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Contempoary & African Art Collection
CONTEMPOARY & AFRICAN ART COLLECTION El Anatsui Old Man’s Cloth 2003 Aluminum and copper wire 192 × 216 in. (487.7 × 548.6 cm) Museum purchase, funds provided by friends of the Harn Museum 2005.37 El Anatsui has lived and worked in Nigeria since 1975. Over the past decade, he has emerged as one of Africa’s most widely acclaimed and influential contemporary artists. Anatsui has worked in several media, but he is best known for his luminous metal sculpture constructed from recycled bottle tops. Large in scale and rich in color, these “cloths” are stunning works that suggest the power and opulence of royalty. Nonetheless, the artist’s work is deeply embedded in the challenging social conditions and political realities of Africa. Anatsui’s Old Man’s Cloth is inspired in part by kente cloth, the royal and ceremonial strip-woven cloth made by the Asante and Ewe people of Ghana and Togo. Kente cloth is hand-woven into four- to eight-inch strips that are subsequently cut into smaller pieces and sewn together to form a single cloth with a unique geometrical pattern. Color and design convey specific meanings. Anatsui uses a similar process; however, the fragments that constitute his work are the flattened tops of recycled liquor bottles created by Nigerian distilleries. Names such as Chairman, Dark Sailor, and King Salomon are printed on the labels—words that evoke and relate to the history of liquor imports by Europeans from the West Indies to Africa. The bottles recall the colonial trade in slaves and commodities. Anatsui’s eye is also on the consumerist drive of globalization and economic imbalances that leave Africa in crushing poverty and its people seeking solace in drink. -
1 Pavilion of Greece at the 58Th International Art Exhibition ― La
Press Release Pavilion of Greece at the 58th International Art Exhibition ― La Biennale di Venezia Artists Panos Charalambous, Eva Stefani, and Zafos Xagoraris represent Greece at the Biennale Arte 2019 in an exhibition titled Mr. Stigl curated by Katerina Tselou May 11–November 24, 2019 Pre-opening: May 8–10, 2019 Inauguration: May 10, 2019, 2 p.m. Giardini, Venice Artists Panos Charalambous, Eva Stefani, and Zafos Xagoraris represent Greece at the 58th International Art Exhibition―La Biennale di Venezia (May11–November 24, 2019) with new works and in situ installations, curated by Katerina Tselou. Lining the Greek Pavilion in Venice―both inside and outside―with installations, images, In the environment they create, there is an constant transposition occurring from grand narratives to personal stories. The unknown (or less known) details of history emerge, subverting Mr. Stigl, who lends his name to the title of the Greek Pavilion exhibition, is a historical paradox, a constructive misunderstanding, a fantastical hero of an unknown story whose poetics take us to a space of doubt, paraphrased sounds, and nonsensical identities and histories. What does history rewrite and what does it conceal? The voices introduced by Panos Charalambous reach us through the rich collection of vinyl records he has accumulated since the 1980s. By combining installations with sonic performances, Charalambous brings forward voices that have been forgotten or silenced, recomposing their orality through an idiosyncratic play of vinyl using eagle’s claws, rose thorns, and agave leaves. His new work An Eagle Was Standing drinking glasses upon which an ecstatic, “ultrasonic” dance is performed—a vortex of deep listening. -
MOMA Pavilion in Venice
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y FOR RELEASE: MONDAY, TELEPHONE: CIRCLE 5-8900 March 29, 19Si No. 32 MUSEUM OF MODERN ART BUYS EXHIBITION PAVILION IN VENICE William A.M. Burden, President of the Museum of Modern Art, announced today that the Museum has bought the pavilion used for showing modern American art at the Intel-national Art Biennale Exhibitions in Venice, The pavilion, formerly owned by the Grand Central Art Galleries of New York, is the only privately-owned exhibition hall at the famous international art show. The other pavilions are owned by more that 20 governments which officially sponsor exhibitions of contemporary art from