the sculptures as purely formal, abstracted components: limbs and tails flower-like Baroque arabesques in Hog de la Ivy (2016–17); tortoise shells create a cloud-like foundation from which rectangular bases and silvered hogs emerge; and the sharp antlers in Agrifolia Major (2017) give way to the animated curls of crocodile tails.
  • Kristine Stiles

    Kristine Stiles

    Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN­13: 978­0­226­77451­0 (cloth) ISBN­13: 978­0­226­77453­4 (paper) ISBN­13: 978­0­226­30440­3 (e­book) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress Cataloguing­in­Publication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 978­0­226­77451­0 (cloth : alkaline paper) — ISBN 978­0­226­77453­4 (paperback : alkaline paper) — ISBN 978­0­226­30440­3 (e­book) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.48­1992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an X­man, dot­man war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re­draw it in a different posmon...
  • Fluxus: the Is Gnificant Role of Female Artists Megan Butcher

    Fluxus: the Is Gnificant Role of Female Artists Megan Butcher

    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged.
  • PAJ 115 (2017), Pp

    PAJ 115 (2017), Pp

    Moving Marks Brooke Carlson Draw to Perform 3, live drawing performance symposium curated by Ram Samocha, The Crows Nest Gallery, London, July 30–31, 2016. he resurgence of drawing within contemporary art comes at a time in the digital age in which it is important to trace the traditions and conventions Tof what it means to draw. This resurgence is seen in recent museum exhi- bitions such as Drawing | THE BOTTOM LINE at S.M.A.K in Belgium (2015–16), annual festivals such as Drawing Now in Paris or The Big Draw in the UK, and in contemporary spaces such as Drawing Room, London (founded in 2002), specifically dedicated to the drawing discipline. Over the past few years, the per- formative aspect of drawing and the role of the body in the gesture has become increasingly prominent. Evidencing the physicality of the body in the drawing process has risen in response to the continually advancing digitalized and tech- nological versions of writing, drawing, and marking. By crossing over into the field of performance art, artists have begun to explore how far the gesture can be extended regarding method, process, materials, space, and duration. This investigation of performative drawing was highlighted at the international live drawing symposium Draw to Perform 3. Curated by Ram Samocha, an artist who specializes in performative explorations of drawing, the symposium opens up a platform for inquiry, experimentation, presentation, and discussion. From eighteen different countries, thirty-six artists with diverse practices and artistic backgrounds are drawn together to participate in the two-day event. The connec- tion between these artists is their constant query: “How can you make a mark and how can it be interpreted?” Organizing the event in two parts—a twelve-hour day of both short and long durational live performances, followed by a day of workshops mentored by six of the participating artists—the curator does nothing short of maximizing the opportunity for both artists and audiences to connect and share the experience of live drawing.
  • Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer

    Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer

    Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer Regina Almaguer heads a Public Art Consulting Service based in Orinda, California. She has worked on numerous public art projects for the San Francisco Arts Commission, Bay Area Rapid Transit, and other City agencies. She has over 20 years’ experience in public art planning, project management, contract administration and producing public art ordinances and program guidelines. She has extensive experience in working with government agencies as well as private developers and architects on complex projects. She has specialized experience and interest in art in transit programs. Michael Arcega Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. Though visual, his art revolves largely around language. Directly informed by Historic events, material significance, and the format of jokes, his subject matter deals with sociopolitical circumstances where power relations are unbalanced. As a naturalized American, there is a geographic dimension to Michael’s investigation of cultural markers. These markers are embedded in objects, food, architecture, visual lexicons, and vernacular languages. For instance, vernacular Tagalog, is infused with Spanish and English words, lending itself to verbal mutation. This malleability result in wordplay and jokes that transform words like Persuading to First wedding, Tenacious to Tennis Shoes, Devastation to The Bus Station, and Masturbation to Mass Starvation. His practice draws from the sensibility
  • Historicizing Art and Technology: Forging A

