DOCSLIB.ORG

Guide S3cover

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide S3cover Serra, Smith, Stockholder, Wilson Serra, Smith,Stockholder, Wilson Lin, P and Soloists visit: ic statestandards forallfeaturedlessonplans.T linkstospecif- andPerforming Arts. OnlineLesson Library providesconnectionsto thenationalstandardsandWeb Social Studies,and Visual The EducationStandards National andState Ar Subject Area Title Artists Subject Area Title Ar Subject Area T www.pbs.org/art Ritual &Commemoration Ar Subject Area Title Ar Subject Area T Ar Subject Area Title www.pbs.org/art Labor &Craftsmanship Artists Subject Area Title Artists Subject Area Title Artists Subject Area Title www.pbs.org/art Abstraction &Realism Smith, Suh,W Chin, Hamilton,Murray Hawkinson, Marshall,Rothenberg,Walker W Rothenberg, Sugimoto, Walker Ritchie, Puryear, Osorio, Pettibon, www.pbs.org/art map site library online lesson itle itle alker tists tists tists tists tists www T New Rituals Honoring HeroesandHistory Remaking My Converging Media Dictators, Collaborators,Managers, Looking atLikeness C ettibon, P Describing theReal raditional Crafts,ContemporaryIdeas artoon Commentary Antoni, Mann,Puryear Antoni, Nauman,Oro Bourgeois, Herring,Lin,Puryear, Hancock, Ritchie,Sikander Antoni, Applebroog,Barney Antin, Barney Antin, Hamilton,Hancock, Herrera,Marshall,Pettibon, Ford, Herrera,Murray, Ali, Antin,Ford, .pbs.org/art odiczko V Social Studies Language Arts Visual/Performing Social Studies Language Arts Visual/Performing Social Studies Language Arts 21 feiffer 21 21 isual/P 21 /education/abstraction /education/ritual /education/labor /education/onlinelessonlibrary.html ths 21 , Celmins,Herring, , Puryear er | , Smith,Wodiczko www forming .art zco , Sikander , Ritchie, 21 .org , Smith, , Cai, Art , Suh 21 educational materialshelpteachers addressnationalandstateeducationstandardsinLanguageArts, Hawkinson, Lin,Zittell Ar Subject Area Title Artists Subject Area Title Ar Subject Area T www.pbs.org/art &Systems Technology P Orozco, Pfeiffer, Ritchie,Zittel Pfeiffer, Orozco, Turrell Artists Subject Area Title Ar Subject Area Title Artists Subject Area Title www.pbs.org/art NaturalWorld The Artists Subject Area Title Artists Subject Area Title Artists Subject Area Title www.pbs.org/art Home &Displacement Oro Zittel Tuttle, Suh, Walker o downloadadditional informationabouthowAr itle feiffer tists tists tists zco, P New Tools, NewMaterials New Tools, Mediating Media S In theLandscape Landscape andPlace Ode toaView M Migrating Viewpoints Understanding Home ystems andStyles odel Homes Antoni, Barney Ali, Charles,Kilgallen,Kruger, Celmins, Gallagher Chin, Lin, Nauman, Orozco, Turrell Chin, Lin,Nauman,Orozco, Celmins, Chin,F Celmins, Horn,Mann,McElheney, Osorio,Ritchie,Suh, Kelley, O Marshall, Osorio,Suh,Zittel rozco, Osorio, Sikander, Osorio,Sikander, rozco, feiffer, Schorr, Turrell, Tuttle Turrell, Schorr, feiffer, V Social Studies Language Arts Visual/Performing Social Studies Language Arts Visual/Performing Social Studies Language Ar 21 21 isual/P 21 /education/naturalworld /education/technology /education/home , Chin,Hamilton, er ord, Mann,Schorr forming , Nauman, ts , Ar t2 www.pbs.org/art Spaces Public &Private Artists Subject Area T Artists Subject Area Title Ar Subject Area T www.pbs.org/art &Conflict War Artists Subject Area Title Artists Subject Area T Artists Subject Area Title W Walker, Wilson Walker, Hancock, Herrera,Kilgallen,Stockholder, Artists Subject Area Title Artists Subject Area Title Artists Subject Area Title www.pbs.org/art Individuals &Collectives 1, Inc. t itle itle itle 21 alker tists materials meetnational educationstandards Confronting Conflict onFilm War W PrivateInteriors Public Façades, T StoriesinthePublic Personal The Alter-EgoSavestheDay The Y Characters