Biography • Dan Flavin Dan Flavin • Biography
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Andy Warhol Shadows Exhibition Brochure.Pdf
Andy Warhol Shadows On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it’s presentation. Since the number of panels shown varies according to the available and altered through the abstraction of the silkscreen stencil and the appli- one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort size of the exhibition space, as does the order of their arrangement, the work in cation of color to reconfigure context and meaning. The repetition of each of the same except for the colors. I called them “Shadows” because they are based total contracts, expands, and recalibrates with each installation. For the work’s famous face drains the image of individuality, so that each becomes a on a photo of a shadow in my office. It’s a silk screen that I mop over with paint. first display, the gallery accommodated 83 panels that were selected and arranged stand-in for non-individuated and depersonalized notions of celebrity.5 The I started working on them a few years ago. I work seven days a week. But I get by Warhol’s assistants in two rooms: the main gallery and an adjacent office. replication of a seemingly abstract gesture (a jagged peak and horizontal the most done on weekends because during the week people keep coming by extension) across the panels of Shadows further minimizes the potential to talk. The all-encompassing (if modular) scale of Shadows simultaneously recalls to ascribe any narrative logic to Warhol’s work. Rather, as he dryly explained, The painting(s) can’t be bought. -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs, -
Neweta Certified Technicians
ETA CERTIFIED TECHNICIANS The following is a list of professionals who have earned new certifications between October 1 and November 30, 2016 under one or more of ETA NEW International’s 80+ certification programs. Names of these highly qualified technicians have earned ETA’s formal endorsement and approval. CERT. # NAME SCHOOL PROCTOR LOCATION CERT. # NAME SCHOOL PROCTOR LOCATION AST184124 Matthew Zampino Upgrade ETA International Greenccastle IN ARINC Technician (AFT) AFT183778 Jason Andrzejczak KITCO Fiber Optics Glenn D Burch Kent WA Senior Certified Electronics Technician (CETsr) AFT183779 Vesna Delic KITCO Fiber Optics Glenn D Burch Kent WA SETGCT2183439 Chris Alcorn IWA Technical Services Inc Ira M Wiesenfeld Dallas TX AFT183777 Steven Sar KITCO Fiber Optics Glenn D Burch Kent WA SETR56182840 James Anderson Commdex Michael C Barton Lawrenceville GA SETWCM183470 Bart Antonides GROL rollover ETA Greencastle IN Certified Electronics Specialist (CES) SETRAD183471 Bart Antonides GROL rollover ETA Greencastle IN RFID183131 Johannes Bakkeren ETA International Lynda Shute Greencastle IN SETGCT2183442 Chris Arnold IWA Technical Services Inc Ira M Wiesenfeld Dallas TX SETGCT2183451 Cade Bennett IWA Technical Services Inc Ira M Wiesenfeld Dallas TX Certified Electronics Technician(CET) SETR56183042 Matthew Bussey Motorola Kent M Dulaney Sr San Diego CA IND184099 Radouane Ainane Veterans Assembled Electronics Zachary Barrett Newport RI SETIND184122 Jason Cardo Veterans Assembled Electronics Gary G Rice Orlando FL R56182506 Temple Akins Motorola -
Andy Warhol: Motifs from Areas of Consumer Society—He Pushed at and Extended the Limits of Art, Design, and Commerce