their own countries at the Biennale, The Museum of Modern Art has bought the building, Mr* Burden said, in order to insure the continuous representation of art from this country at these famous inter national exhibitions which have been held every two years since 1892 except for the war period* The Venice Biennale is sponsored by the Italian government in order "to bring together some of the most noteworthy and significant examples of con temporary Italian and foreign art" according to the official prospectus, To present as broad a representation of American art as possible the Museum of Modern Art will ask other leading institutions in this country to co-operate in organizing future exhibitions. The exhibition hall in Venice was purchased to implement the Museum's Inter national Exhibitions Program, made possible by a grant to the Museum last year from the Rockefeller Brothers Fund. -
Venice & the Common Ground
COVER Magazine No 02 Venice & the Common Ground Magazine No 02 | Venice & the Common Ground | Page 01 TABLE OF CONTENTS Part 01 of 02 EDITORIAL 04 STATEMENTS 25 - 29 EDITORIAL Re: COMMON GROUND Reflections and reactions on the main exhibition By Pedro Gadanho, Steven Holl, Andres Lepik, Beatrice Galilee a.o. VIDEO INTERVIew 06 REPORT 30 - 31 WHAT IS »COMMON GROUND«? THE GOLDEN LIONS David Chipperfield on his curatorial concept Who won what and why Text: Florian Heilmeyer Text: Jessica Bridger PHOTO ESSAY 07 - 21 INTERVIew 32 - 39 EXCAVATING THE COMMON GROUND STIMULATORS AND MODERATORS Our highlights from the two main exhibitions Jury member Kristin Feireiss about this year’s awards Interview: Florian Heilmeyer ESSAY 22 - 24 REVIEW 40 - 41 ARCHITECTURE OBSERVES ITSELF GUERILLA URBANISM David Chipperfield’s Biennale misses social and From ad-hoc to DIY in the US Pavilion political topics – and voices from outside Europe Text: Jessica Bridger Text: Florian Heilmeyer Magazine No 02 | Venice & the Common Ground | Page 02 TABLE OF CONTENTS Part 02 of 02 ReVIEW 42 REVIEW 51 REDUCE REUSE RECYCLE AND NOW THE ENSEMBLE!!! Germany’s Pavilion dwells in re-uses the existing On Melancholy in the Swiss Pavilion Text: Rob Wilson Text: Rob Wilson ESSAY 43 - 46 ReVIEW 52 - 54 OLD BUILDINGS, New LIFE THE WAY OF ENTHUSIASTS On the theme of re-use and renovation across the An exhibition that’s worth the boat ride biennale Text: Elvia Wilk Text: Rob Wilson ReVIEW 47 ESSAY 55 - 60 CULTURE UNDER CONSTRUCTION DARK SIDE CLUB 2012 Mexico’s church pavilion The Dark Side of Debate Text: Rob Wilson Text: Norman Kietzman ESSAY 48 - 50 NEXT 61 ARCHITECTURE, WITH LOVE MANUELLE GAUTRAND Greece and Spain address economic turmoil Text: Jessica Bridger Magazine No 02 | Venice & the Common Ground | Page 03 EDITORIAL Inside uncube No.2 you’ll find our selections from the 13th Architecture Biennale in Venice. -
Balmoral Brochure 2019 2.Cdr
THE BALMORAL GROUP C O M P A N Y P R O F I L E PG. 5 PG. 6 Overview About Balmoral Our Mission What We DO Our Vission Our Core Values PG. 7 PG. 21 Balmoral Venues Balmoral Live Balmoral Convention Center Balmoral Hall Federal Palace Balmoral Convention Center Sheraton Hotels The Haven Balmoral Hall Oregun PG. 27 PG. 32 Balmoral Exhibitions Balmoral Hospitality Content PG. 5 PG. 6 Overview About Balmoral Our Mission What We DO Our Vission Our Core Values PG. 7 PG. 21 Balmoral Venues Balmoral Live Balmoral Convention Center Balmoral Hall Federal Palace Balmoral Convention Center Sheraton Hotels The Haven Balmoral Hall Oregun PG. 27 PG. 32 Balmoral Exhibitions Balmoral Hospitality Content Overview ith a network of expanding venues, expertise is managing Wboth large and corporate events and unrivalled premium facilities in the events solutions space, Balmoral Group has become a household name in providing events all round solutions in the About events space. Balmoral Our Mission We exist to provide all round solutions to all event management needs. No matter the size, type or location of the event Balmoral understands every organizers' need to execute seamless events that meet your objectives by taking your dreams and making them our own. almoral Group is a 360 Degree Events Solutions Company providing all round event management services for its' discerning clients. With over 13 years' Bexperience of providing different levels of event support, we pride ourselves in Our Vision is to providing excellent services. We put our clients at the centre of everything we do and ensure that your event is smooth, seamless and stress-free. -
