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HEART – Herning Museum of Contemporary Art Is Pleased to Announce Dan Colen's First Solo Exhibition in Denmark: Psychic Slayer
HEART – Herning Museum of Contemporary Art is pleased to announce Dan Colen's first solo exhibition in Denmark: Psychic Slayer. “Death works with us in the world; it is a power that humanizes nature, that raises existence to being, and it is within each one of us as our most human quality…. As long as I live, I am a mortal man, but when I die, by ceasing to be man I also cease to be mortal, I am no longer capable of dying, and my impending death horrifies me because I see it as it is: no longer death, but the impossibility of dying.” ― Maurice Blanchot, Literature and the Right to Death At the core of this exhibition is an idea of a space that barely exists and is even harder to grasp and engage with: the space that bridges life and death. A bridge between two states of being – partly existential and reflective due to the promise of an impending demise, but also magical in the sense that this is a space where virtually anything is possible, making promises of being the moment of ultimate potentiality according to Martin Heidegger. In this regard the exhibition becomes a walk through what is normally regarded as an impossible space, where the architecture and remnants of a life’s choices lay displayed before the audience, beckoning interpretation, new choices, new directions. It is a space that fluctuates between different states of material and projected representations. Psychic Slayer begins with a hat that flies through an airy, light and almost empty room, caught on a gust of wind, its owner nowhere to be seen. -
WHITNEY BIENNIAL 2006: DAY for NIGHT to OPEN Signature Survey Measuring the Mood of Contemporary American Art, March 2-May 28, 2006
Press Release Contact: Jan Rothschild, Stephen Soba, Meghan Bullock (212) 570-3633 or [email protected] www.whitney.org/press February 2006 WHITNEY BIENNIAL 2006: DAY FOR NIGHT TO OPEN Signature survey measuring the mood of contemporary American art, March 2-May 28, 2006 Peter Doig, Day for Night, 2005. Private Collection; courtesy Contemporary Fine Arts, Berlin. The curators have announced their selection of artists for the 2006 Whitney Biennial, which opens to the public on March 2, and remains on view at the Whitney Museum of American Art through May 28, 2006. The list of participating artists appears at the end of this release. Whitney Biennial 2006: Day for Night is curated by Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator, and Philippe Vergne, the Deputy Director and Chief Curator of the Walker Art Center in Minneapolis. The Biennial’s lead sponsor is Altria. "Altria Group, Inc. is proud to continue its forty year relationship with the Whitney Museum of American Art by sponsoring the 2006 Biennial exhibition," remarked Jennifer P. Goodale, Vice President, Contributions, Altria Corporate Services, Inc. "This signature exhibition of some of the most bold and inspired work coming from artists' studios reflects our company's philosophy of supporting innovation, creativity and diversity in the arts." Whitney Biennial 2006: Day for Night takes its title from the 1973 François Truffaut film, whose original French name, La Nuit américaine, denotes the cinematic technique of shooting night scenes artificially during the day, using a special filter. This is the first Whitney Biennial to have a title attached to it. -
Selections from the Dash Snow Ar
DASH SNOW b. 1981, New York, NY d. 2009, New York, NY SOLO EXHIBITIONS 2019 The Drowned World: Selections from the Dash Snow Archive, PARTICIPANT INC, New York, NY 2016 Freeze Means Run, The Brant Foundation Art Study Center, Greenwich, CT 2012 Dash Snow, curated by Mary Blair Hansen, Contemporary Fine Arts, Berlin, Germany 2011 Three Amigos (alongside solo exhibitions by Dan Colen and Nate Lowman), The Museum of Contemporary Art of Rome, Rome, Italy 2007 God Spoiled a Perfect Asshole When He Put Teeth In Yer Mouth, Peres Projects, Los Angeles, CA. Catalog. Nest (with Dan Colen), Deitch Projects, New York, NY. Catalog. The End of Living... The Beginning of Survival, Contemporary Fine Arts, Berlin, Germany. Catalog. 