founder and director of DASMAXIMUM, has had a long career presenting large-scale exhibitions such as these, Ayn Foundation in including for the DIA Art Foundation. collaboration with In 1949, after completing his studies in commercial art from the Carnegie Institute of Technology in Pittsburgh, Warhol moved to New York, where he quickly earned a DASMAXIMUM reputation as one of the most highly regarded graphic designers in the city. After 1960, he devoted himself ex- clusively to art and, as a co-founder of Pop Art, became presents: one of the world’s most prominent artists. By legitimiz- ing the silkscreen technique that previously had been employed only for commercial use—and by selecting Andy Warhol: motifs from areas of consumer society—he pushed at and extended the limits of art, design, and commerce. The Original Warhol’s level of technical skill and in-depth knowledge of color is most vividly on display in this exhibition of original silkscreens. He is most recognized for his Silkscreens sensitivity to social trends, subtle political commentary, and ability to stylize everyday objects into masterpieces; but he was also an excellent craftsman. His unusually large formats and special treatments of the surface— diamond dust, relief printing, or fluorescent ink—give this encounter a particularly special experience. The works on view include Marilyn Monroe (1967), Campbell’s Soup Can (1968), Mao (1972), Flowers (1970), Skulls (1976), Lenin (1987), Kimiko (1981), Sunset (1972) the Love series (1982-83), and Saint Apollonia (1984)— will be on view. Within the overall oeuvre, they set varying points of emphasis, demonstrating Warhol’s un- matched precision, creativity, and confidence, unreserv- edly reinforcing his status as one of the most important artists of all time. -
Und Förderkreis Freundes
BEITRITTSERKLÄRUNG Hiermit trete ich dem Freundes- und Förderkreis DASMAXIMUM Traunreut e.V. als förderndes Mitglied bei. Die derzeit gültige Ver- einssatzung erkenne ich an. Privatperson Familienangehöriger Firma FREUNDES- UND FÖRDERKREIS DASMAXIMUM TRAUNREUT E.V. Name: Vorname: Straße, Hausnummer: Postleitzahl, Wohnort: FREUNDES- UND FÖRDERKREIS Geburtsdatum: DASMAXIMUM TRAUNREUT E.V. Ich bin damit einverstanden, dass ich Mitteilungen und Einladungen des Fördervereins auch per Email erhalte. KONTAKT: Fridtjof-Nansen-Straße 16 · 83301 Traunreut [email protected] · Telefon +49 (0)8669 1203 713 Email-Adresse: Über den Förderbetrag erhalte ich eine Zuwendungsbestätigung. Datum: Unterschrift: EINZUGSERMÄCHTIGUNG FÜR FREUNDES- UND FÖRDERKREIS DASMAXIMUM TRAUNREUT E.V. Museum für Gegenwartskunst Meinen Förderbeitrag von jährlich EUR bzw. den mit Werken von Georg Baselitz, Mindestförderbeitrag gem. Satzung (derzeit 50,- EUR für Pri- John Chamberlain, vatpersonen, 500,- EUR für ein Unternehmen, 25,- EUR für Fami- Walter de Maria, Dan Flavin, lienangehörige von Mitgliedern) ermächtige ich den Verein bis Imi Knoebel, Uwe Lausen, auf Widerruf zu Lasten meines Kontos einzuziehen. Andy Warhol und Maria Zerres Dieser Beitrag wird jährlich zum 02.02. von unserem nachfol- gend benannten Konto eingezogen. Bank: IBAN Fridtjof-Nansen-Str. 16 BIC 83301 Traunreut Tel +49 (0)8669 1203 713 Datum: Unterschrift(en): [email protected] www.dasmaximum.com Vereinsregister Nr. VR 201281 Fridtjof-Nansen-Str. 16 Vorstand: Dr. R. Anzeneder, Dr. P. Lämmerhirdt, Dr. B. Löffler Geöffnet: John Chamberlain, BURNTPIANO, um 2007, Foto Franz Kimmel, © 2014 VG Bild-Kunst, Bonn Titel: 83301 Traunreut Raiffeisenbank Trostberg-Traunreut eG Winterzeit SA, SO 11-16 Uhr IBAN: DE 03701691950000312800 · BIC: GENODEF1TRU Sommerzeit SA, SO 12-18 Uhr Gläubigeridentifikationsnummer: DE32ZZZ00000788682 für Gruppen nach VB Tel. -
St. Mary's County Spring Festival at the Registration Open at St