Network Venice Brochure
NETWORK 2020 “The Venice Architecture Biennale is the most important architectural show on earth.” Tristram Carfrae Deputy Chair, Arup NETWORK Join us on the journey to 2020 Support Australia in Venice and be a part of something big as we seek to advance architecture through international dialogue, answering the call – How will we live together?. Network, build connections and engage with the local and global architecture and design community and be recognised as a leader with acknowledgement of support throughout Australia’s marketing campaign and on the ground in Venice. Join Network Venice now and maximise your benefits with VIP attendance at the upcoming Creative Director Reveal events being held in Melbourne and Sydney this October. JOURNEY TO National and international and beyond media campaign commences Exhibition development October Creative Director 2019 Shortlist announced 2020 Creative Director Engagement announced at opportunities for a special event Network Venice for partners and supporters supporters VENICE 2020 How will we live together? “We need a new spatial contract. In the context of widening political divides and growing 275k + economic inequalities, we call on architects to Total Exhibition imagine spaces in which we can generously Visitors live together: together as human beings who, despite our increasing individuality, yearn to connect with one another and with other species across digital and real space; together as new households looking for more diverse 95k + and dignified spaces for inhabitation; together Australian -
Catalogue 103 Michael Graves-Johnston Michael Graves-Johnston 54, Stockwell Park Road, LONDON SW9 0DA Tel: 020 - 7274 – 2069 Fax: 020 - 7738 – 3747
Books from the Library of Professor Frank Willett Catalogue 103 Michael Graves-Johnston Michael Graves-Johnston 54, Stockwell Park Road, LONDON SW9 0DA Tel: 020 - 7274 – 2069 Fax: 020 - 7738 – 3747 Website: www.Graves-Johnston.com Email: [email protected] Books from the library of Frank Willett: Catalogue 103 Published by Michael Graves-Johnston, London: 2013. VAT Reg.No. GB 238 2333 72 ISBN 978-0-9554227-6-8 Price: £ 5.00 All goods legally remain the property of the seller until paid for in full. All prices are net and forwarding is extra. All books are in good condition, in the publishers’ original cloth binding, and are First Editions, unless specifically stated otherwise. Any book may be returned if unsatisfactory, provided we are advised in advance. Your attention is drawn to your rights as a consumer under the Consumer Protection (Distance Selling) Regulations 2000. All descriptions in this catalogue were correct at the time of cataloguing. The cover illustration is from number 232. Ife Festival of the Arts, 10 - 19 December 1968. Books from the Library of Professor Frank Willett. Frank Willett (1925–2006) was widely regarded as the leading Africanist of his day. He became the Keeper of the Department of Ethnology at the Manchester Museum in 1950. In 1956 he was encouraged by William and Bernard Fagg to take up an excavation in Nigeria where he worked during the late 1950s and early 1960s as Archaeologist for the Department of Antiquities and Curator of the Ife Museum. Ten years was spent as Professor in African Studies at Northwestern University, Evanston, Illinois, after which he returned to Britain to become the first director of the Hunterian Museum at the University of Glasgow. -
Screening Guides to the Sixth Season