    Historicizing Art and Technology: Forging A

    HISTORICIZING ART AND TECHNOLOGY: software, and interactive media, including CD‐ROM and perhaps FORGING A METHOD AND FIRING A CANON more significantly, the World Wide Web, seemed to open up a new future of creative expression and exchange in which everyone could Dr. Edward A. Shanken be a multimedia content‐provider and thus break free from the tyranny of the culture industry. Inspired by, but skeptical of, such DRAFT: PLEASE DO NOT CIRCULATE. techno‐utopian rhetoric, with Burnham and Ascott as my guides, QUOTE FINAL PUBLISHED VERSION: with further illumination from the pioneering work of Frank Popper Oliver Grau, ed., Media Art Histories. (Cambridge: MIT Press, 2007): 43-70. and Douglas Davis,2 and under the mentorship of Kristine Stiles, I began to think more and more about the effects that science and technology were having on contemporary art and about how artists Science and technology, the handmaidens of materialism, not were using the ideas, methods, and tools of science and engineering only tell us most of what we know about the world, they to envision and create aesthetic models of the future. I also constantly alter our relationship to ourselves and to our surroundings…. If this materialism is not to become a lethal wondered what role art history might play in making sense of these incubus, we must understand it for what it really is. Retreat into developments in visual culture. Very quickly I realized that I had to outmoded forms of idealism is no solution. Rather, new spiritual study the entwined histories of art, science, and technology in order insights into the normality of materialism are needed, insights to have a clue about what was happening at the moment, much less which give it proper balance in the human psyche.
  • Chris Burden Born

    Chris Burden Born

    GEMINI G.E.L. AT JONI MOISANT WEYL Chris Burden Born: Boston, Massachusetts, 1946 Chris Burden is an American sculptor, performance artist and installation artist. In an early performance, while still an MFA student at the University of California, Irvine, Burden shut himself in a locker for five days, with only the bare necessities for survival. Over the next few years he undertook many feats of physical endurance, including being shot in the arm in Shoot (1971) and being nailed to the back of a Volkswagen, the engine running at speed to mimic a howl of pain, in Trans-fixed (1974; see 1999 exh. cat. p. 31). These simple, shocking acts constituted what came to be termed as Body Art and were part of a wider criticism of institutional definitions of art. They also took place at the time of American involvement in Vietnam and reflected some of the extremes of public reaction to the atrocities committed by both sides in that war. In 1978 Burden was appointed professor at the University of California, Los Angeles, and moved away from performance to an involvement with installation, informed by his interest in technology and engineering. The violence of his earlier performance found a new outlet in his reflections on power politics, in works such as A Tale of Two Cities (1981; see 1999 exh. cat., p. 24) and in his increasingly large scale meditations on the vulnerability of art institutions. In Samson (1985; see 1999 exh. cat., p. 26), a large jack was braced between opposing walls of a gallery, expanding slightly as each visitor entered.
  • Performance Identity Through Processes of Perception and Identification

    Performance Identity Through Processes of Perception and Identification

    74 Wolfgang Kemp The subject of the narrative is the subject: the analogous formation of our own Six Performance identity through processes of perception and identification. REFERENCESAND SUGGESTED READINGS Bal, Mieke. 1985. Narratology:Introduction to the Theoryof the Narrative.Toronto: University of Toronto Kristine Stiles Press. Barthes, Roland. 1977. Image, Music, Text. Translated by Stephen Heath. New York: Hill and Wang. Brilliant, Richard. 1984. Visual Narratives:Storytelling in Etruscanand Roman An:. Ithaca: Cornell Univer­ Performance has mandated the most comprehensive discussion of sity Press. the identity, purpose, and value of the plastic arts since the Re­ Chambers, Ross. 1984. Story and Situation: Narrative Seduction and the Power of Fiction. Minneapolis: naissance. Yet, while nearly every avant-garde since the end of the University of Minnesota Press. nineteenth century has included some form of presentational art, Danto, Arthur C. 1968. AnalyticalPhilosophy of History.Cambridge: Cambridge University Press. Frye, Northrup. 1983. The Great Code: The Bible and Literature.San Diego: Harcourt Brace Jovanovich. a sweeping reconsideration of Western aesthetics has not yet Genette, Gerard. 1980. NarrativeDiscourse. Translated by Jane E. Lewin. Ithaca: Cornell University Press. emerged. Why has it been so difficult to accept and theorize per­ Gibert, Pierre. 1986. Bible,mythes et ricits de commencement. Paris: Editions du Seu ii. formance as a critical term of art history? To begin, in perfor­ Greimas, Algirdas Julien, and Joseph Courtes. 1983. Semiotics and Language:An Analytical Dictionary. Bloomington: Indiana University Press. mance the artwork is an artist, an animate subject rather than an Heath, Stephen. 1981. Questionsof Cinema. London: Macmillan. inanimate object, whom viewers see as both the subject and the Karpf, Jutta.
  • 831 N. Highland, Los Angeles, CA, 90038 +1.323.397.9225 Diane

