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Anya Gallaccio
ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition, -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
Art, Real Places, Better Than Real Places 1 Mark Pimlott
Art, real places, better than real places 1 Mark Pimlott 02 05 2013 Bluecoat Liverpool I/ Many years ago, toward the end of the 1980s, the architect Tony Fretton and I went on lots of walks, looking at ordinary buildings and interiors in London. When I say ordinary, they had appearances that could be described as fusing expediency, minimal composition and unconscious newness. The ‘unconscious’ modern architecture of the 1960s in the city were particularly interesting, as were places that were similarly, ‘unconsciously’ beautiful. We were the ones that were conscious of their raw, expressive beauty, and the basis of this beauty lay in the work of minimal and conceptual artists of that precious period between 1965 and 1975, particularly American artists, such as Sol LeWitt, Robert Morris, Dan Flavin and Dan Graham. It was Tony who introduced (or re-introduced) me to these artists: I had a strong memory of Minimal Art from visits to the National Gallery in Ottawa, and works of Donald Judd, Claes Oldenburg and Richard Artschwager as a child. There was an aspect of directness, physicality, artistry and individualized or collective consciousness about this work that made it very exciting to us. This is the kind of architecture we wanted to make; and in my case, this is how I wanted to see, make pictures and make environments. To these ends, we made trips to see a lot of art, and art spaces, and the contemporary art spaces in Germany and Switzerland in particular held a special significance for us. I have to say that very few architects in Britain were doing this at the time, or looking at things the way we looked at them. -
The Olympic Games and Civil Liberties
Analysis A “clean city”: the Olympic Games and civil liberties Chris Jones Introduction In 2005, the UK won the right to host the 2012 Olympic Games. Seven years later, the Games are due to begin, but they are not without controversy. Sponsors of the Games – including McDonald’s, Coca-Cola, Cadbury’s, BP and, perhaps most controversially, Dow Chemical [1] – were promised “what is chillingly called a ‘clean city’, handing them ownership of everything within camera distance of the games.” [2] In combination with measures put in place to deal with what have been described as the “four key risks” of terrorism, protest, organised crime and natural disasters, [3] these measures have led to a number of detrimental impacts upon civil liberties, dealt with here under the headings of freedom of expression; freedom of movement; freedom of assembly; and the right to protest. The Games will be hosted in locations across the country, but primarily in London, which is main the focus of this analysis. Laying the groundwork Following victory for the bid to host the Games, legislation – the London Olympic Games and Paralympic Games Act 2006 – was passed “to make provision in connection with the Olympic Games and Paralympic Games that are take place in London in the year 2012.” [4] It is from here that limitations on freedom of expression have come, as well as some of the limitations on freedom of movement that stem from the introduction of “Games Lanes” to London’s road system. Policing and security remains the responsibility of the national and local authorities. -
Sturm Und Drang : JONAS BURGERT at BLAIN SOUTHERN GALLERY DAFYDD JONES : JONAS BURGERT at JONAS BURGERT I BERLIN
