Louise Lawler
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The Kids Are Always Right Helen Molesworth on the Reinstallation of Moma’S Permanent Collection
TABLE OF CONTENTS PRINT JANUARY 2020 THE KIDS ARE ALWAYS RIGHT HELEN MOLESWORTH ON THE REINSTALLATION OF MOMA’S PERMANENT COLLECTION View of “Hardware/Software,” 2019–, Museum of Modern Art, New York. Foreground, from left: Joan Semmel, Night Light, 1978; Maren Hassinger, Leaning, 1980; Senga Nengudi, R.S.V.P. I, 1977/2003. Background: Cady Noland, Tanya as Bandit, 1989. Photo: John Wronn. THE VIBE started to trickle out via Instagram. For a few days, my feed was inundated with pictures of all the cool new shit on view at the Museum of Modern Art, New York. You could smell victory in the air: The artists were happy. Then the New York Times weighed in and touched the wide shoulders of the new, bigger-is-better MoMA with their magic wand. Could it be? Had MoMA, the perennial whipping boy of art historians, radical artists, and cranky art critics, gotten it right? And by right, at this moment, we mean that the collection has been installed with an eye toward inclusivity—of medium, of gender, of nationality, of ethnicity—and that modernism is no longer portrayed as a single, triumphant narrative, but rather as a network of contemporaneous and uneven developments. Right means that the curatorial efforts to dig deep into MoMA’s astounding holdings looked past the iconic and familiar (read: largely white and male). Right means that the culture wars, somehow, paid off. Right means that MoMA has finally absorbed the critiques of the past three decades—from the critical tear-down of former chief curator of painting and sculpture Kirk Varnedoe’s 1990 show “High and Low: Modern Art and Popular Culture” to the revisionist aspirations of former chief curator of drawings Connie Butler’s “Modern Women” project (2005–). -
Penelope Umbrico's Suns Sunsets from Flickr
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs. -
9780230341449 Copyrighted Material – 9780230341449
Copyrighted material – 9780230341449 THE (MOVING) PICTURES GENERATION Copyright © Vera Dika, 2012. All rights reserved. First published in 2012 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the World, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–0–230–34144–9 Library of Congress Cataloging-in-Publication Data Dika, Vera, 1951– The (moving) pictures generation : the cinematic impulse in downtown New York art and film / Vera Dika. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 978–0–230–34144–9 1. Art and motion pictures—New York (State)—New York— History—20th century. 2. Art, American—New York (State)— New York—20th century. 3. Experimental films—New York (State)—New York—History—20th century. I. Title. N72.M6D55 2012 709.0407—dc23 2011039301 A catalogue record of the book is available from the British Library. Design by Integra Software Services First edition: April 2012 10987654321 Printed in the United States of America. Copyrighted material – 9780230341449 Copyrighted material – 9780230341449 Contents -
An Exhibition of Conceptual Art
THE MUSEUM OF ME (MoMe) An Exhibition of Conceptual Art by Heidi Ellis Overhill A thesis exhibition presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Fine Arts in Studio Art East Campus Hall Gallery of the University of Waterloo April 13 to April 24, 2009 Waterloo, Ontario, Canada, 2009. ©Heidi Overhill 2009 i Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-54870-7 Our file Notre référence ISBN: 978-0-494-54870-7 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Robert Longo
ROBERT LONGO Born in 1953 in Brooklyn, New York Lives in New York, New York EDUCATION 1975 BFA State University College, Buffalo, New York SELECTED ONE-PERSON EXHIBITIONS 2021 A House Divided, Guild Hall, East Hampton, New York 2020 Storm of Hope, Jeffrey Deitch, Los Angeles 2019 Amerika, Metro Pictures, New York Fugitive Images, Metro Pictures, New York When Heaven and Hell Change Places, Hall Art Foundation | Schloss Derneburg Museum, Germany 2018 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Deichtorhallen Hamburg Them and Us, Metro Pictures, New York Everything Falls Apart, Capitan Petzel, Berlin 2017 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Brooklyn Museum (cat.) Sara Hilden Art Museum, Tampere, Finland (cat.) The Destroyer Cycle, Metro Pictures, New York Let the Frame of Things Disjoint, Thaddaeus Ropac, London (cat.) 2016 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Garage Museum of Contemporary Art, Moscow (cat.) Luminous Discontent, Galerie Thaddaeus Ropac, Paris (cat.) 2015 ‘The Intervention of Zero (After Malevich),’ 1991, Galerie Hans Mayer, Düsseldorf 2014 Gang of Cosmos, Metro Pictures, New York (cat.) Strike the Sun, Petzel Gallery, New York 2013 The Capitol Project, Aldrich Contemporary Art Museum, Ridgefield, Connecticut Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg, Austria 2012 Stand, Capitain Petzel, Berlin (cat.) Men in the Cities: Fifteen Photographs 1980/2012, Schirmer/Mosel Showroom, Munich 2011 God Machines, Galerie Thaddaeus Ropac, Paris (cat.) Mysterious Heart Galería -