    831 N. Highland, Los Angeles, CA, 90038 +1.323.397.9225 Diane

    Diane Rosenstein Fine Art 831 North Highland Avenue Los Angeles, CA 90038 T. +1.323.397.9225 www.dianerosenstein.com The Black Mirror January 19 – March 9, 2013 Gallery Hours: Tuesday – Saturday 10:00am – 6:00 pm Opening: Saturday, January 19, 2013, 7:00 – 9:00 pm Curators: James Welling and Diane Rosenstein Associate Curator: Farrah Karapetian Diane Rosenstein Fine Art is pleased to present The Black Mirror, a group show curated by James Welling and Diane Rosenstein. This will be primarily an all-black show, engaging the literal and associative properties of reflective black surface materials. The power and provocation of each work is in the proposal it makes for presence in the absence of a diversified palette. The Black Mirror, opening Saturday, January 19th, will inaugurate Rosenstein's new gallery at 831 N. Highland Avenue in Hollywood. The title of the show is inspired by Henri Matisse's painting Anemones au Miroir Noir (1918-19) and also the history of artistic engagement with Claude glass, convex mirrors used especially in the 18th and 19th century by painters. A layer of black tint was placed over the mirror's surface producing impure images. The convexity of the mirror and its shape were variable, but in general were designed to enhance perception at differing distances. The relations of this exhibition's individual works to the conceit of The Black Mirror are as complex as are their relations to one another. Each work alters the viewer's perception, as might a Claude glass, using, by turns, literal or figurative transformation of objects, space, and material to suggest differing relations between an artwork and a self.
  • Robert Rauschenberg Erased De Kooning Drawing Artwork Record

    Robert Rauschenberg Erased De Kooning Drawing Artwork Record

    SFMOMA Rauschenberg Research Project: Artwork Record Robert Rauschenberg Erased de Kooning Drawing, 1953 Traces of drawing media on paper with label and gilded frame 25 1/4 x 21 3/4 x 1/2 in. (64.14 x 55.25 x 1.27 cm) Collection SFMOMA, purchase through a gift of Phyllis Wattis, 98.298 Cite as: “Robert Rauschenberg, Erased de Kooning Drawing, 1953: Artwork Record,” Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, http://www.sfmoma.org/artwork/98.298. Marks and Inscriptions Recto: On small piece of paper board beneath drawing in blue ink: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953” Note: This inscription was executed by Jasper Johns using a template device. Verso (sheet): An untitled drawing by Willem de Kooning Verso (backing board): Upper right, inscription in black: “53.D1”; center, inscribed in black by the artist’s studio assistant Charles Yoder: “DO NOT REMOVE DRAWING FROM FRAME. FRAME IS PART OF DRAWING” Ownership History San Francisco Museum of Modern Art, purchase through a gift of Phyllis Wattis, 1998 Exhibition History Group Drawings, Poindexter Gallery, New York, December 19, 1955–January 4, 1956. Black, White and Grey: Contemporary Painting and Sculpture, Wadsworth Atheneum, Hartford, Connecticut, January 9–February 9, 1964. American Drawings, Solomon R. Guggenheim Museum, New York, September 17–October 27, 1964. Traveled to: University of Michigan, Ann Arbor, November 11–December 13, 1964; Grand Rapids Art Museum, Michigan, January 10–February 7, 1965; University Gallery, Northrop Auditorium, University of Minnesota, Minneapolis (as Contemporary American Drawings), February 24–March 24, 1965; Seattle Art Museum, Washington, April 8–May 2, 1965; Denver Art Museum, Colorado, June 6–July 3, 1965; Dallas Museum of Fine Arts, July 25–August 22, 1965; Columbus Gallery of Fine Arts, Ohio, September 16–October 10, 1965; 1 © San Francisco Museum of Modern Art SFMOMA Rauschenberg Research Project: Artwork Record Krannert Art Museum, University of Illinois, Urbana–Champaign, November 14–December 5, 1965.