2006 Silence Is The Only True Friend That Shall Never Betray You, Rivington Arms, New York, NY 2005 Moments Like This Never Last, Rivington Arms, New York, NY GROUP EXHIBITIONS 2011 Post 9-11, OHWOW Gallery, Los Angeles, CA. Catalog. 2009 Get a Rope, CTRL Gallery, Houston, TX 2008 Babylon: Myth and Truth, Pergamon Museum, Berlin, Germany. Catalog. 2007 The Hidden, Maureen Paley, London. UK Hunk Dory, Gary Tatintsian Gallery, Moscow, Russia. Catalog. Cabinet of Curiosities, The Journal Gallery, Brooklyn, NY Jalouse, Palais de Tokyo, Paris, France Come, Come, Come Into My World, curated by Andrew Renton, Ellipse Foundation, Cascais, Portugal Stalemate, curated by Leigh Ledare, Leroy Neiman Gallery, Columbia University, New York, NY 2006 Moments Like This Never Last, Rivington Arms, New York, NY Defamation of Character, P.S.1, New York, NY Partial Recall, Lehman Maupin, New York, NY American Concentration Camp, The Proposition, New York, NY Survivor, Bortolami Dayan, New York, NY Day For Night, Whitney Biennial, Whitney Museum of American Art, New York, NY Good Bye To All That, Rivington Arms, New York 2005 Live Through This: New York 2005, Deitch Projects, Miami, FL Interstate, Nicole Klagsbrun, New York With us against reality, or against us!, Willy Wonka Inc. -
Dash Snow, the Drowned World Selections from the Dash Snow Archive March 31 – May 12, 2019 Opening Reception, Sunday, March 31, 7-9Pm
For Immediate Release, contact [email protected], 646-492-4076 Dash Snow, The Drowned World Selections from the Dash Snow Archive March 31 – May 12, 2019 Opening reception, Sunday, March 31, 7-9pm From March 31 – May 12, 2019, PARTICIPANT INC in collaboration with the Dash Snow Archive presents Dash Snow, The Drowned World: Selections from the Dash Snow Archive. Comprised of the contents of the studio of Dash Snow (1981-2009), the exhibition draws from this vast archive including Polaroids, 35mm photographs, collages, sculptural works, Super 8 films, and zines. Polaroids and serial works on paper highlight the methodical aspects of Snow’s daily practices and lifework, as do process sculptures, including three major assemblage works being exhibited for the first time. Snow’s earliest artistic output began during his teenage years in the mid-‘90s as a third generation graffiti writer on New York’s Lower East Side. As described by friend, poet, artist, and writer Rene Ricard: “Any Tag by any teenager on any train on any line is fairly heartbreaking” (“The Radient Child,” Artforum, December 1981). A portrait of Snow above the entrance to the F train on Allen Street has still not been bombed over. Art critic Edit DeAk, in speaking of the street art she championed since the ‘70s, once called it “information from the middle of the night” (“Edit DeAk: an interview by John Wallace and Geralyn Donohue,” REAL LIFE Magazine, 1982). This seems an apt description of Snow’s transition from graffiti writer to Polaroid documentarian, using his next choice of medium to mark time, remember, and be remembered through long darknesses. -
Dash Snow, Untitled, 2007, Col- Lage, 3.75 X 4”
Dash Snow, Untitled, 2007, Col- lage, 3.75 x 4”. Dash Snow, Untitled (Diptych), 2006, Digital C-Prints, Left: 121.9 x 100.3 cm, Right: 127 x 97.8cm. Dash Snow, The Accidental Insider: Moments Like This Never Last Dash Snow, Born Dashiell A. Snow (July 27, 1981-July 13, 2009) American artist “Snow ran away from home and began living on the streets at 13 or 14, and began taking photographs, he said, as a record of places he might not remember the next day. “He was included in the 2006 Wall Street Journal article titled ‘The 23- Year Old Masters,’ which selected ten top emerging US artists including Rosson Crow, Ryan Trecartin, Zane Lewis, Barney Kulok, Rashawn Griffin and Keegan McHargue. “The artist’s photographic work is in a thematically similar mode to photogra- phers Nan Goldin, Larry Clark, Ryan McGinley and Richard Billingham, Ryan McGinley, Dash Bombing, 2000, C-print 69 x 92 cm. often depicting scenes of a candid or illicit nature. Instances of sex, drug taking, violence and art-world preten- tiousness are documented with dis- arming frankness and honesty, offering insight into the decadent lifestyle associated with young New York City artists and their social circles. “Some of Snow’s recent collage- based work was characterized by the controversial practice of using his own semen as a material applied to or splashed across newspaper pho- tographs of police officers and other authority figures. His works have been acquired by influential collectors such as Charles Saatchi, Anita Zabludo- wicz, Dakis Joannou, The Whitney Museum of American Art and the Brooklyn Museum. -
