DOCSLIB.ORG

New Editions from Apfelbaum to Wilson • Glenn Brown • Nicole

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Editions from Apfelbaum to Wilson • Glenn Brown • Nicole US $25 The Global Journal of Prints and Ideas March – April 2018 Volume 7, Number 6 New Editions from Apfelbaum to Wilson • Glenn Brown • Nicole Eisenman • Matt Saunders • Swoon • and more Nina Katchadourian Speaks with Island Press • Bodo Korsig • Todd Norsten • Boston Printmakers • Prix de Print • News AndyAndyAndy Warhol: Warhol: Warhol: Prints Prints Prints from from from the the theCollections Collections Collections of ofJordan of Jordan Jordan D. D.Schnitzer D. Schnitzer Schnitzer and and and His His HisFamily Family Family Foundation Foundation Foundation PortlandPortlandPortland Art Art MuseumArt Museum Museum AAA PASSION PASSIONPASSION FOR FORFOR SHARING SHARINGSHARING ART ARTART CurrentCurrentCurrent Exhibitions Exhibitions Exhibitions “For“For“For me, me, me, waking waking waking up up up each each each day day day without without without art art art around around around AndyAndyAndy Warhol: Warhol: Warhol: Prints Prints Prints from from from the the the Collections Collections Collections of of of mememe would would would be be be like like like waking waking waking up up up without without without the the the sun. sun. sun. JordanJordanJordan D. D. D.Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation Foundation Foundation WhenWhenWhen you you you live live live with with with art art art around around around you, you, you, your your your mind mind mind PalmPalmPalm Springs Springs Springs Art Art Art Museum Museum Museum PalmPalmPalm Springs, Springs, Springs, CA CA CA • • Mar• Mar Mar 3, 3, 3,2018 2018 2018 - -May -May May 28, 28, 28, 2018 2018 2018 andandand soul soul soul are are are filled filled filled withwithwith the thethe beauty beautybeauty of of oflife life life and andand the thethe creativitycreativitycreativity of of of the the the human human human spirit.” spirit.” spirit.” EnriqueEnriqueEnrique Chagoya: Chagoya: Chagoya: Reimagining Reimagining Reimagining the the the New New New World World World NevadaNevadaNevada Museum Museum Museum of of Artof Art Art —— —JORDAN JORDAN JORDAN D. D. D. SCHNITZER SCHNITZER SCHNITZER Reno,Reno,Reno, NV NV NV • • Mar• Mar Mar 3, 3, 3,2018 2018 2018 - -Jul -Jul Jul 8, 8, 8,2018 2018 2018 LouiseLouiseLouise Bourgeois: Bourgeois: Bourgeois: Selections Selections Selections from from from EstablishedEstablishedEstablished in in in1997, 1997, 1997, the the the Jordan Jordan Jordan Schnitzer Schnitzer Schnitzer Family Family Family JordanJordanJordan D. D. D.Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation Foundation Foundation PendletonPendletonPendleton Center Center Center for for for the the the Arts Arts Arts FoundationFoundationFoundation has has has organized organized organized over over over 100 100 100 exhibitions exhibitions exhibitions in in inover over over 100 100 100 Pendleton,Pendleton,Pendleton, OR OR OR • • Mar• Mar Mar 16, 16, 16, 2018 2018 2018 - Apr- -Apr Apr 28, 28, 28, 2018 2018 2018 museumsmuseumsmuseums of of of post-WWII post-WWII post-WWII prints prints prints and and and multiples multiples multiples by by by American American American artistsartistsartists from from from Jordan Jordan Jordan D. D. D. Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation. Foundation. Foundation. JohnJohnJohn Baldessari: Baldessari: Baldessari: Interference Interference Interference Effects Effects Effects MissoulaMissoulaMissoula Art Art Art Museum Museum Museum TheTheThe Foundation Foundation Foundation provides provides provides programming programming programming for for for students, students, students, Missoula,Missoula,Missoula, MT MT MT • • Mar• Mar Mar 27, 27, 27, 2018 2018 2018 - Aug- -Aug Aug 25, 25, 25, 2018 2018 2018 seniors,seniors,seniors, artists artists artists in in inresidency residency residency and and and lecture lecture lecture series series series and and and the the the collectioncollectioncollection is is ismade made made available available available at at at no no no charge charge charge to to to museums. museums. museums. Person(a):Person(a):Person(a): Portraitures Portraitures Portraitures from from from the the the Collection Collection Collection of of of JordanJordanJordan D. D. D.Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation Foundation Foundation JordanJordanJordan Schnitzer Schnitzer Schnitzer Museum Museum Museum of of Artof Art Art at at atWSU WSU WSU ExhibitionExhibitionExhibition Inquiries: Inquiries: Inquiries: Pullman,Pullman,Pullman, WA WA WA • Apr• Apr• Apr 6, 6, 6,2018 2018 2018 - Aug- -Aug Aug 4, 4, 4,2018 2018 2018 JordanJordanJordan D. D. D. Schnitzer Schnitzer Schnitzer • • •[email protected] [email protected] [email protected] CatherineCatherineCatherine Malone Malone Malone • • •[email protected] [email protected] [email protected] March – April 2018 In This Issue Volume 7, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Invitation Associate Publisher New Editions 2018 3 Julie Bernatz Reviews A–Z Managing Editor New Editions Round-up: 23 Isabella Kendrick It’s All Political Associate Editor Nina Katchadourian in 29 Julie Warchol Conversation with Lisa Bulawsky and Tom Reed Manuscript Editor “It’s the Play Thing” Prudence Crowther Victor M. Cassidy 34 Editor-at-Large Bodo Korsig: Making Peace Catherine Bindman With The Past Design Director Exhibition Review Skip Langer Elizabeth Carpenter 38 Signs of the Times: Recent Monotypes by Todd Norsten Bob Tomolillo 40 Printmaking in an Age of Political Dissonance Prix de Print, No. 28 42 Juried by Michael Woolworth Guardian by Eszter Sziksz News of the Print World 44 Contributors 62 Guide to Back Issues 63 On the Cover: Eszter Sziksz, video stills from Guardian (2017), screenprint on ice. Printed by the artist. This Page: Arlene Shechet, detail of Significant Other (2017), ongoing series of woodblock prints. Printed and published by the LeRoy Neiman Center for Print Studies, Columbia University, New York. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part [email protected] by an award from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On Invitation By Susan Tallman his is Art in Print’s seventh annual Given the chop on our present politi- Tnew-editions review, which once cal waters, it is no surprise to find current again illuminates the peripatetic real- events erupting in ways both overt (Sole- ity of the 21st-century art world. The 40 dad Salamé’s Women’s March, Victory artists included here were born in 13 dif- Garden’s Pray for U.S.) and subtle (José ferent countries on three continents; Antonio Suárez Londoño’s n.294 Lampe- only half remain in the nations where dusa). Here again, external references they started out. Many now live in New abound: Jonathan Horowitz’s gilded York, London and Berlin, but an equal American flag is a comment on economic number have chosen to make their vulgarity and its brutish political metas- homes and studios in places like Colum- tases, but it also cites a 1969 poster by Jas- bus, Ohio, Tempe, Arizona, and Medellín, per Johns as well as Horowitz’s long-term Colombia. fascination with Johns’s flags in all their Contemporary art is a language spo- political and epistemological ambiguity. ken and understood in all these places. Cecily Brown’s commentary on contem- But an international language is not the porary excess takes its cue from Breughel. same as a universal language. And while Art historical references abound for the art world is undoubtedly a far more those inclined to seek them. Nicole Eisen- diverse and inclusive place than it once man’s beer garden is filled with Brook- was, it is still the case that for most people lynites and their fin de sièclecousins; in most places, contemporary art remains Todd Norsten, $5.00 Parking (2017), unique Glenn Brown’s swirling portrait heads irrelevant, baffling, or—as Bob Tomolillo monoprint, 33 x 24 inches. Printed and published are teased from particular Rembrandt notes in his essay “Printmaking in an Age by Highpoint Editions, Minneapolis, MN. etchings, daring us to investigate. And of Political Dissonance”—a joke. while the triptychs of Kara Walker and Realistically, it could not be other- Mark Klett and George Whitman make Tom Huck can be appreciated without a wise. All languages are learned, and most anthropomorphic hay with cacti and a course in art history, recognizing the for- sound funny to nonspeakers. Master- pig. mal echoes of European altarpieces and ing them requires both motivation and Materials reveal themselves in ways their donor portraits opens up compli- opportunity. This is where prints come both self-evident and allusive in works by cated conversations about historical lega- in. Not only are they cheaper and more Tara Donovan and Leonardo Drew. Nina cies and the deployment of social power. portable than most art forms, their mix- Katchadourian’s monotypes look like So if prints are the Duolingo of con- and-match flexibility invites viewers to wispy white-ink sketches of sea life until temporary art, that’s only half the story. participate on their own terms, at their one recognizes, in the strangely familiar Because they aren’t just the language les- own speed, in public or in private. Prints curve and taper of each stroke, the vestige son, they’re also the conversations you get are the Duolingo of visual art.1 of a cat’s whisker. David Huffman’s bas- to have and the literature you get to read. The editions presented in this issue, ketball nets and Abraham Cruzvillegas’s What makes them great is not just that for example, can be owned for sums that 50 peso note implant loaded artifacts they open a door, but that having done so, range from nothing (Marilyn Minter’s within the image. Eszter Sziksz’s Guard- they make it worthwhile to stay.