andCaricatures earbook Tribes andNomads earbook Tribes he F artime Voices Ali, Applebroog, Cai, Ford, Sikander, Ali, Applebroog,Cai,Ford, Wodiczko Mann,Schorr, Cai, Korot, Antin, Schorr Serra,Turrell Lin, Puryear, Wodiczko Schorr, Horn, Pfeiffer, Antoni, Atlas,Osorio,Schorr Antin, Barney, Hancock,Pettibon Antin, Barney, Suh Schorr, Ali, Antin,Charles,Gallagher, ace ofF Spring Street Visual/Performing Social Studies Language Arts V Social Studies Language Ar Visual/Performing Social Studies Language Arts 21 21 21 isual/P /education/individuals /education/public /education/war ame , Suh er Suite forming ts NY , NY Cover image credits: clockwise from top left: Mark Dion, Polar Bear and Toucans (From Amazonas to Svalbard), 1991. Stuffed toy polar bear, Sony Sports cassette player, cassette recorded in Venezuela—Amazonas territory, wash tub, tar, crate, and orange electric cord, 91 x 44 x 29½ inches. Courtesy Tanya Bonakdar Gallery, New York; Pierre Huyghe & Philippe Parreno, A Smile Without a Cat, 2002. Fireworks event, Miami Beach, Florida. From No Ghost Just a Shell, 1999—2003 © Pierre Huyghe courtesy Marian Goodman Gallery, Paris/New York; Laurie Simmons, The Music of Regret,2006. 35 mm film, 40 minutes. Directed by Laurie Simmons; Music, Michael Rohatyn; Camera, Ed Lachman ASC; with Meryl Streep, Adam Guettel, and the Alvin Ailey II Dancers. © Laurie Simmons. Courtesy the artist and Salon 94, New York; Lari Pittman, Untitled #8 (The Dining Room), detail, 2005. Cel vinyl, acrylic, and alkyd on gessoed canvas over panel, 86 x 102 inches. Photo by Douglas M. Parker Studio courtesy the artist and Regen Projects, Los Angeles, and Barbara Gladstone Gallery, New York. E E D D U U C C art:21 A A T T O O 4 R R S S ’ ’ G G U U I I D D E E T T O O T T H H E E F F O O U U R R T T H H S S E E A A S S O O N N Art:21 Series Credits get involved additional resources Executive Producer and Curator: Susan Sollins Associate Producer: Migs Wright Series Producer: Eve Moros Ortega Associate Curator: Wesley Miller www.art21.org Art21 Slide and Digital images Director of Education and Public Programs: Tana Hargest www.pbs.org/art21/education/teachingmaterials Education Consultant: Jessica Hamlin Teaching with Art21 In partnership with Davis Publications, Art21 Manager of Public Programs and Outreach: Kelly Shindler Senior Development Officer: Beth Allen The Teaching with Art21 toolkit is a broad-based produces slide and digital images based on the Development Coordinator: Katherine Payne introduction to contemporary art. This toolkit artists featured in the series. Images are available Production Manager: Nick Ravich explores the art and ideas of artists working today, individually or in complete sets by season. Production Coordinator: Amanda Donnan offering suggestions about how to bring discussions of contemporary art into the classroom and into the Art21 Companion Books Consulting Director (Protest and Paradox): Charles Atlas www.pbs.org/art21/series/products Consulting Director (Romance and Ecology): Catherine Tatge lives of students. Series Editors: Lizzie Donahue, Monte Matteotti, Mark Sutton, Art21’s richly illustrated companion books mirror Steven Wechsler Professional Development Workshops program themes, featuring essays by scholars and Educators’ Guide Design: Russell Hassell Art21’s self-directed Professional Development Educators’ Guide Editor: Mary Beth Brewer Art21 Executive Producer and Curator Susan Sollins Workshops encourage educators to develop Broadcast Design: Open, New York (Volume 1) and interviews with the artists (Volumes techniques for integrating the thought provoking 2, 3, and 4). Published by Harry N. Abrams, Art21 Art21 National Education Council content of the Art:21 series into their teaching. books are available where books are sold. Dale Allender, Associate