Newport Street Gallery Is Pleased to Present an Exhibition of Work by Dan Colen (B.1979, New Jersey), Opening on 4Th October 2017 and Running Until 21St January 2018
+44(0)20 3141 9320 3rd October 2017 PRESS RELEASE: Dan Colen solo exhibition ‘Sweet Liberty’ opens at Newport Street Gallery Newport Street Gallery is pleased to present an exhibition of work by Dan Colen (b.1979, New Jersey), opening on 4th October 2017 and running until 21st January 2018. ‘Sweet Liberty’, Colen’s first major solo show in London, surveys the entirety of the artist’s career to date and also features new paintings and large-scale installations. Colen came to prominence in New York in the early 2000s alongside a group of young artists that was informally labelled the ‘Bowery School’. The group included Hannah Liden, Nate Lowman, Ryan McGinley, Agathe Snow and Dash Snow among others. Playful and nihilistic, Colen’s work examines notions of identity and individuality, set against a portrait of contemporary America. ‘Sweet Liberty’ spans a period of seismic change in US history: the earliest painting in the show, Me, Jesus and the Children (2001–2003), was begun days after the 9/11 attacks, whilst the newest exhibited pieces were made in the wake of the 2016 presidential election. Colen’s influences range from early modern religious painting to Arte Povera, Abstract Expressionism and Pop. These appear alongside the use of the ready-made, photorealism, trompe l’oeil, graffiti and traditional crafts. Continually playing with the relationship between object, viewer and environment, Colen invites fundamental questions concerning the role of the artist, such as: “Where does art happen? Where in the process does something transform or pick up new energies or new possibilities?” (Source: Interview with Ali Subotnick, Sweet Liberty, exh. -
DAN COLEN: Miracle Paintings
G A G O S I A N G A L L E R Y August 20, 2014 PRESS RELEASE GAGOSIAN GALLERY 555 WEST 24TH STREET T. 212.741.1111 NEW YORK NY 10011 E. [email protected] GALLERY HOURS: Tue–Sat: 10:00am–6:00pm SUMMER HOURS (Through August 29): Mon–Fri 10:00am–6:00pm DAN COLEN: Miracle Paintings Tuesday, September 2–Saturday, October 18, 2014 Opening reception: Tuesday, September 16th, from 6:00 to 8:00pm I wanted these paintings to reveal themselves during the making, similar to how the trash paintings came to be. I was thinking about alchemy. So there's this juggling act; I'm starting and often ending with an image, but the oil paint and the process of using that oil paint will open up the possibility for the artwork to take a new direction. —Dan Colen Gagosian is pleased to announce an exhibition of new paintings by Dan Colen. The Miracle paintings continue an investigation that has been central to Colen's practice from the outset: to what extent does art come from the artist, and to what extent does it arise from forces independent of the artist? In his earliest paintings, Colen labored over precise oil renderings of banal interiors—a sloppy apartment bathroom, an adolescent bedroom, a camping tent—into which he introduced the presence of the supernatural— the Blue Fairy, Jesus Christ, twinkling cherubs, his deceased grandfather. He describes the subsequent series of Candle paintings as “portraits of God.” In these works, the space of the canvas contains the space of Geppetto's worktable—where Pinocchio transcends his materiality to become real—and a message appears in the smoke left by a just-extinguished candle flame. -
Download Spring 2020
