Artist Name / Biography
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Gender Roles in Society Through Judy Chicago's Womanhouse Meagan
Gender Roles in Society through Judy Chicago’s Womanhouse Meagan Howard, Department of Art & Design BFA in Interior Design Womanhouse was an exhibit that was a collaboration of many prominent woman artists’ Abstract: in the 1970s in the California area. This was the Womanhouse was created as an exhibition first female-centered art installation to appear in artwork by Judy Chicago, Miriam Schapiro, and the Western world and it shocked many of the the students of the feminist art program at UCLA people that saw it. Womanhouse raised a series of during the second wave feminist art movement. vitally important questions about how women are Created in an abandoned mansion, the treated in society daily and the gender roles that installations were designed to represent how a have been placed on women since the day they are woman’s life changes once she is married. To born. What made Womanhouse so important was create the concept for each installation, the artists that it was made by women and for women. participated in consciousness-raising sessions Chicago was only keeping women in mind when that allowed them to voice their thoughts and making this piece, because this was meant to feelings on a topic. The kitchen represented the celebrate the essence of being a woman. Men were nurturing side of women that were always only allowed to see Womanhouse so they might caretakers and became mothers to their children. understand the misogyny and gender roles that This work focused on essentialism, the celebration women are required to go through every day. -
Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”). -
TITLE: Birth Project: the Crowning Q 5 ARTIST: Judy Chicago DATE
TITLE: Birth Project: The Crowning Q 5 ARTIST: Judy Chicago DATE: 1982 SIZE: 56 1/2” x 89” MEDIUM: reverse appliqué and quilting over drawing on fabric ACCESSION #: 97.4 Additional works in the collection by the artist? Yes X No ___ ARTIST’S STATEMENT “Women’s deeds and work need to be a part of permanent history.” Judy Chicago ARTIST’S BIOGRAPHY Judy Chicago is well known for the convention-shattering nature of her work in such monumental, collaborative pro- jects as The Dinner Party, Birth Project, Holocaust Project and Resolutions: A Stitch in Time. As an artist, author, feminist, educator and intellectual whose career now spans more than four decades, she has been a leader and model for an artist’s right to express freely his or her core identity, for a definition of fine art that encompasses craft tech- niques, and for the necessity of an art that seeks to effect social change. Chicago has explored an unusually wide range of media over the course of her career: painting, drawing, printmaking, china-painting, ceramics, tapestry, needlework, and most recently glass. Her fluency with diverse media, her commitment to creating content-based art in the service of social change and her interest in collaboration have led to her being included in the art historical canon—most re- cently in Janson’s Basic History of Western Art. CONTEXTUAL INFORMATION For Chicago, The Birth Project reveals “a primordial female self hidden among the recesses of my soul…. The birth- ing woman, as in The Crowning, is a part of the dawn of creation.” Chicago states, “Traditionally, men make art and women have babies,” so “the Birth Project is an act of solidarity, both with those women who had to choose, and with those who refused to choose.” MEDIA DESCRIPTION The media used in the Birth Project as a whole include fabrics of cotton and silk, needlepoint yarns, threads, and the associated mesh canvases, paint, quilted panels, appliqué, and various other materials usually thought of as women's craft materials, not the materials of “high” art. -
One of a Kind, Unique Artist's Books Heide
