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Announcement
Announcement 56 articles, 2016-05-25 18:01 1 venice architecture biennale: antarctic pavilion the pavilion will showcase visuals that underline possibilities of new (0.01/1) forms of architecture, planning, thinking for the vast tundra. 2016-05-25 10:40 1KB www.designboom.com 2 Lee Kit: Hold your breath, dance slowly “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to (0.01/1) nook, you find yourself doing just that: holding your... 2016-05-25 12:13 836Bytes blogs.walkerart.org 3 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors highlighting the french creative's meticulously practical approach to artistic design, the 'LM1 silberstein' is serious watchmaking. seriously playful. 2016-05-25 16:01 8KB www.designboom.com 4 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-25 13:00 972Bytes blogs.walkerart.org 5 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-25 17:13 12KB rhizome.org 6 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. -
Kristine Stiles
Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN13: 9780226774510 (cloth) ISBN13: 9780226774534 (paper) ISBN13: 9780226304403 (ebook) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress CataloguinginPublication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 9780226774510 (cloth : alkaline paper) — ISBN 9780226774534 (paperback : alkaline paper) — ISBN 9780226304403 (ebook) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.481992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an Xman, dotman war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then redraw it in a different posmon... -
© 2020 Kaitlyn Wentz All Rights Reserved
© 2020 KAITLYN WENTZ ALL RIGHTS RESERVED ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION A Thesis PresenteD to The GraDuate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts KAITLYN WENTZ May, 2020 ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION Kaitlyn Wentz Thesis ApproveD: AccepteD: ______________________________ ___________________________ Advisor School Director James Slowiak Dr. Marc ReeD ______________________________ ___________________________ Committee Member Interim Dean of the College ArnolD Tunstall Dr. LinDa Subich ______________________________ ___________________________ Committee Member Acting Dean of the GraDuate Courtney Cable School Dr. Marnie SaunDers ___________________________ Date ii ABSTRACT In a time of constant threat to funDing, elimination of the National EnDowment, anD competition over resources, philanthropy in the arts anD culture sector is inDispensable to the vibrancy anD economic Development of a city’s core. The arts anD culture sector is consiDereD to take away from an economy’s financial resources. However, it is the exact opposite. It is a thriving sector that contributes to the economy by creating jobs, spenDing money at local businesses, anD bringing in cultural tourists. FreD BiDwell anD Rick Rogers have a long history of philanthropy in this sector, anD their DemonstrateD support has leD to efforts of revitalization, vibrancy, anD Dollars spent in the cities of Akron anD ClevelanD. This thesis explores the history, issues, and successes of the two cultural proDucers’ philanthropy efforts in the sector anD the impact that their support has brought to the Northeast Ohio region. iii TABLE OF CONTENTS CHAPTER I. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
The Art Show 2018 Press
DOWNLOAD HI-RES IMAGES AT: HTTP://BIT.LY/2EVIOWJ THE ART SHOW 2018 HIGHLIGHTS 303 GALLERY D8 ALTMAN SIEGEL D20 Mary Heilmann Liam Everett 303 Gallery presents a solo exhibition of Altman Siegel presents a solo booth of new works by Mary Heilmann, whose highly work by Liam Everett. Building on investiga- inventive approach to abstraction has tions explored in his 2017 solo exhibition at made her one of the foremost painters SFMOMA, Everett will present a suite of new of her generation. Recent paintings, glazed paintings that unfold interrelated systems and ceramics and an arrangement of furniture made interpretations of support. Everett’s installation by the artist appear alongside several examples will continue along these investigative threads: in these mediums