RICHARD PRINCE ALL AMERICAN IDOL to Be Offered in the POST-WAR & CONTEMPORARY ART - EVENING AUCTION Christie’S London, 8 King Street 14 October 2011
For Immediate Release 26 September 2011 Contact: Cristiano De Lorenzo tel. +44 7500 815 344 [email protected] RICHARD PRINCE ALL AMERICAN IDOL To Be Offered In The POST-WAR & CONTEMPORARY ART - EVENING AUCTION Christie’s London, 8 King Street 14 October 2011 London - Four outstanding works by Richard Prince (B. 1949) will be offered at Christie's London on 14 October, forming highlights of the Post-War & Contemporary Art evening auction. Spanning the course of the artist’s rich career they include Untitled (Fashion) (1983-1984), Untitled (Cowboy) (1999), Nurse Forrester’s Secret (2002-2003) and Untitled (de Kooning) (2007). Dina Amin, Head of the Sale; Director of Post War and Contemporary Art, Christie's London: ‚In October we are delighted to unite two masterpieces from the course of Richard Prince’s rich career including the iconic photograph, Untitled (Cowboy) (1999) and the painterly Nurse Forrester’s Secret (2002-2003.) Richard Prince is a master of Appropriation art. One of the first of a group of artists emerging in the 1970s including Cindy Sherman and Louise Lawler, who came to be known as the ‘pictures generation’, he has transformed some of the most enduring and iconic popular images in America. Fundamentally challenging notions of authorship, ownership and aura, he has radically reinvented the work of art, creating his own unique signature.‛ A key highlight of the Prince section is the large scale, dramatically executed Untitled (Cowboy), presenting a denim-clad lonesome American ranger (illustrated above right.) Created in 1999, this is a magnificent example of Richard Prince’s most celebrated series, exploring the American idol ‘par excellence’: the cowboy. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
Louise Lawler
Louise Lawler Louise Lawler was born in 1947 in Bronxville, New York. Lawler received her Birdcalls, 1972/1981 VITO ACCONCI audio recording and text, 7:01 minutes BFA in art from Cornell University, New York, in 1969, and moved to New York CARL ANDRE LeWitt Collection, Chester, CT City in 1970. Lawler held her first gallery show at Metro Pictures, New York, in RICHARD ARTSCHWAGER 1982. Soon after, Lawler gained international recognition for her photographic JOHN BALDESSARI ROBERT BARRY and installation-based projects. Her work has been featured in numerous interna- JOSEPH BEUYS tional exhibitions, including Documenta 12, Kassel, Germany (2007); the Whitney DANIEL BUREN Biennial, New York (1991, 2000, and 2008); and the Triennale di Milano (1999). SANDRO CHIA Solo exhibitions of her work have been organized at Portikus, Frankfurt (2003); FRANCESCO CLEMENTE the Museum für Gegenwartskunst, Basel, Switzerland (2004); the Wexner Center ENZO CUCCHI for the Arts, Ohio (2006); and Museum Ludwig, Germany (2013). In 2005, the GILBERT & GEORGE solo exhibition In and Out of Place: Louise Lawler and Andy Warhol was presented DAN GRAHAM at Dia:Beacon, which comprised a selection of photographs taken by Lawler, all HANS HAACKE of which include works by Warhol. She lives and works in New York City. NEIL JENNEY DONALD JUDD ANSELM KIEFER JOSEPH KOSUTH SOL LEWITT RICHARD LONG GORDON MATTA-CLARK MARIO MERZ SIGMAR POLKE GERHARD RICHTER ED RUSCHA JULIAN SCHNABEL CY TWOMBLY ANDY WARHOL LAWRENCE WEINER Louise Lawler Since the early 1970s, Louise Lawler has created works that expose the In 1981, Lawler decided to make an audiotape recording of her reading the economic and social conditions that affect the reception of art. -
Tate Papers Issue 12 2009: Lucy R. Lippard
