Dan Flavin (1933-1996)
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CONTENTS May/June 2010
R A D I C A L P H I L O S O P H Y a journal of socialist and feminist philosophy 161 CONTENTS MAY/JUNE 2010 Editorial collective COMMentARY Claudia Aradau, Matthew Charles, The Myth of Preparedness David Cunningham, Howard Feather, Peter Hallward, Esther Leslie, Stewart Claudia Aradau................................................................................................ 2 Martin, Mark Neocleous, Peter Osborne, Stella Sandford, Chris Wilbert ArtICLes Contributors Claudia Aradau is Lecturer in International What is – or What is Not – Contemporary French Philosophy, Today? Studies at the Open University and author of Éric Alliez ......................................................................................................... 9 Rethinking Trafficking in Women: Politics Out of Security (Palgrave, 2008). Reading Schmitt Geopolitically: Nomos, Territory and Großraum Éric Alliez is Professor of Contemporary Stuart Elden .................................................................................................. 18 French Philosophy in the Centre for Research in Modern European Philosophy, Middlesex Marx’s Eurocentrism: Postcolonial Studies and Marx Scholarship University. ‘Body without Image’, his piece on Kolja Lindner ................................................................................................. 27 Ernesto Neto’s Leviathan Toth, appeared in RP 156 (July/August 2009). Stuart Elden is a Professor of Political COMMenT Geography at Durham University. His most recent book is Terror and Territory: The Spatial -
(Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice. -
Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
Julia SVETLICHNAJA.Pdf
WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch Artistic practices & democratic politics: towards the markers of uncertainty from counter-hegemonic positions to plural hegemonies Julia Svetlichnaja School of Social Sciences, Humanities and Languages This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2011. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Artistic Practices & Democratic Politics: Towards the Markers of Uncertainty From Counter-Hegemonic Positions to Plural Hegemonies A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy Julia Svetlichnaja May 2011 2 Contents Abstract -
Untitled (To Dorothy and Roy Lichtenstein on Not Seeing Anyone in the Room), 1968
THE EMPTY ROOM AND THE END OF MAN THE EMPTY ROOM AND THE END OF MAN Robert Slifkin The Empty Room and the End of Man It is indeed impossible to imagine our own death; and whenever we attempt to do so we can perceive that we are in fact still present as spectators. Sigmund Freud, 1915 1 The spotless gallery wall . is a perfect surface off which to bounce our paranoias. Brian O’Doherty, 1976 2 “I can see the whole room! . And there’s nobody in it!” These words, borrowed from a dime-store detective comic book, where they float above the head of a man gazing out of a peephole, become in the 1961 painting of the same title by Roy Lichtenstein (1923–1997) a potent allegory of the ideal conditions for aesthetic experience in the postwar era (fig. 1). By imagining the elimination of any beholders in front of the canvas, Lichtenstein’s painting slyly parodies the modernist 1 principle of a disembodied and disinterested mode of spectatorship in Roy Lichtenstein, I Can See the Whole which the subjective contingencies of personal experience in no way Room and There’s influence the work’s ultimate significance. Beyond its engagement Nobody in It, 1961. with the legacy of the monochrome and color field painting, the work Oil and graphite on presents a decidedly forward looking vision of the seemingly depopu- canvas, 48 × 48 in. (121.92 × 121.92 cm). lated spaces that would serve in the ensuing decades as the privileged Private collection. sites for experiencing and understanding the avowedly 158 Robert Slifkin The Empty Room and the End of Man 159 Pictorialism as Theory 2 Dan Flavin, untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968. -
Liz Deschenes