from previous decades. By jux- the physical act of supporting a painting and taposing new works with historic ones, the exhibition the routine practice an artist undertakes daily, becomes a storyboard, charting the evolution of her as well as pedagogical rituals shaped through practice while allowing visitors to draw parallels across rehearsal. Focused on what he calls “systems time periods. Brightly colored chairs transform the booth of support,” Everett’s framed paintings—like into a social space akin to a living room or the artist’s studio, previous bodies of work—will implicate the floor, inviting viewers to relax and spend time in Heilmann’s world. wall and body, exposing the animate qualities of 1 3 the artworks and affirming his interest in investi- Mary Heilmann. Shadow Cup 2, 1985. Glazed ceramic, 21 ⁄4 × 24 × 1 ⁄4 in. © Mary Heilmann. -
The Electric Mirror: Reflecting on Video Art in the 1970S
Robyn Farrell The Electric Mirror: Reflecting on Video Art in the 1970s In 1978, artist and filmmaker Lynn to say that television was the sole The desire to experiment with the Hershman Leeson wrote that, “Much antecedent of video art, but rather electronic and visual capabilities of the urgency and inspiration of art a critical relative to the developing of television dates back to 1963 video emanates from various types of medium. Representing the first with Nam June Paik’s first televisual commercial television broadcasting.”1 generation that grew up with television, manipulation in The Exposition of Included in Gregory Battock’s the artists included in this program Electronic Music-Electronic Television critical anthology, New Artists Video, were keenly aware of a viewer’s social at Galerie Parnass in Wuppertal, West Hershman Leeson’s essay “Reflections and psychological experience while Germany. Paik’s motivation to utilize on the Electric Mirror” identified TV watching TV. Their collective works the monitor and screen as a means genres that influenced video artists, encompass the interests of this “TV to assault the image provided the and declared video as “a manifestation generation,” and at the same time, the aesthetic framework for practitioners of contemporary art.”2 She went on post-war, post-pop proclivities of a in the following decade. Works in to describe video as “the extracted changing art landscape that ranged this program operate in this vein, film of television,” and pointed to the from minimal representation and illustrating how one could change a relations between the nascent medium captured action, to technophilic inquiry viewer’s perception through video and television as inextricably linked, and appropriation. -
Jack Hanley Gallery
JACK HANLEY GALLERY Margaret Lee (b. 1980) lives and works in New York, NY Solo and Two Person Exhibitions 2018 Shouting in a Bucket Blues, The Green Gallery, Milwaukee, WI ...banana in your tailpipe, Marlborough Contemporary, London, UK 2017 ...banana in my tailpipe, Misako & Rosen Gallery, Tokyo, Japan 2016 It’s not that I’m not taking (this) seriously, Jack Hanley Gallery, New York, NY Having It Both Ways, The Window at Barneys, New York, NY Duddell’s x DMA: Concentrations HK: Margaret Lee, curated by Gabriel Ritter, Duddell’s, Hong Kong, China de, da, do...da, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA 2015 You Can Teach an Old Zebra New Tricks, Margaret Lee and Emily Sundblad, Hannah Hoff- man Gallery, Los Angeles, CA 2014 Reading into Things, Team Bungalow, Venice, CA Sometimes Maybe, The Green Gallery, Oak Park, Chicago, IL Closer to wrong than right/ closer to right than wrong, Jack Hanley Gallery, New York, NY 2013 Für die Kinder Düsseldorfs, with Emily Sundblad, Off Vendome, Dusseldorf, Germany 2012 MHML: Margaret Lee and Matthew Higgs, The Green Gallery East, Milwaukee, WI MLMH: Margaret Lee and Matthew Higgs, Murray Guy, New York, NY Waiting for ####, Jack Hanley Gallery, New York, NY Group Exhibitions 2020 For a Dreamer of Houses, Dallas Museum of Art, Dallas, TX 2017 Oomingmak, Capital Gallery, San Francisco, CA 30th Anniversary Exhibition Attics of My Life, Jack Hanley Gallery, New York, NY Sea Sick in Paradise, DEPART Foundation, Los Angeles, CA 2016 Her Crowd: New Art by Women from Our Neighbors’ -