Executive Director for the National Council of Designed to assist individuals and organizations Teachers of English, West Berkeley, CA; Catherine Richmond-Cullen, interested in hosting workshops, seminars, training Curriculum Specialist for the Scranton Public Schools, Scranton, PA; Dipti events, and institutes, the toolkits contain sugges- Desai, Ph.D, Director, Art Education Program, New York University, New York, NY; Joe Fusaro, Visual Arts Chair, Nyack Public Schools, Nyack, NY; tions for workshop content, as well as examples Barbara Gurr, Director of Visual Arts, New York City Department of of past programs. Education; David Henry, Director of Programs, Institute of Contemporary Art, Boston, MA; Jennifer Herman, Social Studies Teacher and Represen- Preview Screenings tative of the National Council of Social Studies, Westminster, MD; Jennie To initiate local screenings of Season 4, both Klein, Coordinator of Gifted Education, Barcroft School, Arlington, VA; Juliet Myers, Director of Education and Public Programs, SITE Santa Fe, nationwide and abroad, Art21 offers preview DVDs Santa Fe, NM; Susan Rotilie, Director of School/Tour/Family Programs, and a screening guide containing planning sugges- Walker Art Center, Minneapolis, MN; Mary Ann Stankiewicz, Ph.D., tions and publicity materials. Museums, schools, Professor of Art Education, Penn State University, University Park, PA; community-based organizations, and individuals are Carolyn Sutton, Director of Visual Arts, The Park School, Baltimore, MD encouraged to host preview events before the Fall 2007 premiere to inspire new audiences and alert Art21 New York City Education Council local communities about the broadcast. Dina Helal, Head of Curriculum and Online Learning, Whitney Museum of American Art, New York, NY; Sasha Kopelowitz, Visual Art Teacher, White Plains Public Schools, White Plains, NY; Li Sumpter, Manager of Thematic and Artist-based Screenings School and Youth Programs, New Museum of Contemporary Art, New To promote flexibility
Load more

Recommended publications
  • Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
    Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett.
    [Show full text]
  • Bustersimpson-Surveyor.Pdf
    BUSTER SIMPSON // SURVEYOR BUSTER SIMPSON // SURVEYOR FRYE ART MUSEUM 2013 EDITED BY SCOTT LAWRIMORE 6 Foreword 8 Acknowledgments Carol Yinghua Lu 10 A Letter to Buster Simpson Charles Mudede 14 Buster Simpson and a Philosophy of Urban Consciousness Scott Lawrimore 20 The Sky's the Limit 30 Selected Projects 86 Selected Art Master Plans and Proposals Buster Simpson and Scott Lawrimore 88 Rearview Mirror: A Conversation 100 Buster Simpson // Surveyor: Installation Views 118 List of Works 122 Artist Biography 132 Maps and Legends FOREWORD WOODMAN 1974 Seattle 6 In a letter to Buster Simpson published in this volume, renowned Chinese curator and critic Carol Yinghua Lu asks to what extent his practice is dependent on the ideological and social infrastructure of the city and the society in which he works. Her question from afar ruminates on a lack of similar practice in her own country: Is it because China lacks utopian visions associated with the hippie ethos of mid-twentieth-century America? Is it because a utilitarian mentality pervades the social and political context in China? Lu’s meditations on the nature of Buster Simpson’s artistic practice go to the heart of our understanding of his work. Is it utopian? Simpson would suggest it is not: his experience at Woodstock “made me realize that working in a more urban context might be more interesting than this utopian, return-to-nature idea” (p. 91). To understand the nature of Buster Simpson’s practice, we need to accompany him to the underbelly of the city where he has lived and worked for forty years.
