28 Space, Place and Site in Critical Spatial Arts Practice1 Jane Rendell
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Teachers' Notes – 'Michael Landy: Saints Alive'
Michael Landy as St Jerome, 2012. © Michael Landy, courtesy of the Thomas Dane Gallery, London. Photo: The National Gallery, London. London. Photo: The National Gallery, courtesy of the Thomas Dane Gallery, 2012. © Michael Landy, Michael Landy as St Jerome, MICHAEL LANDY SAINTS ALIVE An introduction for teachers and students SAINTS ALIVE This exhibition consists of seven kinetic sculptures that are operated by visitors. The sculptures represent figures and stories of popular saints taken from the history of art. They are made from cast representations of details taken from National Gallery paintings, which have been combined with assemblages of recycled machinery, broken children’s toys and other unwanted junk. In the foyer to the exhibition, a selection of related drawings and collages is displayed. The collages are made from fragments cut out from reproductions of paintings in the collection. THE ROOTSTEIN HOPKINS ASSOCIATE ARTIST SCHEME The National Gallery is a historical collection that ends with work by Cézanne and the Post-Impressionists. At the time of the Gallery’s foundation in 1824, one of the stated aims was that it should provide a resource from which contemporary artists could learn and gain inspiration. Taking its cue from this idea, the Associate Artist Scheme began in 1989 with the appointment of Paula Rego. The essential requirement for the Associate Artist is that he or she makes new work by engaging with, and responding to the collection or some aspect of the collection. The artist is given a studio in the Gallery for a period of around two years. Michael Landy is the ninth artist to be invited to undertake this project. -
September/October 2016 Volume 15, Number 5 Inside
SEPTEMBER/OCTOBER 2016 VOLUME 15, NUMBER 5 INSI DE Chengdu Performance Art, 2012–2016 Interview with Raqs Media Collective on the 2016 Shanghai Biennale Artist Features: Cui Xiuwen, Qu Fengguo, Ying Yefu, Zhou Yilun Buried Alive: Chapter 1 US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 15, NUMBER 5, SEPTEMBER/OCTOBER 2016 C ONT ENT S 23 2 Editor’s Note 4 Contributors 6 Chengdu Performance Art, 2012–2016 Sophia Kidd 23 Qu Fengguo: Temporal Configurations Julie Chun 36 36 Cui Xiuwen Patricia Eichenbaum Karetzky 48 Propositioning the World: Raqs Media Collective and the Shanghai Biennale Maya Kóvskaya 59 The Good, the Bad, and the Ugly Danielle Shang 48 67 Art Labor and Ying Yefu: Between the Amateur and the Professional Jacob August Dreyer 72 Buried Alive: Chapter 1 (to be continued) Lu Huanzhi 91 Chinese Name Index 59 Cover: Zhang Yu, One Man's Walden Pond with Tire, 2014, 67 performance, one day, Lijiang. Courtesy of the artist. We thank JNBY Art Projects, Chen Ping, David Chau, Kevin Daniels, Qiqi Hong, Sabrina Xu, David Yue, Andy Sylvester, Farid Rohani, Ernest Lang, D3E Art Limited, Stephanie Holmquist, and Mark Allison for their generous contribution to the publication and distribution of Yishu. 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu Performance art has a strong legacy in FOUNDING EDITOR Ken Lum southwest China, particularly in the city EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian of Chengdu. Sophia Kidd, who previously EDITORS Julie Grundvig contributed two texts on performance art in this Kate Steinmann Chunyee Li region (Yishu 44, Yishu 55), updates us on an EDITORS (CHINESE VERSION) Yu Hsiao Hwei Chen Ping art medium that has shifted emphasis over the Guo Yanlong years but continues to maintain its presence CIRCULATION MANAGER Larisa Broyde WEB SITE EDITOR Chunyee Li and has been welcomed by a new generation ADVERTISING Sen Wong of artists. -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
Steve Mcqueen in Conversation with Artangel | April 2020