ONE OF A KIND ONE OF A KIND Unique Artist’s Books curated by Heide Hatry Pierre Menard Gallery Cambridge, MA 2011 ConTenTS © 2011, Pierre Menard Gallery Foreword 10 Arrow Street, Cambridge, MA 02138 by John Wronoski 6 Paul* M. Kaestner 74 617 868 20033 / www.pierremenardgallery.com Kahn & Selesnick 78 Editing: Heide Hatry Curator’s Statement Ulrich Klieber 66 Design: Heide Hatry, Joanna Seitz by Heide Hatry 7 Bill Knott 82 All images © the artist Bodo Korsig 84 Foreword © 2011 John Wronoski The Artist’s Book: Rich Kostelanetz 88 Curator’s Statement © 2011 Heide Hatry A Matter of Self-Reflection Christina Kruse 90 The Artist’s Book: A Matter of Self-Reflection © 2011 Thyrza Nichols Goodeve by Thyrza Nichols Goodeve 8 Andrea Lange 92 All rights reserved Nick Lawrence 94 No part of this catalogue Jean-Jacques Lebel 96 may be reproduced in any form Roberta Allen 18 Gregg LeFevre 98 by electronic or mechanical means, including photocopying, recording, or information storage retrieval Tatjana Bergelt 20 Annette Lemieux 100 without permission in writing from the publisher Elena Berriolo 24 Stephen Lipman 102 Star Black 26 Larry Miller 104 Christine Bofinger 28 Kate Millett 108 Curator’s Acknowledgements Dianne Bowen 30 Roberta Paul 110 My deepest gratitude belongs to Pierre Menard Gallery, the most generous gallery I’ve ever worked with Ian Boyden 32 Jim Peters 112 Dove Bradshaw 36 Raquel Rabinovich 116 I want to acknowledge the writers who have contributed text for the artist’s books Eli Brown 38 Aviva Rahmani 118 Jorge Accame, Walter Abish, Samuel Beckett, Paul Celan, Max Frisch, Sam Hamill, Friedrich Hoelderin, John Keats, Robert Kelly Inge Bruggeman 40 Osmo Rauhala 120 Andreas Koziol, Stéphane Mallarmé, Herbert Niemann, Johann P. -
Biography and CV BIOGRAPHY Born July 20, 1939 – Chicago, IL Judy Chicago Is an Artist, Author, Feminist, Educator, and Intelle
Biography and CV BIOGRAPHY Born July 20, 1939 – Chicago, IL Judy Chicago is an artist, author, feminist, educator, and intellectual whose career now spans five decades. Her influence both within and beyond the art community is attested to by her inclusion in hundreds of publications throughout the world. Her art has been frequently exhibited in the United States as well as in Canada, Europe, Asia, Australia, and New Zealand. In addition, a number of the books she has authored have been published in foreign editions, bringing her art and philosophy to readers worldwide. In the early seventies after a decade of professional art practice, Chicago pioneered Feminist art and art education through a unique program for women at California State University, Fresno, a pedagogical approach that she has continued to develop over the years. In 1974, Chicago turned her attention to the subject of women's history to create her most well-known work, The Dinner Party, which was executed between 1974 and 1979 with the participation of hundreds of volunteers. This monumental multimedia project, a symbolic history of women in Western Civilization, has been seen by more than one million viewers during its sixteen exhibitions held at venues spanning six countries. The Dinner Party has been the subject of countless articles and art history texts and is included in innumerable publications in diverse fields. The impact of The Dinner Party was examined in the 1996 exhibition, Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History. Curated by Dr. Amelia Jones at the UCLA Armand Hammer Museum, this show was accompanied by an extensive catalog published by the University of California Press. -
CAROLEE SCHNEEMANN B
CAROLEE SCHNEEMANN b. 1939, Fox Chase, PA d. 2019, New Paltz, NY EDUCATION MFA, University of Illinois, Urbana, Illinois BA, Bard College, Annandale-On-Hudson, New York School of Painting and Sculpture, Columbia University, New York The New School for Social Research, New York La Universidad De Puebla, Mexico SOLO EXHIBITIONS 2022 Carolee Schneemann, Barbican Museum, London, UK (forthcoming) 2021 After Carolee: Tender and Fierce, Artpace, San Antonio, TX 2020 Liebeslust und Totentanz (Love’s Joy and Dance of Death), Bündner Kunstmuseum, Chur, Switzerland Off the Walls: Gifts from Professor John R. Robertson, Blanton Museum of Art, Austin, TX American Women: The Infinite Journey, La Patinoire Royale, galerie Valérie Bach, Saint-Gilles, Belgium All of Them Witches, curated by Dan Nadal and Laurie Simmons, Jeffrey Deitch, Los Angeles, CA Don’t Let this be Easy, Walker Art Center, Minneapolis, MN Barney, Scheemann, Shiraga, Tanaka, Fergus McCaffrey, Tokyo, Japan 2019 Carolee Schneeman, les Abattoirs, Toulouse, France Up to and Including Her Limits: After Carolee Schneemann, Museum Susch, Zernez, Switzerland Exhibition of Edition Works, Michele Didier, Paris, France Carolee Schneeman, mfc-michele Didier, Paris, France 2017 Kinetic Painting, Museum fur Moderne Kunst, Frankfurt, Germany; MoMA PS 1, Long Island City, NY More Wrong Things, Hales Gallery, London, United Kingdom 2016 Further Evidence – Exhibit A, P·P·O·W, New York, NY Further Evidence – Exhibit B, Galerie Lelong, New York, NY 2015 Kinetic Painting, Museum der Moderne Salzburg, Salzburg, -