MIGUEL ABREU GALLERY LIZ DESCHENES Born in Boston, MA, 1966 Lives and works in New York EDUCATION 1988 Rhode Island School of Design B.F.A. Photography, Providence, RI SOLO EXHIBITIONS 2016 Campoli Presti, Paris, France Institute of Contemporary Art, Boston, MA 2015 Gallery 4.1.1, MASS MoCA, North Adams, MA 2014 Gallery 7, Walker Art Center, Minneapolis, MN Stereographs #1-4 (Rise / Fall), Miguel Abreu Gallery, New York 2013 Bracket (Paris), Campoli Presti, Paris, France Bracket (London), Campoli Presti, London, UK 2012 Secession, Vienna, Austria 2010 Shift / Rise, Sutton Lane, Brussels, Belgium 2009 Right / Left, Sutton Lane, Paris, France Chromatic Aberration (Red Screen, Green Screen, Blue Screen - a series of photographs from 2001 - 2008), Sutton Lane, London, UK Tilt / Swing, Miguel Abreu Gallery, New York 2007 Photographs, Sutton Lane, London, UK Registration, Miguel Abreu Gallery, New York 2001 Blue Screen Process, Andrew Kreps Gallery, New York 1999 Below Sea Level, Andrew Kreps Gallery, New York 1997 Beppu, Bronwyn Keenan Gallery, New York 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com SELECTED GROUP & TWO-PERSON EXHIBITIONS 2017 Sol Lewitt & Liz Deschenes, Fraenkel Gallery, San Fransisco, CA PhotoPlay: Lucid Objects, Paris Photo, Grand Palais, Paris, France The Coffins of Paa Joe and the Pursuit of Happiness, The School | Jack Shainman Gallery, Kinderhook, NY Paper as Object, curated by Richard Tinkler, Albert Merola Gallery, -
Oral History Interview with Richard Bellamy, 1963
Oral history interview with Richard Bellamy, 1963 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview B: BAKER RB: RICHARD BELLAMY B: I'm about to interview several individuals concerning the Hansa Gallery, which formerly existed in New York City and has for some years been closed. The first individual I'm going to speak to about it is Richard Bellamy, now the director of the Green Gallery. Mr. Bellamy was not associated with the very first days of the Hansa, however, so I'm going to read first, two statements about the origins of the Hansa as a general introduction. One of them is adapted from the Art Student League's News of December 1961. In December 1951 quote, ASix unknown artists all quite young held a joint exhibition of their works in a loft studio at 813 Broadway. The artists were Lester Johnson, Wolf Kahn, John Grillo, Felix Pasilis, Jan Muller and Miles Forst. A813 Broadway@, as this joint cooperation venture was called on a woodcut announcement made by Wolf Kahn, was visited by about 300 artists and two art critics, Thomas B. Hess of Art News and Paul Brach of the Arts Digest. The show led to the founding of the best of the downtown cooperative galleries, the Hansa Gallery. 813 Broadway announced a new interest in figurative painting by a group which had drunk deep at the Pirean springs of abstract expressionism.@ In Dody Muller's account of her husband, Jan's life prefacing the catalogue on Jan Muller, prepared by the Guggenheim Museum for the January, February 1962 exhibition of his works, the statement is made, quote, AIn a sense the 813 Broadway exhibition contained the rudiments of the Hansa Gallery, which was to form on East Twelfth Street and which opened in the autumn of 1952. -
Dan Flavin Was Born in 1933 in New York City, Where He Later Studied Art History at the New School for Social Research and Columbia University
DAN FLAVIN Dan Flavin was born in 1933 in New York City, where he later studied art history at the New School for Social Research and Columbia University. His first solo show was at the Judson Gallery, New York, in 1961. Flavin made his first work with electric light that same year, and he began using commercial fluorescent tubes in 1963. Fluorescent light was commercially available and its defined systems of standard sized tubes and colors defied the very tenets of Abstract Expressionism and Pop Art, from which the artist sought to break free. In opposition to the gestural and hand-crafted, these impersonal prefabricated industrial objects offered, what Donald Judd described as “…a means new to art.”1 Seizing the anonymity of the fluorescent tube, Flavin employed it as a simple and direct means to implement a whole new artistic language of his own. He worked within this self-imposed reductivist framework for the rest of his career, endlessly experimenting with serial and systematic compositions to wed formal relationships of luminous light, color, and sculptural space. Vito