art:21 screening guides to the sixth season © Art21 2012. All Rights Reserved. www.pbs.org/art21 | www.art21.org season six GETTING STARTED ABOUT THIS SCREENING GUIDE unique opportunity to experience first-hand the complex artistic process—from inception to finished This screening guide is designed to help you plan product—behind some of today’s most thought- an event using Season Six of Art in the Twenty-First provoking art. These artists represent the breadth Century. This guide includes an episode synopsis, of artistic practices across the country and the artist biographies, discussion questions, group world and reveal the depth of intergenerational activities, and links to additional resources online. and multicultural talent. Educators’ Guide The 32-page color manual ABOUT ART21 SCREENING EVENTS includes information on the ABOUT ART21, INC. artists, before-viewing and Public screenings of the Art in the Twenty-First after-viewing questions, and Century series illuminate the creative process of Art21 is a non-profit contemporary art organization curriculum connections. today’s visual artists by stimulating critical reflection serving students, teachers, and the general public. FREE | www.art21.org/teach as well as conversation in order to deepen Art21’s mission is to increase knowledge of contem- audience’s appreciation and understanding of porary art, ignite discussion, and empower viewers contemporary art and ideas. Organizations and to articulate their own ideas and interpretations individuals are welcome to host their own Art21 about contemporary art. Art21 seeks to achieve events year-round. Art21 invites museums, high this goal by using diverse media to present an schools, colleges, universities, community-based independent, behind-the scenes perspective on organizations, libraries, art spaces and individuals contemporary art and artists at work and in their to get involved and create unique screening own words. -
MUSEUMS AS CULTURAL HUBS the FUTURE of TRADITION MUSEUMS AS CULTURAL HUBS the Future of Tradition
THE NATIONAL COMMITTEE MAGAZINE NO 9 | JUNE 2019 | ISSN 2683-5282 MUSEUMS AS CULTURAL HUBS THE FUTURE OF TRADITION MUSEUMS AS CULTURAL HUBS The Future of Tradition May 13-19, 2019 FOR MUSEUMS MUSEUMS OF SERBIA International Museum Day - European Night of Museums - National Museum Week Free Admission 2 ICOM SRBIJA A WORD FROM PRESIDENT Jubilee Year From content This year, museum pro- fessionals will gather at the jubilee, 25th ICOM General Conference in magical Kyoto. There is plenty of symbol- 4 ism in the fact that the ICOM 25th General Conference - Kyoto 2019 Land of the Rising Sun is hosting 3,000 partic- Redefined Future of Tradition ipants who are going to discuss important is- sues of concern to the international museum 6 Interview community. This will be the right opportunity for Suay Aksoy, the new museum defi- nition to “rise” so as to ICOM President reflect the changed role of museums which have developed a closer bond 16 with the audience and New Museums become a more active part of the community The Largest Serbian Museum they belong to. Abroad The central theme of this year’s Conference, Museums as Cultural Hubs: The Future of Tradition, was exactly the thread that bonded 26 museums all over Serbia during the event Museums for 10, coor- International Cooperation dinated by ICOM Serbia. For the fifth time, the largest museum ini- Museum Connections tiative in Serbia presented museums as places where creativity and On The Silk Road knowledge unite, and visitors take an active part in creating and -ex changing ideas, and interact with each other, prioritizing the quality of knowledge exchange and development of critical awareness of major issues. -
ANGELA FILENO DA SILVA Vozes De Lagos
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE HISTÓRIA ANGELA FILENO DA SILVA Vozes de Lagos: brasileiros em tempos do império britânico Versão corrigida São Paulo 2016 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE HISTÓRIA Vozes de Lagos: brasileiros em tempos do império britânico Costa da Mina, 1840-1900 Angela Fileno da Silva [email protected] [email protected] Tese apresentada ao Departamento de História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo para obtenção do título de Doutor em História. Área de Concentração: História Social Orientadora: Profa. Dra. Leila Maria Gonçalves Leite Hernandez Versão corrigida São Paulo 2016 2 3 ANGELA FILENO DA SILVA Vozes de Lagos: brasileiros em tempos do império britânico Costa da Mina, 1840-1900 Tese apresentada ao Departamento de História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, aprovada pela Banca Examinadora constituída pelos seguintes professores: ___________________________________________________ Profa. Dra. Leila Maria Gonçalves Leite Hernandez DH – FFLCH/USP Orientadora ________________________________________ Prof(a) Dr(a) Mônica Lima e Souza – Instituição Universidade Federal do Rio de Janeiro/ CFCH ________________________________________ Prof(a) Dr. Acácio Sidinei Almeida Santos – Instituição Universidade Federal do ABC/ RI ________________________________________ Prof(a) Dr. Alexandre Almeida Marcussi – Instituição Universidade Federal de Minas Gerais/FAFICH ________________________________________ Prof(a) Dr(a) Marina de Mello e Souza – Instituição Faculdade de Filosofia, Letras e Ciências Humanas/DH São Paulo, 25 de abril de 2016. 