WOMANHOUSE Intimacy, Identity and Domesticity
WOMANHOUSE Intimacy, Identity and Domesticity Susana Solís-Zara1 University of Sevilha 1. Introduction This text examines the issue of art and intimacy, and its strong connection with the concept of identity: and especially representations of female identity in the collaborative feminist art installation, perfor- mance space, exhibition and pedagogical project Womanhouse (Janu- art exhibition, coinciding with the foundation of feminist art criticism at the beginning of the seventies in the United States . The Project Womanhouse was a collaborative project that deals with women’s gender experiences within the context of a real house 1. Susana Solís-Zara https://orcid.org/0000-0001-9932-9452 Universidad de Sevilla Departamento de Educación Artística, Facultad de Ciencias de la Educación Calle Pirotecnia s/n. CP. 41013 (Sevilla), Spain. [email protected] 298 Susana Solís-Zara setting in an urban neighbourhood in Los Angeles (http://www.wom- anhouse.net/). It presented and exhibited feminist artistic proposals concerning subjective identity, gender and intimacy like the ones found in domestic spaces. It includes perspectives such as the home as a space for both intimacy and identity, the body-house-home relationship, as- pects of maternity and the dichotomy between the private and the pub- lic, all of which continue to be narratives in contemporary women’s art. The main object of this essay is therefore to analyse the Woman- house project, as well as to examine some of its most prominent art- works and how intimacy was used as a means of expression, bringing - tion. It is precisely women who developed the notion of intimacy, as their role in history has been one of marginality and invisibility, being - WOMANHOUSE: Intimacy, Identity and Domesticity 299 2. -
Judy Chicago
Judy Chicago Born 1939, Chicago, IL 1962, BA University of California, Los Angeles, CA 1964, MA University of California, Los Angeles, CA 1992, Honorary Doctorate in Fine Arts, Russell Sage College, Troy, NY 2000, Honorary Doctorate in Fine Arts, Smith College, Northampton, MA 2000, Honorary Doctorate in Humane Letters, Lehigh University, Bethlehem, PA 2003, Honorary Doctorate in Fine Arts, Duke University, Durham, NC 2010, Honorary Doctorate in Humane Letters, Hebrew Union College, Cincinnati, OH Lives and works in Belen, NM Solo exhibitions 2019 The End: A Meditation on Death and Extinction, Nation Museum of Women in the Arts, Washington DC 2018 Born Again: Judy Chicago’s Birth Project, Pasadena Museum of California Art, Pasadena, CA 2017 Judy Chicago’s Pussies, Jessica Silverman Gallery, San Francisco, CA PowerPlay, Salon 94, New York, NY The Roots of “The Dinner Party,” Brooklyn Museum, Brooklyn, NY 2016 Judy Chicago’s Birth Project: Born Again, Florida State University Museum of Fine Arts, FL. Traveling to Bellevue Arts Museum, Bellevue, WA; University of Northern Colorado, Greeley, CO; St. Catherine University, St. Paul, MN; Pasadena Museum of Art, Pasadena, CA Judy Chicago: Fire Works, Cressman Center Gallery, Louisville, KY Why Not Judy Chicago?, curated by Xabier Arakistain, Azkuna Zentroa, Bilbao, Spain; traveling to CAPC Musee d’Art Contemporain de Bordeaux, Bordeaux, France 2015 Star Cunts and Other Images, Riflemaker, London, United Kingdom 2014 Surveying Judy Chicago: 1970 – 2014, RedLine, Denver, CO Judy Chicago’s Feminist Pedagogy and Alternative Spaces, Brooklyn Museum, Brooklyn, NY Heads Up, David Richard Gallery, Santa Fe, NM Local Color: Judy Chicago in New Mexico 1984 – 2014, New Mexico Museum of Art, Santa Fe, NM Judy Chicago: A Butterfly for Oakland, Oakland Museum of California, Oakland, CA Chicago in L.A.: Judy Chicago’s Early Work, 1963–74, Brooklyn Museum, Brooklyn, NY The Very Best of Judy Chicago. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
M I C H E L L E H a N D E L M