    [Show full text]
  • Nature Information Re
    Press Contacts: Chelsey Saatkamp, WNET: [email protected], 212.560.4905 Gab Toriello, Grand Communications for WNET: [email protected], 917-312-2832 Press Materials: pbs.org/pressroom or thirteen.org/pressroom Nature’s Favorite Spy Cam Creatures Return, Delving Deeper into the Animal Kingdom to Capture Rarely Seen Behavior in Season 38 Finale Spy in the Wild 2 Travel the globe with more than 50 animatronic spy creatures in a new four-part miniseries, premiering Wednesdays, April 29 – May 20 at 8 p.m. on PBS Nature’s spies are back undercover. Their mission? To go deeper into the animal world than ever thought possible. From the hot and humid tropics to the freezing poles, the sequel to 2017’s popular Nature: Spy in the Wild miniseries places even more spy creatures in the middle of some of nature’s greatest events. Season 38 finale, Nature: Spy in the Wild 2, premieres nationwide Wednesdays, April 29 – May 20 at 8 p.m. on PBS (check local listings), pbs.org/spyinthewild and the PBS Video app. John Downer Productions created more than 50 realistic animatronic spy creatures for the new miniseries, including a gorilla, Komodo dragon, hummingbird, King penguin, Pygmy elephant, koala, quokka, seal and polar bear. Each spy creature looks like the animals they film and behaves like them too. Accepted by animal families, these robotic lookalikes can not only film from an intimate perspective but also interact with the animals, gaining revelatory insights into their worlds as they feed, breed and fight. The spy cams even go beyond the animal kingdom, using innovative camera technology that allows a spy turtle to lay robot eggs, a spy squirrel to gather robot nuts, monkeys to play with a spy snowball and more.
    [Show full text]
  • Discovering the Contemporary
    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
    [Show full text]
  • 201201-Kakm-Early Morning
    schedule available online: January 2012: Early Morning alaskapublic.org Midnight 12:301:00 1:30 2:00 2:303:00 3:30 4:00 4:30 Coldplay Frontline: Independent Lens: Washington Need To Sun 1/1 Live! Beale Street on New Year's Eve (start 11pm) The Undertaking These Amazing Shadows Week Know Masterpiece Classic: Great Performances: From Vienna: Live From Lincoln Center: Mon 1/2 Downton Abbey - Part 4 The New Year's Celebration 2012 Bernstein and Gershwin Martin Luther: Antiques Roadshow: Masterpiece Classic: Great Performances: Tue 1/3 Sky Island Driven to Defiance Tulsa, OK - Hour 1 Downton Abbey - Part 4 Hugh Laurie: Let Them Talk Frontline: Egypt's Golden Empire: Egypt's Golden Empire: Martin Luther: Antiques Roadshow: Wed 1/4 Opium Brides The Warrior Pharaohs Pharaohs Of The Sun Driven to Defiance Tulsa, OK - Hour 1 Nature: NOVA: NOVA: Egypt's Golden Empire: Egypt's Golden Empire: Thu 1/5 Birds of the Gods Deadliest Volcanoes Deadliest Earthquakes The Warrior Pharaohs Pharaohs Of The Sun Independent Lens: Frontline: NOVA: Nature: Fri 1/6 This Old House Hour Taking Root Opium Brides Deadliest Volcanoes Birds of the Gods Washington Need To Great Performances: Tavis Smiley Reports: Antiques Roadshow: Sat 1/7 This Old House Hour Week Know Celebrate Gershwin Dudamel Tulsa, OK - Hour 1 NOVA: Frontline: Independent Lens: Great Performances: Washington Need To Sun 1/8 Deadliest Volcanoes Opium Brides Taking Root Celebrate Gershwin Week Know Masterpiece Classic: Tavis Smiley Reports: Great Performances: Antiques Roadshow: Nature: Mon 1/9 Downton
    [Show full text]
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • Press Pierre Huyghe Purple Diary, 2011
    MARIAN GOODMAN GALLERY Pierre Huyghe By Oliver Zahm and Ari Marcopoulos (2011) Pierre Huyghe is one of the most important artists to emerge out of the French scene of the ’90s. Back then his agenda was to introduce the vocabulary of cinema — casting, acting, production, editing — into an art context. Combining public performance and video projections, Huyghe presents a multifaceted visual experience that creates an existential tension between reality and fiction. I met him in New York to talk about his film, The Host and the Cloud, his 20 years of experimenting with different art forms, and his collaborations with other artists. OLIVIER ZAHM — Here we are in New York City. What’s your history with this city, Pierre? pierre huyghe — I first came here in the early ’80s, when I was 21, for an exhibition with the Ripoulin Brothers at Tony Shafrazi’s gallery. Warhol was there. I was hanging around with Keith Haring. I met Jean Michel Basquiat. It was a pretty big deal, coming into the art world this way, through this door, but it wasn’t mine yet. OLIVIER ZAHM — You’re one of the few French artists of your generation who have moved across the Atlantic. What’s kept you in New York? PIERRE HUYGHE — In the beginning it was because I was invited to do shows here. I stayed because I love this city and I found the situation in France limiting. I’ve always liked the idea of being able to lose myself, and I could no longer do that in Paris, physically, intellectually, or emotionally.