TABLE OF CONTENTS RIZZOLI 50 Lessons to Learn from Frank Lloyd Wright . .17 Rashid Al Khalifa: Full Circle . .45 Alicia Rountree: Fresh Island Style . .25 Rika’s Japanese Home Cooking . .22 The Appalachian Trail . .54 Rooms of Splendor . .18 At Home in the English Countryside: Schumann’s Whisk(e)y Lexicon . .26 Designers and Their Dogs . .2 Scott Mitchell Houses . .10 Automobili Lamborghini . .51 Sicily . .56 The Best Things to Do in Los Angeles: Revised Edition . .52 Skylines of New York . .54 The Candy Book of Transversal Creativity . .34 Taking Time . .44 Christian Louboutin: Exhibition . .27 Voyages Intérieurs . .16 Classicism at Home . .19 Watches International Vol. XXI . .50 Climbing Bare . .41 Wayne Thiebaud Mountains . .42 The Cobrasnake: All Yesterday’s Parties . .35 We Protest . .33 Dan Colen . .46 Wine Country Living . .11 de Gournay: Art on the Walls . .5 The Women’s Heritage Sourcebook . .21 Decorate Happy . .4 You’re Invited . .20 Design Fix . .8 Zeng Fanzhi: Untitled . .43 Designing History . .3 Diana Vreeland: Bon Mots . .28 RIZZOLI ELECTA Dior Joaillerie . .29 Alice Trumbull Mason . .73 Elan: The Interior Design on Kate Hume . .15 Alma Allen . .72 Eva Hesse and Hannah Wilke . .42 At First Light . .66 Eyes Over the World . .37 BATA Shoe Museum . .65 Federico Fellini . .38 Bosco Sodi . .70 From the Archive: RIMOWA . .49 City/Game . .63 Futura . .36 David Wiseman . .62 Garden Design Master Class . .6 A Garden for All Seasons . .77 Gathering . .24 I Was a Teenage Banshee . .75 Hamilton: Portraits of a Revolution . .31 Laurent Grasso . .74 The Heart of Cooking . .50 Lens on American Art . -
5441 Ca Object Representations
(1) Robin Winters and Christy Rupp at the (2) Arleen Schloss at the opening reception for (3) Anton van Dalen, Two-Headed Monster (4) Dave Sander and Ethan Swan at the opening reception for “Come Closer: Art Around “Come Closer: Art Around the Bowery, 1969– Destroys Community, 1981. Aerosol paint on opening reception for “Come Closer: Art the Bowery, 1969–1989,” New Museum, 1989,” New Museum, New York, September 19, paper, 29 x 23 in (73.7 x 58.4 cm). Installation Around the Bowery, 1969–1989,” New New York, September 19, 2012. Photo: Jesse 2012. Photo: Jesse Untracht-Oakner view: “Come Closer: Art Around the Bowery, Museum, New York, September 19, 2012. Untracht-Oakner 1969–1989,” New Museum, New York, 2012. Photo: Jesse Untracht-Oakner Courtesy the artist. Photo: Jesse Untracht-Oakner Published by When we announced that the New To date, the Bowery Artist Tribute has We are indebted to Hermine and Museum would construct a freestanding conducted over seventy interviews David B. Heller for funding the research, building on a parking lot at 235 Bowery, with artists, curators, and authors who development, and presentation of this one of our first concerns was finding a helped build the creative community archive, and for providing endowment newmuseum.org way to acknowledge the rich history of of the Bowery for the past seventy funds for its future. We are also grateful creative activity in our new neighbor- years. We’ve encountered artists who to a number of individuals who have Editor: Ethan Swan Designer: Chelsea Amato hood. We thought about 222 Bowery, were grateful for the opportunity to tell been instrumental in the research and Copy Editors: Frances Malcolm and Olivia Casa Printed by: Linco William Burroughs’s “Bunker” that shel- their Bowery stories for the first time, coordination of these efforts over the tered Lynda Benglis, John Giorno, Mark and others who weren’t convinced past nine years: Ethan Swan, Eungie Cover: Sylvia Plimack Mangold on the roof of her Grand Rothko, and a dozen more. -
Biography Dan Colen
Biography Dan Colen Leonia, New Jersey, 1979. Lives and works in New York SOLO EXHIBITIONS 2018 2018 - High Noon, Gagosian, Beverly Hills, USA 2017 2017 - Purgatory Paintings, Massimo De Carlo, Milano, I 2016 2016 - Oil Paintings, Dallas Contemporary, Dallas, USA 2016 - First they exchanged anecdotes and inclinations, Vito Schnabel Projects, New York, USA 2016 - When I'm gone, Gagosian Gallery, Hong Kong, HK 2015 2015 - Shake Te Elbow, Albright-Knox Art Gallery, Bufalo, USA 2015 - Psychic Slayer, HEART – Herning Museum of Contemporary Art, Herning, DK. Catalogue 2015 - And Now, Dallas, USA 2015 - Viscera, Venus Over Los Angeles, Los Angeles, USA 2014 2014 - Help!, curated by A130921140007, Te Brant Foundation Art Study Center, Greenwich, USA 2014 - Dan Colen: Miracle Paintings., Gagosian