Thursday, May 9, 2019 The County Times 1 FREE St. Mary’s THURSDAY, MAY 9, 2019 CountyWWW.COUNTYTIMES.SOMD.COM Times On Call in the 7th 2 The County Times Thursday, May 9, 2019 ON THE COVER 16 The 7th District Volunteer Rescue Squad continues to serve their community, despite their need for CONTENTS more members. LOCAL NEWS 3 COPS & COURTS 12 COMMUNITY 13 LOCAL 4 ON THE COVER 16 A 5-year-old autistic boy was found after running away in Loveville PAX RIVER 20 ENTERTAINMENT 20 SPORTS 21 CONTRIBUTING WRITERS 22 COMMUNITY 15 PAX RIVER 20 The Spring Festival in Leonardtown was a barrel UAS symposium talks about high tech future FUN & GAMES 22 of monkeys OBITUARIES 23 “IT’S A FIERCELY SENIOR CALENDAR 27 PROUD COMMUNITY.” LIBRARY CALENDAR 27 7TH DISTRICT VRS CHIEF TJ FAUNCE ON THE VOLUNTEERS AND COMMUNITY THEY SERVE. COMMUNITY CALENDAR 28 WEEKLY FORECAST BUSINESS DIRECTORY 30 CLASSIFIEDS 31 DO YOU FEEL CRABBY WHEN YOU GET YOUR P.O. Box 250 • Hollywood, Maryland 20636 301-373-4125 www.countytimes.net INSURANCE BILL CountySt. Times Mary’s County ● Calvert County For staff listing and emails, see page 30 IN THE MAIL? FREE INITIAL CONSULTATION GIVE US A CALL.BRYANS ROAD The law offices of P.A. Hotchkiss & Associates YOU’LL BE GLAD YOU DID. Providing Excellent Service For Over 20 Years LEONARDTOWN AUTO ACCIDENTS Workers’ comp • Divorce/Separation Burris’ Olde Towne Insurance • Support/Custody Auto • Home • Business • LIFE • Domestic Violence • Criminal/Traffic LEONARDTOWN BRYANS ROAD • DWI/MVA Hearings 301-475-3151 301-743-9000 Scan this “Times Code” Power of Attorney with your smart phone • Name Change • Adoption WWW.DANBURRIS.COM • Wills • Guardianship Accepting: AN INDEPENDENT AGENT REPRESENTING ERIE INSURANCE GROUP 99 Smallwood Dr. -
Marianne Stockebrand Respect Nature Was of the Highest Order
This talk was first given in the German original in Septem- ber 2011 at the Pinakothek der Moderne, Munich, then in its English translation in Marfa on May 12, 2012, and is here pub- lished in a slightly edited version. To speak of “The Whole Judd” is of course an incredible decla- ration and one that can only be justified as a headline. Never- theless, I intend to move beyond the stereotype of the “artist of boxes” in order to outline a more complex figure. Donald Judd was highly productive, and in many diferent areas. He started out as a painter, moved on to three-dimen- sional objects, made prints throughout his life, drew prolifi- cally, wrote exhibition reviews and essays, practiced architec- ture (although he didn’t call himself an architect because he didn’t have a license) and renovated first his own building in New York and subsequently his residence in Marfa, Texas, and finally founded a museum—the Chinati Foundation—also in Marfa. In addition to the completed architectural projects there are a large number of unrealized ones that exist only in the form of sketches and plans. He designed furniture, which he considered part of his architecture. The first pieces were made purely for personal use because nothing suitable was available for purchase in West Texas; later the range of designs was expanded to include tableware, textiles, jewelry, and so on. Finally, Judd also ranched, and in this capacity served as a guardian of the landscape. He purchased large parcels of land not far from Marfa and kept only a small number of cattle because the land had been overgrazed and needed to rest. -
John Chamberlain