    [Show full text]
  • ROBERT RYMAN Untitled 1963 Oil Paint on Stretched Sized Linen Canvas 27 1/2 × 27 3/8 Inches (69.9 × 69.5 Cm)
    FIRST FLOOR ROBERT RYMAN Untitled 1962 Oil and graphite on canvas 9 3/4 × 9 3/4 inches (24.8 × 24.8 cm) ROBERT RYMAN Untitled 1962 Oil on linen 12 1/2 × 12 3/4 inches (31.8 × 32.4 cm) ROBERT RYMAN Untitled #32 1963 Oil on linen 7 ⅝ × 7 3/4 inches (19.4 × 19.7 cm) ROBERT RYMAN Untitled 1963 Oil paint on stretched sized linen canvas 27 1/2 × 27 3/8 inches (69.9 × 69.5 cm) LEVY GORVY 909 MADISON AVENUE NEW YORK NY 10021 WWW.LEVYGORVY.COM +1 212 772 2004 Size: US Letter 8.5” x 11” Paper: 28# Crane’s Crest Fluorescent White Wove (Without Watermark) Engrave: Front 1/0 (PMS 423) +1.212.268.9201 Finish: Trim to final size FIRST FLOOR ROBERT RYMAN Untitled #1004 1960–61 Oil paint and gesso on unstretched sized linen canvas 15 1/2 × 14 1/2 inches (39.4 × 36.8 cm) ROBERT RYMAN Untitled 1958 Oil on canvas 43 × 43 inches (109.2 × 109.2 cm) San Francisco Museum of Modern Art, Purchase through a gift of Mimi and Peter Haas ROBERT RYMAN A painting of twelve strokes, measuring 11 1/4 × 11 1/4 signed at the bottom right corner 1961 Oil and gesso on linen canvas 14 × 14 × 1 1/2 inches (35.6 × 35.6 × 3.8 cm) San Francisco Museum of Modern Art Purchase through a gift of Mimi and Peter Haas ROBERT RYMAN Archive 1979 Oil on steel 13 1/2 × 11 7/8 × 1/2 inches (34.3 × 30.2 × 1.3 cm) San Francisco Museum of Modern Art Purchase through a gift of Mimi and Peter Haas LEVY GORVY 909 MADISON AVENUE NEW YORK NY 10021 WWW.LEVYGORVY.COM +1 212 772 2004 Size: US Letter 8.5” x 11” Paper: 28# Crane’s Crest Fluorescent White Wove (Without Watermark) Engrave: Front 1/0 (PMS 423) +1.212.268.9201 Finish: Trim to final size FIRST FLOOR ROBERT RYMAN Untitled Painting #13 1963 Oil on linen 22 × 22 inches (55.9 × 55.9 cm) ROBERT RYMAN Untitled 1962 Oil on linen 69 1/2 × 69 1/2 inches (176.5 × 176.5 cm) Whitney Museum of American Art, New York Gift of The American Contemporary Art Foundation, Inc., Leonard A.
    [Show full text]
  • Jeanmichel Basquiat: an Analysis of Nine Paintings
    Jean­Michel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary.
    [Show full text]
  • Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
    ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject.
    [Show full text]
  • Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in Partial Fulfillme
    Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Vanessa Mae Bateman, May 2013 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. ! Copyright Notice This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. You are free to: Share – To copy, distribute and transmit the written work. You are not free to: Share any images used in this work under copyright unless noted as belonging to the public domain. Under the following conditions: Attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial – You may not use those work for commercial purposes. Non-Derivative Works – You may not alter, transform, or build upon this work. With the understanding that: Waiver — Any of the above conditions can be waived if you get permission from the copyright holder. Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
    [Show full text]
  • 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
    [Show full text]