FREE 16 HOT & COOL ART : JONAS BURGERT AT BLAIN SOUTHERN GALLERY : JONAS BURGERT AT Sturm und Drang DAFYDD JONES JONAS BURGERT I BERLIN STATE 11 www.state-media.com 1 THE ARCHERS OF LIGHT 8 JAN - 12 FEB 2015 ALBERTO BIASI | WALDEMAR CORDEIRO | CARLOS CRUZ-DÍEZ | ALMIR MAVIGNIER FRANÇOIS MORELLET | TURI SIMETI | LUIS TOMASELLO | NANDA VIGO Luis Tomasello (b. 1915 La Plata, Argentina - d. 2014 Paris, France) Atmosphère chromoplastique N.1016, 2012, Acrylic on wood, 50 x 50 x 7 cm, 19 5/8 x 19 5/8 x 2 3/4 inches THE MAYOR GALLERY FORTHCOMING: 21 CORK STREET, FIRST FLOOR, LONDON W1S 3LZ CAREL VISSER, 18 FEB - 10 APR 2015 TEL: +44 (0) 20 7734 3558 FAX: +44 (0) 20 7494 1377 [email protected] www.mayorgallery.com JAN_AD(STATE).indd 1 03/12/2014 10:44 WiderbergAd.State3.awk.indd 1 09/12/2014 13:19 rosenfeld porcini 6th febraury - 21st march 2015 Ali BAnisAdr 11 February – 21 March 2015 4 Hanover Square London, W1S 1BP Monday – Friday: 10.00 – 18.00 Saturday: 10.00 – 17.0 0 www.blainsouthern.com +44 (0)207 493 4492 >> DIARY NOTES COVER IMAGE ALL THE FUN OF THE FAIR IT IS A FACT that the creeping stereotyped by the Wall Street hedge-fund supremo or Dafydd Jones dominance of the art fair in media tycoon, is time-poor and no scholar of art history Jonas Burgert, 2014 the business of trading art and outside of auction records. The art fair is essentially a Photographed at Blain|Southern artists is becoming a hot issue. -
Douglas Gordon
G A G O S I A N G A L L E R Y Douglas Gordon: portrait of the evolving artist With his sublime new film installation, k.364, Douglas Gordon breaks down the boundaries between video art and portraiture Memorable journey ... Douglas Gordon's k.364, at the Gagosian Gallery, follows two musicians travelling to Warsaw. Photograph: Mike Bruce By Jonathan Jones, 7 March 2011 Douglas Gordon is as profound, serious, imaginative and stylistically bold as anyone could wish an artist to be. He has matured in richer, more surprising ways than any of his contemporaries. He is the best British artist of my generation and I am glad his sublime exhibition now on at London's Gagosian Gallery gives me an opportunity to say so. The powerful qualities of Gordon's art grip you right at the start of this exhibition in a photograph of an arm holding a candle. The candle is lit and has been burning for some time, dripping great grotesque dollops of wax. With a shock, you observe how the hot wax has flowed in rivulets that 6 – 2 4 B R I T A N N I A S T R E E T L O N D O N W C 1 X 9 J D T . 0 2 0 . 7 2 9 2 . 8 2 2 2 F . 0 2 0 . 7 2 9 2 . 8 2 2 0 L O N D O N @ G A G O S I A N . C O M W W W . G A G O S I A N . -
The New York City Draft Riots of 1863
University of Kentucky UKnowledge United States History History 1974 The Armies of the Streets: The New York City Draft Riots of 1863 Adrian Cook Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Cook, Adrian, "The Armies of the Streets: The New York City Draft Riots of 1863" (1974). United States History. 56. https://uknowledge.uky.edu/upk_united_states_history/56 THE ARMIES OF THE STREETS This page intentionally left blank THE ARMIES OF THE STREETS TheNew York City Draft Riots of 1863 ADRIAN COOK THE UNIVERSITY PRESS OF KENTUCKY ISBN: 978-0-8131-5182-3 Library of Congress Catalog Card Number: 73-80463 Copyright© 1974 by The University Press of Kentucky A statewide cooperative scholarly publishing agency serving Berea College, Centre College of Kentucky, Eastern Kentucky University, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky State College, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial and Sales Offices: Lexington, Kentucky 40506 To My Mother This page intentionally left blank Contents Acknowledgments ix -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
Introducing the 10 Shortlisted Ghetto Film School Fellows for the Inaugural Deutsche Bank Frieze Los Angeles Film Award 2020
Frieze Los Angeles Press Release December 19, 2019 Introducing the 10 Shortlisted Ghetto Film School Fellows for the Inaugural Deutsche Bank Frieze Los Angeles Film Award 2020 Today Frieze and Deutsche Bank announce the ten shortlisted fellows that will headline the inaugural Deutsche Bank Frieze Los Angeles Film Award. Presented in partnership with award-winning, non-profit film academy Ghetto Film School (GFS), the initiative offers a platform and development program for ten emerging, Los Angeles-based filmmakers aged 20-34 years old. Frieze Los Angeles takes place February 14 – 16, 2020 at Paramount Pictures Studios in Hollywood. Launched in 2019, Frieze Los Angeles brings together more than 70 galleries from around the world and is supported by global lead partner Deutsche Bank for the second consecutive year. The ten shortlisted fellows are as follows: Danielle Boyd, Mya Dodson, Michelle Jihyon Kim, Nabeer