SUZY LAKE Born in 1947 in Detroit, Michigan, United States Lives and Works in Toronto, Ontario, Canada
SUZY LAKE Born in 1947 in Detroit, Michigan, United States Lives and works in Toronto, Ontario, Canada EDUCATION 1978 MFA, Concordia University, Montreal, Quebec, Canada 1968 Wayne State University, Detroit, Michigan, United States Western Michigan University, Kalamazoo, Michigan, United States SELECTED SOLO EXHIBITIONS 2019 Game Theory, Georgia Scherman Projects, Toronto, Ontario, Canada 2018 Suzy Lake: Performing an Archive, curated by Srimoyee Mitra, Stamps Gallery, University of Michigan, Ann Arbor, Michigan, United States 2017 Suzy Lake: Scotiabank Photography Award, Ryerson Image Centre, Toronto, Ontario, Canada (catalogue) Performing an Archive, Art Gallery of Windsor, Windsor, Ontario, Canada Beauty and the Aging Body, curated by Yan Zhou, Lianzhou Foto Festival, Lianzhou, China 2016 Performing an Archive, McMaster Museum of Art, Hamilton, Ontario, Canada 2014 Introducing Suzy Lake, Art Gallery of Ontario, Toronto, Ontario, Canada (retrospective, publication) 2013 Suzy Lake, Mois de la Photo featured exhibition, Drone: The Automated Image, Darling Foundation, Montreal, Quebec, Canada (catalogue) 2012 So Whose Gaze Is It Now, Georgia Scherman Projects, Toronto, Ontario, Canada; Grande Prairie Museum, Grande Prairie, Alberta, Canada (2013) 2011 Political Poetics, University of Toronto Art Centre, Toronto, Ontario, Canada (touring exhibition): Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada; McIntosh Gallery, Western University, London, Ontario, Canada; Peterborough Art Gallery, Peterborough, Ontario, Canada; -
MANGAARD C.V 2019 (6Pg)
ANNETTE MANGAARD Film/Video/Installation/Photography Born: Lille Værløse, Denmark. Canadian Citizen Education: MFA, Gold Medal Award, OCAD University 2017 BIO Annette Mangaard is a Danish born Canadian media artist and filmmaker who has recently completed her Masters in Interdisciplinary Art, Media and Design. Her installation work has been shown around the world including: the Armoury Gallery, Olympic Site in Sydney Australia; Pearson International Airport, Toronto; South-on Sea, Liverpool and Manchester, UK; Universidad Nacional de Río Negro, Patagonia, Argentina; and Whitefish Lake, First Nations, Ontario. Mangaard has completed more then 16 films in more than a decade as an independent filmmaker. Her feature length experimental documentary on photographer Suzy Lake and the history of feminism screened as part of the INTRODUCING SUZY LAKE exhibition October 2014 through March 2015 at the Art Gallery of Ontario. Mangaard was nominated for a Gemini for Best Director of a Documentary for her one hour documentary, GENERAL IDEA: ART, AIDS, AND THE FIN DE SIECLE about the celebrated Canadian artists collective which premiered at Hot Doc’s in Toronto then went on to garner accolades around the world. Mangaard’s one hour documentary KINNGAIT: RIDING LIGHT INTO THE WORLD, about the changing face of the Inuit artists of Cape Dorset premiered at the Art Gallery of Ontario and was invited to Australia for a special screening celebrating Canada Day with the Canadian High Commission. Mangaard’s body of work was presented as a retrospective at the Palais de Glace, Buenos Aires, Argentina in 2009 and at the PAFID, Patagonia, Argentina in 2013. In 1990 Mangaard was invited to present solo screenings of her films at the Pacific Cinematheque in Vancouver, Canada and in 1991 at the Kino Arsenal Cinematheque in Berlin, West Germany. -
Painting in the 21St Century PR
Site:Brooklyn Gallery Hanae Kawai - Memory Recorder Painting in the 21st Century Juried by Stephen Henry Madoff Opening Reception: Friday, September 21st, 6–9PM September 21st – October 21st, 2018 165 7th Street, Brooklyn, New York Site:Brooklyn Gallery is pleased to present Painting in the 21st Century, an international open call for submission juried by Steven Henry Madoff. Did painting, as some have argued, reach a dead end with the culmination of abstraction in the late 20th century? If anything, the opposite seems to be true. Representation and abstraction, historically, were not, and are not, total opposites. Abstraction almost inevitably has representational qualities (as Jackson Pollock’s work demonstrates). To