JOHN CHAMBERLAIN 1927 Born, Rochester, Indiana Lives and works on Shelter Island, NY EDUCATION: 1951-52 Attended The Art Institute of Chicago, IL 1955-56 Attended Black Mountain College, NC GRANTS AND AWARDS: 1966 John Simon Guggenheim Memorial Foundation Fellowship, NY 1977 Second John Simon Guggenheim Memorial Foundation Fellowship, NY 1984 Brandeis University Creative Arts Award Medal in Sculpture, MA 1993 Skowhegan Medal for Sculpture, NY 1997 National Arts Club Artists Award, NY 1999 Distinction in Sculpture Honor from Sculpture Center, NY Whitney Museum of American Art, Independent Study Program SELCETED SOLO EXHIBITIONS: 2012 Retrospective, Solomon R. Guggenheim Museum New York, NY Galerie Karsten Greve, Cologne, Germany Galerie Karsten Greve, Paris, France 2011 John Chamberlain: Pictures. Steven Kasher Gallery, New York, NY Chamberlain at Pace. Pace Gallery, New York, NY John Chamberlain: New Sculpture. Gagosian Gallery, New York, NY; Gagosian Gallery, London Dan Flavin & John Chamberlain: Sculptures, Gagosian Gallery, New York, NY A Summer of American Masters with Robert Indiana, KM Fine Arts, 2010 Alfred Leslie, John Chamberlain Collage. Allan Stone Gallery, New York, NY John Chamberlain: SINKOPEEFEAST. More Gallery, Giswil, Switzerland John Chamberlain. Galeria Elvira Gonzalez, Madrid, Spain 511 WEST 22 ST NEW YORK NY 10011 . 212.223.2227 .DANESECOREY.COM John Chamberlain: Sculpture. Galerie Karsten Greve, St. Moritz, Switzerland 2009 John Chamberlain: A Body of Work. More Gallery, Giswil, Switzerland John Chamberlain: Early -
Walter De Maria Bibliography
G A G O S I A N Walter De Maria Bibliography Books and Catalogues: 2018 Görner, Klaus, et al. Tale of Two Worlds : Arte Experimental Latinoamericano en Diálogo con la Colección MMK, 1944-1989 : una exposición conjunta entre el MMK Museum für Moderne Kunst in Frankfurt am Main y el Museo de Arte Moderno de Buenos Aires. Bielefeld: Kerber Verlag. 2017 Aldrich, Richard, Jeanne During, Faivovich & Goldberg and Terry Winters. Artists on Walter De Maria. New York: Dia Art Foundation. Delahunty, Gavin. Counterpoint: Sculpture, Music, and Walter De Maria’s Large Rod Series. Dallas: Dallas Museum of Art; New Haven: Yale Univeristy Press. Goto, Noriko, Yuko Ikehata, Thomas Bruhin, Ayano Fujiwara and Yoko Hemmi, eds. Chichu Art Museum. Kagawa: Fukutake Foundation. Morgan, Jessica. Walter De Maria: The Lightning Field. New York: Dia Art Foundation. Raicovich, Laura. At the Lightning Field. Minneapolis: Coffee House Press. Westheider, Ortrud and Michael Philipp, eds. From Hopper to Rothko: America's Road to Modern Art. Potsdam: Museum Barberini. 2016 Bürgi, Bernhard Mendes and Kunstmuseum Basel, eds. Sculpture on the Move, 1946- 2016. Ostfildern and Basel: Hatje Cantz and Kunstmuseum Basel. Friedel, Helmut, Katrin Schwarz and Georges Sturm. Die Kerze: Ein Motiv in der zeitgenössischen Kunst. Edited by Helmut Friedel. Baden-Baden and Cologne: Museum Frieder Burda and Verlag der Buchhandlung Walther König. McFadden, Jane. Walter De Maria: Meaningless Work. London: Reaktion Books. Meyer, James S., Paige Rozanski and Virginia Dwan. Los Angeles to New York: Dwan Gallery, 1959-1971. Washington, Chicago and London: National Gallery of Art in association with the University of Chicago Press. -
DONALD JUDD Born 1928 in Excelsior Springs, Missouri
This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970. -
Conceptual Tendencies 1960S to Today October 7, 2011