Tate Papers Issue 12 2009: Lucy R. Lippard http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/lippa... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue Curating by Numbers Lucy R. Lippard Cultural amnesia – imposed less by memory loss than by deliberate political strategy – has drawn a curtain over much important curatorial work done in the past four decades. As this amnesia has been particularly prevalent in the fields of feminism and oppositional art, it is heartening to see young scholars addressing the history of exhibitions and hopefully resurrecting some of its more marginalised events. I have never become a proper curator. Most of the fifty or so shows I have curated since 1966 have been small, not terribly ‘professional’, and often held in unconventional venues, ranging from store windows, the streets, union halls, demonstrations, an old jail, libraries, community centres, and schools … plus a few in museums. I have no curating methodology nor any training in museology, except for working at the Library of the Museum of Modern Art, New York, for a couple of years when I was just out of college. But that experience – the only real job I have ever had – probably prepared me well for the archival, informational aspect of conceptual art. I shall concentrate here on the first few exhibitions I organised in the 1960s and early 1970s, especially those with numbers as their titles. To begin with, my modus operandi contradicted, or simply ignored, the connoisseurship that is conventionally understood to be at the heart of curating. I have always preferred the inclusive to the exclusive, and both conceptual art and feminism satisfied an ongoing desire for the open-ended. -
Rhizome Seven Online Exhibitions Capitain Petzel Berlin
Rhizome seven online exhibitions 6/7 Pictures Generation May 7–14, 2020 Capitain Petzel Berlin Node 6/7 Pictures Generation The second to last node of the Capitain Petzel Rhizome series brings together a selection of works by artists afliated with the legendary Pictures Generation. Influenced by Conceptual and Pop Art of the 1970s, the Pictures Generation artists worked with appropriation and montage to reveal the constructed nature of images. By experimenting with a variety of media, including photography, film, video and performance, their practices exposed recurring tropes and stereotypes in popular visual culture and demonstrated that the meaning of a work is dependent on its historical and social circumstances. The Pictures Generation’s frequent reworking of known imagery would contest notions of individuality and authorship, making the movement an influential part of postmodernism. The defining moment of the movement came in 1977 with the exhibition Pictures at Artist Space in New York, curated by Douglas Crimp. In the accompanying essay, Crimp described the participants of the exhibition as “a group of younger artists [that] sees representation as an inescapable part of our ability to grasp the world around us”. The 1977 show included works by Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo and Philip Smith. In this Rhizome, Brauntuch and Longo are present, as well as Barbara Bloom, Matt Mullican and Rhys Chatham who also became afliated with the visionary movement. In 2009, The Metropolitan Museum of Art (New York) held The Pictures Generation, 1974–1984, a seminal exhibition which focused exclusively on this group of artists, afrming the long-standing relevance of their visions in the art world. -
David Zwirner Is Pleased to Present an Exhibition of New Works by Sherrie Levine, on View at 537 West 20Th Street in New York
David Zwirner is pleased to present an exhibition of new works by Sherrie Levine, on view at 537 West 20th Street in New York. This will be the gallery’s first exhibition with the artist since she joined in 2015. Levine’s work engages many of the core tenets of postmodern art, challenging notions of originality, authenticity, and identity. Since the late 1970s, she has created a singular and complex oeuvre using a variety of media, including photography, painting, and sculpture. Many of her works are explicitly appropriated from the modernist canon, while others are more general in their references, assimilating art historical interests and concerns rather than specific objects. Deeply interested in the process of artistic creation and in the contested notion of progress within art history, her work forthrightly acknowledges its existence as the product of what precedes it. The exhibition debuts an installation in which groups of monochrome paintings on mahogany are paired with refrigerators. The color of each painting derives from the nudes by Impressionist artist Auguste Renoir, and revisits a technique Levine first employed in 1989 with her Meltdown series of woodcut prints, where an averaging algorithm was used to create a checkerboard composition based on modernist artists’ iconic paintings. In a comment on the new installation, the artist notes: “The World of Interiors is my favorite shelter magazine. Often, there is a SMEG advertisement. SMEG is an Italian company that manufactures refrigerators in a retro style and saccharine colors. I thought it would be interesting to pair them with some monochrome paintings of mine, After Renoir Nudes, which are in fleshy shades.