look at the issue from a different direction, abstracted guration was the hallmark of move- ments like Post-Impressionism. As much of this exhibition demonstrates, abstraction and representation are often vitally intertwined. This show seeks to illuminate some of these interactions and dilemmas, by showing a selection of contemporary painting, in all of its variety and in- ventiveness. While the work is from all across the world, with a number of styles and social commitments, nevertheless, the exhibition, has a feeling of cohesion and direction. What stands out most is the interplay between the effects of new media (especially social networks such as Instagram), the verities of brush and canvas, and the ever-present tensions between guration and abstraction. Speci cally, many of the works engage by giv- ing the viewer a feeling of abstraction anthropomorphized, touching on themes of trans-humanism and the future of the body as a unitary, stable, whole. -
Rui(N)Ation: Narratives of Art and Urban Revitalization in Detroit
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-19-2019 10:45 AM Rui(N)ation: Narratives of Art and Urban Revitalization in Detroit Jessica KS Cappuccitti The University of Western Ontario Supervisor Bassnett, Sarah The University of Western Ontario Graduate Program in Art and Visual Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Jessica KS Cappuccitti 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the African American Studies Commons, American Art and Architecture Commons, Art Practice Commons, Contemporary Art Commons, Interactive Arts Commons, Interdisciplinary Arts and Media Commons, Modern Art and Architecture Commons, Museum Studies Commons, Other American Studies Commons, and the Photography Commons Recommended Citation Cappuccitti, Jessica KS, "Rui(N)ation: Narratives of Art and Urban Revitalization in Detroit" (2019). Electronic Thesis and Dissertation Repository. 6511. https://ir.lib.uwo.ca/etd/6511 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation considers the City of Detroit as a case study for analyzing the complex role that artists and art institutions are playing in the potential re-growth and revitalization of the city. I specifically look at artists and arts organizations who are working against the popular narrative of Detroit as “ruin city.” Their efforts create counter narratives that emphasize stories of survival and showcase vibrant communities. -
Course Schedule Feminist
Art 305 Women in Art/ WGS 488 Senior Sem. Covid Dr. Christine Filippone Email: [email protected] (Please do not reply to emails I send you through D2L. I may not receive them.) T/Th. 2:25-3:40, W. 12:55-3:00 and 4:15-4:40 Advising link: https://millersville.zoom.us/j/3146969526 Link to Register for the course to receive your Zoom meeting link: Lectures: T/Th 305.01: 1:10-2:25: Zoom: https://millersville.zoom.us/meeting/register/tJcvcOmvrT8vH9KvqTrT6RT1_fnZ M8d-M2wl Lectures: T/Th 305.02: 3:40-4:55 p.m. Zoom: https://millersville.zoom.us/meeting/register/tJIucuugpjstE9Ttjfu2ujfGpJYL6Ir6r SAk Lecture Power Points are available on Desire2Learn. The syllabus, detailed description of the paper, and readings are also posted to Desire2Learn. *Every class is recorded Course Description This course will address the relationships between gender and the visual arts, with an emphasis on art and culture since World War II. This class explores the role of the visual in constructing ideas of “woman” and how women artists have addressed these constructions in their works and in their lives. Students will critically examine the ways Western culture has defined art and artists in gendered terms and will extend this study to contemporary art practice with attention to intersectionality and difference. Through weekly readings, class discussions, written assignments, and oral presentations, students will consider how gender is relevant to the creation and study of art and culture. Important to this course are the relationships between art and critical/literary theory, including feminism (obviously), Marxism, psychoanalysis, post-modernism, and theories of race and gender, all of which radically altered the perception as well as practice of art over the past century and a half.