gallery, New York, USA 2014 - Te L...o...n...g Count, Te Walter De Maria Building, New York, USA. Catalogue 2013 2013 - Te Illusion of Life, Inverleith House, Edimburgh, UK 2013 - Dan Colen: Te spirits that I called, Oko, New York, USA 2012 2012 - In Living Color, Te FLAG Art Foundation, New York, USA 2012 - Blowin' in the Wind, Karma, New York, USA 2012 - Blowin' in the Wind, Gagosian Gallery, Athens, GR 2012 - Cracks in the Clouds, Seagram Building, New York, USA 2012 - Out of the Blue, Into the Black, Gagosian Gallery, Paris, F. Catalogue 2011 2011 - Peanuts, curated by Gunnar B. Kvaran, Hanne Beate Ueland e Grete Arbu, Astrup Fearnley Museum of Modern Art, Oslo, N 2011 - Come Out, Come Out, Wherever You Are! - Dedicated to Dash Snow, Massimo De Carlo, -
Dash Snow 17 March – 16 April 2016 Opening Reception Wednesday, 16 March, 6 – 8Pm
DASH SNOW 17 MARCH – 16 APRIL 2016 OPENING RECEPTION WEDNESDAY, 16 MARCH, 6 – 8PM Annka Kultys Gallery is pleased to present an exhibition of works by Dash Snow (1981-2009), marking the first solo exhibition of the American artist to be held in London. HELLO, THIS IS DASH is organized around a group of eight works completed between 2004 – 2008 which represent the breadth of range within Snow’s oeuvre, including examples of his photography, collage and assemblage sculpture. Snow’s art is visceral, spontaneous and often offensive. He started taking Polaroids when a teenager to record the countless parties and orgies that neither he nor his friends could remember, using his camera to document his life and those of his circle. While formally filled with images of sex, genitalia, violence and hard drugs, Snow’s photographs are also full of honesty, beauty and authenticity. His photography is therefore often aligned with that Nan Goldin and Larry Clark, earlier American photographers who pioneered the depiction of the intimate life. Snow was born into one of America’s great art collecting dynasties, the de Menils, a family responsible for some of the most acclaimed art installations in twentieth century contemporary art : the Rothko Chapel in Houston, Donald Judd’s MARTHA, TEXAS, Walter de MARIA’S LIGHTENING FIELD, as well as for founding their eponymous museum and the DIA Arts Foundation. Yet Snow’s upbringing was tumultuous, his rebellious nature straining not just family ties, but the patience of the authorities as he spent years in juvenile detention, and ended up living rough on the streets of New York. -
Rxart Installation with Dan Colen at St. Mary's Healthcare System For
For Immediate Release RxArt Installation with Dan Colen at St. Mary’s Healthcare System for Children New York, NY – RxArt, the nonprofit organization that produces contemporary art installations with extraordinary artists in pediatric hospital and healthcare facilities, is pleased to announce their project with Dan Colen at St. Mary’s Healthcare System for Children in Bayside, NY. Taking inspiration from Colen’s series of “confetti” paintings, his installation consists of vibrant, larger than life, hand-painted confetti, swirling across the walls and ceiling of the 2,500 square foot Activity Center at St. Mary’s. Colen’s confetti series works exist both as Mylar confetti adhered to canvas and as trompe l’oeil oil paintings. To achieve this effect for the RxArt project, Colen’s design for the space was brought to life by hand painting every falling piece of rainbow-colored and metallic confetti. “The beauty of this project, five years in the making, was finding a group of people who all were committed to finding a balance and engaging in all aspects of the project and its challenges with equal weight. The artistic vision and the idea of how it could function within the hospital environment were considered daily. This piece, which depicts confetti frozen in mid-air is about both the joy and the fragility of life; and it has found the perfect home at St Mary’s where the children will have the opportunity to interact with it on a daily basis. Throughout the planning and execution of this project I was fortunate to work with people both in and out of the medical community, and art world who were committed to seeing this through, and who like me believe art can play a role in healing.