4 Para minha avó Maria Gonçalves Fileno, que nunca assinou seu próprio nome, mas ensinou aos filhos e netos o valor do conhecimento. -
The Postcolonial African Museum in the Age of Cultural Informatics
The Postcolonial African Museum in the Age of Cultural Informatics O Museu Africano Pós-Colonial na Era da Informática Cultural1 Sylvester Okwunodu Ogbechie, Ph.D. Departamento de Arquitetura e História da Arte, University of California Santa Barbara, EUA. Resumo: O artigo avalia como a informática cultural pode auxiliar a definição de estratégias de gestão do patrimônio cultural para museus africanos pós-coloniais por meio da aplicação de novas tecnologias de mídia. A ascensão da tecnologia da informação abriu novas formas para análise do patrimônio cultural. Definido como “informática cultural”, esse novo campo avalia como as instituições culturais organizam as informações sobre os seus recursos e usam essas informações para desenvolver novas estratégias de representação cultural e análise. Ao adaptar seus protocolos às pesquisas na área de ciências humanas na era da informação, a informática cultural apoia a pesquisa interdisciplinar em múltiplas conjunções, oposições e sinergias entre informação, historicismo e contextos culturais, e, neste caso particular, nas áreas de história da arte, museologia e economia do patrimônio cultural. Sua pesquisa investiga o significado do cânone da arte africana nos contextos duplos de museus ocidentais e africanos na era con- temporânea. Pretende estimular a reflexão sobre como a arte africana nativa é incorporada aos sistemas de conhecimento ocidentais e às estruturas específicas de exibição de museus. Sugere como museus africanos pós-coloniais podem garantir maior acesso ao patrimônio cultural afri- cano e também definir os modos de representação museológica relevantes para a exposição do patrimônio cultural africano em contextos africanos, já que museus continuam a enfrentar a opressiva localização de objetos de arte africana (com status historicamente aceito) em museus e coleções de arte ocidentais. -
El Anatsui CV
El Anatsui b. 1944, Anyako, Ghana Lives and works between Ghana and Nigeria EDUCATION 1969 Postgraduate Diploma, Art Education, University of Science and Technology, Kumasi, Ghana 1994 B.A. College of Art, University of Science and Technology, Kumasi, Ghana SELECTED SOLO SHOW 2019 El Anatsui: Triumphant Scale, Mathaf: Arab Museum of Modern Art, Doha, Qatar El Anatsui: Triumphant Scale, Haus Der Kunst Munich, Munich, Germany 2018 El Anatsui: Meyina, Iziko South African National Gallery, Cape Town, South Africa 2017 El Anatsui: Topology of Generosity, Barakat Contemporary, Seoul, Korea. 2016 El Anatsui: New Works, October Gallery, London, UK El Anatsui: Five Decades, Carriage works, Sydney Festival 2016, Sydney, Australia 2015 El Anatsui, October Gallery, London, UK El Anatsui: Five Decades, Jack Shainman Gallery, New York, USA El Anatsui of Dzi, Kunstbanken Hedmark Kunstsenter, Hamar, Norway 2014 El Anatsui – Theory of Se, Axel Vervoordt Gallery, Hong Kong El Anatsui: Playing with Chance, Centre for Contemporary Art, Lagos, Nigeria El Anatsui: New Worlds, Mount Holyoke College, South Hadley, Massachusetts, USA El Anatsui: Trains of Thought, Jack Shainman Gallery, New York, USA El Anatsui, Mnuchin Gallery, New York, USA 2012-15 Gravity and Grace: Monumental Works by El Anatsui, Akron Art Museum, Akron, Ohio; Brooklyn Museum, New York; Des Moines Art Center, Iowa; Bass Museum of Art, Miami, USA Museum of Contemporary Art, San Diego, USA 2012-13 Broken Bridge II, the High Line, New York, USA 2012 Pot of Wisdom, Jack Shainman Gallery, New