Schnabel Gallery presented Dan Flavin, to Lucie Rie and Hans Coper, master potters in St. Moritz from December 19, 2017 — February 4, 2018. The exhibition featured nine light pieces from the series dedicated to Rie, nine works from his series dedicated to Coper, and a selection of ceramics by Rie and Coper from Flavin’s personal collection. Major solo exhibitions of Flavin’s work have been presented at the National Gallery of Canada, Ottawa; Staatliche Kunsthalle, Baden- Baden; St. Louis Art Museum, Missouri; Morgan Library and Museum, New York; and Dan Flavin: A Retrospective, an international touring exhibition that included the National Gallery of Art, Washington, D.C.; Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; the Musée d’Art Moderne de la Ville de Paris; Los Angeles County Museum of Art; and Pinakothek der Moderne, Munich. -
Exibart 78 / 3
78 bimestrale - Sped. in A.P. 45% art. 2. c. 20 let. B - l. 662/96 Firenze Copia euro 0,0001 bimestrale - Sped. in A.P. FREE Ma New York Gli esami non Vivere in un museo ANNO UNDICESIMO funziona ancora? finiscono mai Quattro artisti sono in NUMERO SETTANTOTTO La Grande Mela va avanti. Corsi e master d’arte residenza al Macro. Siamo Almeno nell’arte, nascono contemporanea nascono entrati nei loro studi APRILE/MAGGIO nuovi spazi e nuove aree ovunque. Ma l’arte si impara per raccogliere le prime DUEMILADODICI creative. Anche se non davvero? E quanto costa impressioni su questa nuova sempre di qualità. Ma artisti studiarla? Per farci che cosa esperienza. A caldo, e con un WWW.EXIBART.COM e curatori continuano a poi? Viaggio-inchiesta nella po’ di sorprese. Ma anche per sceglierla. Abbiamo provato formazione più ricercata del capire come cambia il museo a capire perché. Parlando nuovo millennio direttamente con loro Ripensare la cultura Giovani artisti italiani Qual è la differenza tra Dante Mercato in ripresa C’è qualcosa che li e una salsiccia? Uno non si Quali sono le novità e gli differenzia dagli altri, una mangia e l’altra sì. artisti che tirano? Occhio specificità, un dna visivo? Tutto qui? Mentre a parlare alle ultime aste, ma anche E quanto guardano al di cultura sono sempre i ai nuovi investitori che passato? Opinioni a soliti noti. All’appello manca stanno cambiando la scena confronto, tra critici e chi qualcuno commerciale l’arte la fa direttamente EXIBART 78 / 3 EDITORIALE di Adriana Polveroni a vi pare possibi- vita pubblica. -
JEFF KOONS Jeff Koons: the Sculptor
JEFF KOONS Jeff Koons: The Sculptor. Liebieghaus Skulpturensammlung, Frankfurt, Germany Née/Born – 1955, York, PA, USA Jeff Koons. Fondation Beyeler, Basel, Switzerland Vit et travaille/Lives and works – New York, NY, USA 2011 Moustache by Jeff Koons. High Museum of Art, Atlanta, GA, USA EDUCATION ARTIST ROOMS: Jeff Koons. National Galleries of Scotland, Edinburgh, UK 1976 BFA, Maryland Institute College of Art, 2010 Jeff Koons: Popeye Sculpture. Galerie de Noirmont, Baltimore, MD, USA Paris, France 1975-76 School of the Art Institute of Chicago, IL, USA Dictator. Gagosian Gallery, New York, NY, USA 1972-75 Maryland Institute College of Art, Baltimore, Jeff Koons: Cracked Egg (Blue). Conservatory, MD, USA Aylesbury, Waddesdon Manor, Buckinghamshire, UK EXPOSITION INDVIDUELLES SÉLECTIONNÉES 2009 Jeff Koons: New Paintings. Gagosian Gallery, Beverly SELECTED SOLO EXHIBITIONS Hills, CA, USA Jeff Koons: Popeye Series. Serpentine Gallery, London, 2017 Jeff Koons. Gagosian, Beverly Hills, CA, USA UK 2016 Jeff Koons. Almine Rech Gallery, London, UK 2008 Jeff Koons: Celebration. Neue Nationalgalerie, Berlin, Jeff Koons: Now. Newport Street Gallery, Germany London, UK Jeff Koons. Galerie Max Hetzler, Berlin, Germany 2015 Jeff Koons: Gazing Ball Paintings. Gagosian Gallery, Jeff Koons: Versailles. Château de Versailles, France New York, NY, USA Jeff Koons. Museum of Contemporary Art, Chicago, Jeff Koons: Balloon Venus (Orange). Natural History IL, USA Museum Vienna, Vienna, Austria Jeff Koons: On the Roof. Metropolitan Museum of Art, Jeff Koons In Florence. Palazzo Vecchio and Piazza New York, NY, USA della Signoria, Florence, Italy 2007 Jeff Koons: Popeye. Gagosian Gallery - Davies Street, Jeff Koons: A Retrospective. Guggenheim Museum London, UK Bilbao, Bilbao, Spain Jeff Koons: Hulk Elvis. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.