M I c h e l l e H a n d e l m a n Guggenheim Fellow Born in Chicago, lives in New York Solo Exhibitions and Screenings 2016 Irma Vep, The Last Breath, screening & panel, International House, Philadelphia Beware The Lily Law, Site-specific film installation on transgender inmates, Eastern State Penitentiary, Philadelphia (on view since 2011) 2015 Irma Vep, The Last Breath, solo exhibition, The Henry Art Gallery, Seattle Irma Vep, The Last Breath, screening, Anthology Film Archives The Spectre of Musidora, Reading, Participant, Inc., New York The Spectre of Musidora, Live film and music performance with musician MV Carbon, Microscope Gallery, Brooklyn 2014 Irma Vep, The Last Breath, solo screening, Soho House, New York Triangle of Resistance, Live film and music performance with composer Miya Masaoka, Roulette, Brooklyn 2013 Irma Vep, The Last Breath, curated by Michael Rush, Broad Art Museum, Michigan 2012 Dorian, the wallpaper collection, Stephan Stoyanov Gallery, New York Dorian, a cinematic perfume, Dirty Looks Screening Series, Judson Church, New York Rehearsal for a Vamp, Momenta Art, Brooklyn, New York 2011 Dorian, a cinematic perfume, Arthouse at the Jones Center, Austin, Texas Dorian, a cinematic perfume, Art-Claims-Impulse, Berlin Beware the Lily Law, Eastern State Penitentiary, Philadelphia Personal Boundary, Flicker Lounge, Diverseworks, Houston 2009 Dorian, a cinematic perfume Participant, Inc, New York Dorian, a cinematic perfume Monkeytown, New York 2008 Inhalations, Inspirations, and Things I Forgot to Love, Issue Project -
IFA Alumni Newsletter 2017
Number 52 – Fall 2017 NEWSLETTERAlumni Published by the Alumni Association of Contents From the Director ...............3 The Institute of Fine Arts Alumni Updates ...............20 in the Aftermath of the A Wistful ‘So Long’ to our Beloved May 4, 1970 Kent State Killings ....8 Doctors of Philosophy Conferred and Admired Director Pat Rubin ....4 in 2016-2017 .................30 Thinking out of the Box: You Never From Warburg to Duke: Know Where it Will Lead .........12 Masters Degrees Conferred Living at the Institute ............6 in 2016-2017 .................30 The Year in Pictures ............14 Institute Donors ...............32 Faculty Updates ...............16 Institute of Fine Arts Alumni Association Officers: Advisory Council Members: Committees: President William Ambler Walter S. Cook Lecture Jennifer Eskin [email protected] Jay Levenson, Chair [email protected] Susan Galassi [email protected] [email protected] Yvonne Elet Vice President and Kathryn Calley Galitz Jennifer Eskin Acting Treasurer [email protected] Susan Galassi Jennifer Perry Matthew Israel Debra Pincus [email protected] [email protected] Katherine Schwab Lynda Klich Secretary [email protected] Newsletter Johanna Levy Anne Hrychuk Kontokosta Martha Dunkelman [email protected] [email protected] [email protected] Debra Pincus Connor Hamm, student assistant [email protected] History of the Institute of Fine Arts Rebecca Rushfield, Chair [email protected] Alumni Reunion Alicia Lubowski-Jahn, Chair [email protected] William Ambler 2 From the Director Christine Poggi, Judy and Michael Steinhardt Director Metropolitan Museum of Art, the Frick varied program. It will include occasional Collection, Museum of Modern Art, and a collaboration and co-sponsorship of exhibitions, diverse range of other museums. -
Why So Many Artists Have Been Drawn to New Mexico
C r e at i v i t y W h y S o M a n y Ar t i s t s H a v e Be e n D r a w n t o Ne w Mexico For generations, artists from Georgia O'Keeffe to Ken Price havefollowed New Mexico’s magnetic pull, finding inspiration in the highdesert’s expansive vistas, quietude, and respite from social and market pressures. Alexxa Gotthardt May 17, 2019 5:57 pm Georgia O’Keeffe had an unexpected train detour to thank for her first encounter with New Mexico. Little did she know, it was the land that would free her—both artistically and emotionally. Several months after photographergallerist Alfred Stieglitz presented O’Keeffe’s first New York solo show, in April 1917, the 29yearold painter embarked on a trip across the American West with her youngest sister, Claudia. While they’d planned to head straight from Texas to Colorado, their train detoured to Santa Fe. New Mexico’s vast, mercurial skies and incandescent light mesmerized the artist. “I’m out here in New Mexico—going somewhere—I’m not positive where—but it’s great,” she gushed in a letter to Stieglitz, dated August 15th. “Not like anything I ever saw before.” Portrait of Georgia O’Keeffe in Abiquiu, New Portrait of Bruce Nauman in New Mexico by Mexico, 1974. Photo by Joe Munroe/Hulton Francois Le Diascorn/GammaRapho via Getty Archive/Getty Images. Images. “There is so much more space between the ground and sky out here it is tremendous,” she continued.