Press Release 29 April 2020 STEVE MCQUEEN IN CONVERSATION WITH ARTANGEL Monday 4 May, 7pm BST / 8pm CEST / 2pm EST ArtanGel.orG.uk Oscar-winning filmmaker and Turner Prize winning artist Steve McQueen will be joined by Artangel Co-Director James Lingwood on Monday 4 May for a live online conversation to discuss the artist’s work with Artangel spanning two decades. Steve McQueen first collaborated with Artangel on Caribs’ Leap / Western Deep, an immersive cinematic installation which premiered at Documenta X and in an underground space in London in 2002. In 2016, McQueen installed a new sculpture, Weight, in a cell in Reading Prison as part of Artangel’s acclaimed project, Inside. Most recently McQueen collaborated with Artangel, Tate and A New Direction for the epic project Year 3, resulting in one of the most ambitious visual portraits of citizenship ever undertaken in one of the world’s largest and most diverse cities. Viewers can join the event live from 7pm BST on Monday 4 May via the Artangel website and are encouraged to post questions following the conversation using the hashtag #ArtangelIsOpen on Twitter or Facebook. A link to join the event will be available on the Artangel website from 18.45 on 4 May. The conversation is part of a new programme of digital content initiated by Artangel to open up and encourage creativity during lockdown. The programme will revisit Artangel’s archive, exploring projects that are particularly pertinent today. Artangel’s work with Steve McQueen has allowed an exploration into themes of solitude and grief, collective representation and identity, to develop new work by the artist. -
Art As a Site of Re-Orientation
Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-1-2010 Exploring the Space of Resistance: Art as a Site of Re-Orientation Lauren Emily Stansbury Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the Other Philosophy Commons, and the Religion Commons Recommended Citation Stansbury, Lauren Emily, "Exploring the Space of Resistance: Art as a Site of Re-Orientation" (2010). Syracuse University Honors Program Capstone Projects. 332. https://surface.syr.edu/honors_capstone/332 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. 1 Introduction I will begin by stating my interest lies in resistance. The beginnings of this project sprouted from an experience at the Hamburger Bahnhof museum of Berlin, in late fall of 2009. I visited the Hambuger to see a retrospective exhibition of the work of Joseph Beuys—an artist who I then only vaguely remembered from an obscure art history textbook, but an artist who has now become a brilliant North Star in my pantheon of cultural revolutionaries. The museum stands tall in white marble at the end of a long, gated courtyard. Once an open train station, the interior space is flooded with natural illumination. Tall ceilings expand the volume of the gallery; upon entering I felt dwarfed and cold. But despite the luxurious space, I was most intimidated by the obvious distaste the ticket attendant displayed for my clothing. -
For Immediate Release
For immediate release WARHOL: Monumental Series Make Premiere in Asia Yuz Museum Presents in Shanghai ANDY WARHOL, SHADOWS In collaboration with Dia Art Foundation, New York “I had seen Andy Warhol shows,but I was shocked when seeing more than a hundred of large paintings ! I felt so much respect for Warhol then and I was totally emotional in front of these Shadows: the first time shown as a complete piece as the original concept of Warhol. ” - Budi Tek, founder of Yuz Museum and Yuz Foundation -- -“a monument to impermanence” made by the “King of Pop”; - the most mysterious work of Warhol that offers profound and immersive experiences; - another ground-breaking one-piece work after the Rain Room at Yuz Museum; an important work from the collection of Dia Art Foundation; - Asian premiere after touring world’s top museums New York Dia: Beacon, Paris Museum of Modern Art and Bilbao Guggenheim; - a conversation between 1970s’Shadows and young artists of OVERPOP after 2010 -- Yuz Museum is proud to organize for the first time in Asia, the Chinese premiere of Shadows by Andy Warhol: “a monument to impermanence” (Holland Cotter, New-York Times). Shadows is valued as the most mysterious work by Andy Warhol, the most influential artist of the 20th century, “the King of Pop”, that shows the unknown side of the artist. The exhibition is presented in collaboration with the globally acclaimed Dia Art Foundation, New York. It opens at Yuz Museum, Shanghai on Saturday, 29th October, 2016. In 1978, at age 50, Andy Warhol embarked upon the production of a monumental body of work titled Shadows with the assistance of his entourage at the Factory. -
Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)
Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9) The Whitechapel Gallery presents the first major international survey of Turner Prize-winning British artist Gillian Wearing’s photographs and films which explore the public and private lives of ordinary people. Fascinated by how people present themselves in front of the camera in fly- on-the-wall documentaries and reality TV, Gillian Wearing explores ideas of personal identity through often masking her subjects and using theatre’s staging techniques. This major exhibition surveys Wearing’s work from the early photographs Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992–3) to her latest video Bully (2010) and also includes several new photographs made specially for the Whitechapel Gallery exhibition. Visitors to the exhibition enter a film set-style installation showcasing photographs and films in ‘front and back stage’ areas. Highlights include a striking photograph of the artist posing as her younger self, Self-Portrait at 17 Years Old (2003), Dancing in Peckham (1994), a film which blurs the boundaries between public space and private expression as Wearing dances in the middle of a shopping mall, and the UK premiere of recent film Bully (2010). New photographic works shown for the first time include two portraits of Wearing as artists August Sander and Claude Cahun as part of her ongoing series of iconic photographers, as well as still lives of flowers, looking back to th the rich symbolism of the great age of 17 century Dutch painting. -
Cv-Ann-Reynolds-1.Pdf
ANN MORRIS REYNOLDS Department of Art and Art History University of Texas at Austin 2301 San Jacinto Blvd Stop D1300 Austin, TX 78712-1421 [email protected] EDUCATION Ph.D. THE GRADUATE SCHOOL AND UNIVERSITY CENTER OF THE CITY UNIVERSITY OF NEW YORK, NEW YORK, NY May 1993 20th century US and European art and architecture; critical theory; gender and sexuality Dissertation: “Robert Smithson: Learning from New Jersey and Elsewhere” with distinction WHITNEY INDEPENDENT STUDY PROGRAM 1979-1980 Curated Nineteenth Century Landscape Painting and the American Site. Whitney Museum of American Art Downtown Branch, 1980. B.A. SMITH COLLEGE, NORTHAMPTON, MA 1979 Art history major, studio minor; graduated cum laude PUBLICATIONS BOOKS In Our Time. Book-length project in progress. Robert Smithson. Du New Jersey au Yucatán, leçons d’ailleurs. Traduction: Anaël Lejeune et Olivier Mignon. Bruxelles: SIC Editions, 2014. Robert Smithson: Learning From New Jersey and Elsewhere. Cambridge, MA: MIT Press, 2003. EDITED Political Emotions. London: Routledge Press, 2010. Janet Staiger and ANTHOLOGIES Ann Cvetkovich, co-editors. ARTICLES “Distant et loin de tout,” Paris: Presses du Réel, forthcoming 2017, 145- 157. “How the Box Contains Us,” Joan Jonas: They Come to Us Without a Word. United Sates Pavilion, 56th International Art Exhibition - La Biennale di Venezia. Edited by Jane Farver. Cambridge: MIT List Visual Arts Center, New York: Gregory R. Miller & Co. and Ostfildern, Germany: Hatje Cantz Verlag, 2015, 18-27. “Operating in the Shadows: History’s Pilgrims,” Strange Pilgrims. Austin: Austin Contemporary and University of Texas Press, 2015, 35-40. “A History of Failure,” special issue on Jack Smith edited by Marc Siegel. -
Old Furnace Artist Residency: Art Is a Conjunction Jon William Henry James Madison University
James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2016 Old Furnace artist residency: Art is a conjunction Jon William Henry James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the Fine Arts Commons, and the Sculpture Commons Recommended Citation Henry, Jon William, "Old Furnace artist residency: Art is a conjunction" (2016). Masters Theses. 105. https://commons.lib.jmu.edu/master201019/105 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Old Furnace Artist Residency Jon Henry A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Fine Arts School of Art, Design & Art History April 2016 FACULTY COMMITTEE: Committee Chair : Greg Stewart Committee Members/ Readers: Stephanie Williams Rob Mertens Table of Contents Abstract ............................................................................................................................... ii Intro ..................................................................................................................................... 1 Conceptual Background ...................................................................................................... 8 Pushback .......................................................................................................................... -
Art Analysis