Khan, Silvia Lara, Alima Lee, Timothy Offor, Toryn Seabrooks, Noah Sellman and Nicole L. Thompson. The recipient of the award, selected by a jury of leading art and entertainment figures including Doug Aitken, Shari Frilot, Jeremy Kagan, Sam Taylor Johnson and Hamza Walker will be announced at a ceremony on February 13 at Paramount Pictures Theatre and receive a $10,000 prize. Selected from an open call throughout Los Angeles, the ten shortlisted fellows completed an intensive three-month program at GFS each producing a short film in response to Los Angeles’ vibrant art, culture and social landscape. The resulting 10 short films will be screened at the Paramount Pictures Theatre throughout the fair, February 14-16, 2020. -
CAN ART HISTORY DIGEST NET ART? Julian Stallabrass from Its
165 CAN ART HISTORY DIGEST NET ART? Julian Stallabrass From its beginnings, Internet art has had an uneven and confl icted relation- ship with the established art world. There was a point, at the height of the dot-com boom, when it came close to being the “next big thing,” and was certainly seen as a way to reach new audiences (while conveniently creaming off sponsorship funds from the cash-rich computer companies). When the boom became a crash, many art institutions forgot about online art, or at least scaled back and ghettoized their programs, and that forgetting became deeper and more widespread with the precipitate rise of con- temporary art prices, as the gilded object once more stepped to the forefront of art-world attention. Perhaps, too, the neglect was furthered by much Internet art’s association with radical politics and the methods of tactical media, and by the extraordinary growth of popular cultural participation online, which threatened to bury any identifi ably art-like activity in a glut of appropriation, pastiche, and more or less knowing trivia. One way to try to grasp the complicated relation between the two realms is to look at the deep incompatibilities of art history and Internet art. Art history—above all, in the paradox of an art history of the contemporary— is still one of the necessary conduits through which works must pass as they move through the market and into the security of the museum. In examining this relation, at fi rst sight, it is the antagonisms that stand out. Lacking a medium, eschewing beauty, confi ned to the screen of the spreadsheet and the word processor, and apparently adhering to a discred- ited avant-gardism, Internet art was easy to dismiss. -
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 -
“What I'm Not Gonna Buy”: Algorithmic Culture Jamming And
‘What I’m not gonna buy’: Algorithmic culture jamming and anti-consumer politics on YouTube Item Type Article Authors Wood, Rachel Citation Wood, R. (2020). ‘What I’m not gonna buy’: Algorithmic culture jamming and anti-consumer politics on YouTube. New Media & Society. Publisher Sage Journals Journal New Media and Society Download date 30/09/2021 04:58:05 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623570 “What I’m not gonna buy”: algorithmic culture jamming and anti-consumer politics on YouTube ‘I feel like a lot of YouTubers hyperbolise all the time, they talk about how you need things, how important these products are for your life and all that stuff. So, I’m basically going to be talking about how much you don’t need things, and it’s the exact same thing that everyone else is doing, except I’m being extreme in the other way’. So states Kimberly Clark in her first ‘anti-haul’ video (2015), a YouTube vlog in which she lists beauty products that she is ‘not gonna buy’.i Since widely imitated by other beauty YouTube vloggers, the anti-haul vlog is a deliberate attempt to resist the celebration of beauty consumption in beauty ‘influencer’ social media culture. Anti- haul vloggers have much in common with other ethical or anti-consumer lifestyle experts (Meissner, 2019) and the growing ranks of online ‘environmental influencers’ (Heathman, 2019). These influencers play an important intermediary function, where complex ethical questions are broken down into manageable and rewarding tasks, projects or challenges (Haider, 2016: p.484; Joosse and Brydges, 2018: p.697).