Conceptual Tendencies 1960s to today October 7, 2011 – March 18, 2011 Daimler Contemporary, Berlin Renate Wiehager Preface Based on the fundamentally new definitions of the idea of the artwork and the role of the observer in Minimal Art and Zero avant-garde USA/Europe around 1960, Conceptual Art has developed as an independent artistic direction since the mid-1960s. On the formal level it is characterized by clearly defined, objective structures, coherent imagery systems and─in transcending classical painting and sculpture─the trend towards the dematerialization of the artwork. It examines the conditions of the creation of art, temporal and spatial structures, the congruence of theory and practice, the capability of involving the observer mentally and physically as well as the institutional framework conditions of the presentation and reception of art. How the central ideas, criteria, theories and practices of artistic media of early American Conceptual Art were able to be expanded (and from today’s perspective must be expanded) to a field of internationally working artists of the 1960s/’70s (South America, Asia, Russia), how these lines must continue to be drawn to the art of the present day, to the likes of such artists as Tatsuo Miyajima, Felix Gonzalez-Torres, Sophie Calle et al. was demonstrated impressively by Robert Osborne in his major Phaidon book “Conceptual Art” published in 2002. Tony Godfrey similarly follows the international interlinking of ideas, the contributions of early women artists in this field and in subsequent current positions in his book “Conceptual Art” published in 1998. Anne Rorimer examines the political motivations and those stemming from critique of ideology of Conceptual Art in her important book “New Art in the 60s and 70s: Redefining Reality” without exceeding her self-imposed timeframe. -
Dasmaximum Im Jahr 2019
DASMAXIMUM IM JAHR 2019 Fridtjof-Nansen-Str. 16 83301 Traunreut 2 JAHRESCHRONIK 2019 “It is the Art that Speaks”* In Heiner Friedrichs Stiftung DASMAXIMUM KunstGegenwart steht die dauerhafte und ungestörte Wirkung der Kunstwerke im Mittelpunkt. Das Museumsteam unterstützt das zukunftsweisende Konzept Heiner Friedrichs mit sorgfältig abgestimmten und sparsam eingesetzten Formaten. Die Heranführung an die Werke findet über ein Einbetten in die Zusammenhänge ihrer Entstehung statt sowie über die zurückhaltende Begleitung einer individuellen Kunstbegegnung, die zum Dialog und Wiederkommen anregt. Die Jahreschronik 2019 gibt einen Einblick in die Aktivitäten des Museums. Sie zeigt das breite Spektrum seiner Besucher vor den Werken und belegt: auch ein auf Dauerhaftigkeit der Ausstellung angelegtes Museum zeitgenössischer Kunst begeistert und bietet vielfältige Anlässe zur wiederholten Begegnung mit der Kunst unserer Gegenwart. Dr. Birgit Löffler * Titel der Monografie „Heiner Friedrich in Conversation with Corinna Thierolf“, Schirmer-Mosel München 2018 JAHRESCHRONIK 2019 3 KUNST JANUAR 2019 Jahresbeginn mit Uwe Lausens „Meine Zeitmaschine“ 1968 Nach einigen Neuzugängen an Kunstwerken – vor allem von Uwe Lausen – startete DASMAXIMUM mit einer Neuhängung des Uwe Lausen-Saals ins neue Museumsjahr. Erstmals sind nun in Traunreut die zwei Großformate „Jagd auf das letzte Fleisch“ von 1967 und „Meine Zeitmaschine“ von 1968, sowie eine ganze Reihe von späten Buntstiftzeichnungen zu sehen. Am ersten Museumswochenende nach der Winterpause erwartete die Besucher auch – wie immer nach der Winterpause – ein ermäßigter Eintritt von 2 €. Einblick in den Uwe Lausen Saal mit „Jagd auf das letzte Fleisch“ (links) und „Geometer“ (rechts), Foto Franz Kimmel, ©VG Bild-Kunst, Bonn KUNST JANUAR 2019 Neuordnung Baselitz-Saal Nachdem im Dezember 2018 Baselitz‘ monumentale Zedernholz-Skulptur „Frau Ultramarin“ (2004) aus der großen Retrospektive zum 80.