Art Analysis Joseph Beuys 7000 Eichen (7000 Oaks), starting 1982 In 1982 Joseph Beuys began his action/installation of 7000 Private collectors bought the stones, thereby financing the Oaks at the seventh edition of the contemporary art show planting of an oak tree in Kassel. This city is an extremely Documenta (held once every five years in Kassel) and it was symbolic place since it used to be the centre of arms pro- only finished, symbolically, by his son Wenzel at the next duction for all of Germany, a fact which caused it to be razed Documenta in 1987, one year after the artist’s death. to the ground during the Second World War. In reality this is a temporally undefined piece since its dura- Through this work, Beuys speaks of the need for a new and tion is programmed for only as long as the final surviving tree lasting alliance between man and nature but also of the of the 7000 mentioned in the title. Potentially this work could need to eradicate wars and to turn destructive energy into last until the end of the current ecosystem. building for society. On March 16, 1982 Beuys planted the first oak tree in the Today all the oak trees have been planted and the basalt centre of the Friederich Square in Kassel, right in front of the blocks put in place. Friedericianum, the building that traditionally hosts the main At the basis of 7000 Oaks there is a concept of transforma- section of the Documenta show. tion, an aspect that concerns both time, expressed symboli- The action originates from the following system: 7000 prism- cally through the oaks growth, and space, which undergoes shaped blocks of basalt coming from Kassel’s mining area were change as the trees develop. -
Spiral Jetty, Geoaesthetics, and Art: Writing the Anthropocene Su Ballard University of Wollongong, [email protected]
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Law, Humanities and the Arts 2019 Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene Su Ballard University of Wollongong, [email protected] Elizabeth Linden University of Wollongong, [email protected] Publication Details Ballard, S. & Linden, E. "Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene." The Anthropocene Review 6 .1-2 (2019): 142-161. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene Abstract Despite the call for artists and writers to respond to the global situation of the Anthropocene, the 'people disciplines' have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a 'geological agent' in 1972. We suggest that Smithson's land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic 'golden spike' for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene. -
Joseph Beuys' Unknown Gastrosophy Author(S)
The extended art of eating: Joseph Beuys' unknown Title gastrosophy Author(s) Lemke, Harald SANSAI : An Environmental Journal for the Global Citation Community (2007), 2: 53-65 Issue Date 2007-03 URL http://hdl.handle.net/2433/108252 Right Type Journal Article Textversion publisher Kyoto University ῍ῌ The extended art of eating: Joseph Beuys’ unknown gastrosophy H6G6A9 L:B@: Abstract: The German artist Joseph Beuys is well known for his notion of “extended art”. This article focuses on Beuys’ lesser known extended “art of eating”, through which we may understand his philosophy of food or gastrosophy. Focusing on three universal food practices and their political and philosophical implications, Beuys presented home cooking as a potential art of living, foodstuffs as art objects, and the ecological rebirth of agriculture as a “social sculpture”. By suggesting that alternative methods of farming and biotechnology are necessary if the global economy and methods of agricultural production are to be run in accordance to principles of social justice and sustainability, Beuysian gastrosophy helped to prepare the humanistic and ecological foundations for Germany’s Die Grünen (Green) party ῌ a party of which Beuys was a founding member. For Beuys, modern industrial society’s transformation depended not solely but essentially on the question of whether real changes could be made in agricultural production, our consumption patterns and, ultimately, in the way we eat. This “way” is portrayed by Beuys’ extended art of eating as an ethically or gastrosophically correct everyday cuisine. Keywords: “der erweiterte Kunstbegriff” (extended notion of art), philosophy of food, aesthetics, “eat art”, Joseph Beuys, environmental ethics Introduction Any attempt to discuss a philosophy of food ῌ or “gastrosophy” ῌ must start with the theoretical challenge of a relatively new discipline in Western philosophy, namely food ethics.