Load more

Recommended publications
  • Bloomsbury (Bloomsbury) Bloomsbury Auctions 24 Maddox Street
    Dreweatts & Bloomsbury (Bloomsbury) Bloomsbury Auctions 24 Maddox Street . Editions & Works on Paper London W1S 1PP Started 02 Dec 2015 10:30 GMT United Kingdom Lot Description Craigie Aitchison (1926-2009) - Daffodils & Candlesticks screenprint in colours, 1998, signed in white ink, inscribed AP XIII/XV, an 1 artist's proof aside from the edition of 75, on wove paper, the full sheet printed to the edges, sheet 694 x 562 mm (27 1/4 x 22 1/8 in) IMPORTANT: This lot is sold s ...[more] Craigie Aitchison (1926-2009) - Birds lithograph printed in colours, 1996, signed and dated in black ink, numbered 83/100, on wove 2 paper, with full margins, sheet 282 x 232 mm (11 1/8 x 9 1/8 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Ter ...[more] Norman Ackroyd (b.1938) - St Kilda - Stac Lee and Stac an Armin etching with aquatint, 1990, signed, titled and dated in pencil, 3 numbered 18/90, on wove paper, with full margins, sheet 585 x 755 mm (23 x 29 3/4 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can ...[more] John Banting (1902-1972) - Siamese Triplets; Negro Guitarist two linocuts, 1932-35, each signed and dated in pencil, numbered 37/45 4 and 6/45 respectively, published by Alexander Postan Ltd, London, each on wove paper, with full margins, overall size 225 x 275 mm (8 7/8 x 10 7/8 in) IMPORTANT: This ...[more] George Bissill (1896-1973) - Crucifixion woodcut, signed in pencil, numbered 7/15, on tissue thin Japon paper, with full margins, sheet 5 171 x 127 mm (6 3/4 x 5 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
    [Show full text]
  • Rapport D'activité 2018 Du Centre National De Littérature
    Rapport d’activité 2018 Centre national de littérature 2019 www.culture.lu www.gouvernement.lu/mc Table des matières 1. Centre national de littérature ....................................................................................... 3 1.1 La littérature et la recherche comme élément constitutif de la société de la connaissance ................................................................................................................. 3 1.1.1 Expositions ................................................................................................................... 3 1.1.2 Publications ................................................................................................................. 4 1.1.3 Numérisation ............................................................................................................... 9 1.1.4 Bibliothèque et archives ............................................................................................ 10 1.1.5 Coopérations ............................................................................................................. 10 1.1.6 Journées du livre et des droits d’auteurs .................................................................. 11 1.1.7 Bourse Bicherfrënn .................................................................................................... 12 1.1.8 Dictionnaire des auteurs ........................................................................................... 12 1.2 La littérature accessible à tous ............................................................................12
    [Show full text]
  • Arlene Shechet Skirts
    FOR IMMEDIATE RELEASE Arlene Shechet Skirts February 28 – April 25, 2020 540 West 25th Street New York Opening Reception: Thursday, Feb 27 6–8 PM Image: Arlene Shechet, In my view, 2020, glazed ceramic, wood, paint, 58” × 26” × 20” © Arlene Shechet, Photography by Jeremy Liebman New York — Pace Gallery is pleased to present Skirts, its first solo exhibition of works by Arlene Shechet, from February 28 through April 25. Running concurrently with the Whitney Museum’s exhibition Making Knowing, which also features works by Shechet, Skirts brings together more than a dozen of the artist’s most recent sculptures, including large-scale works and a monumental outdoor piece, to be displayed on the second-floor galleries and terrace of Pace’s new flagship building at 540 West 25th street. Rich in idiosyncrasies, Shechet’s latest pieces combine disparate mediums, from ceramics to wood and metalwork, with playfully ambiguous titles that prompt endless associations. Utilizing a title that is both a noun and a verb, Skirts is a testament to the artist’s fluid and unformulaic process. Though her works appear effortless and forgiving of imperfections, they are the belabored products of an intuitive and technically fastidious approach, involving casting, painting, firing, carving, stacking, undoing and redoing with no predetermined endpoint. Her expansive approach to sculpture and materials is reminiscent of artists Shechet admires, such as Sophie Taeuber- Arp and Sonia Delaunay, whose work transcends the divisions of painting and sculpture and encompassed innovative multimedia practices, distinguishing their work from that of their male peers. Shechet’s title, Skirts, also reclaims misogynist slang.
    [Show full text]
  • Bibliographie Guy Helminger
    225 Bibliographie Guy Helminger Claude D. Conter 1. Auszeichnungen Rost. Kurzgeschichten. Echternach: Éditions Phi 2001 [ins Slowenische übersetzt: Rja. Prevod: Mar- 2000: Autorenstipendium der Filmstiftung NRW tina Soldo; sprema beseda: Vesna Kondrič Horvat. 2001: Autorenstipendium der Filmstiftung NRW Ljubljana: Modrijan 2008]. 2001: Hörspiel des Monats März WDR Ver-Wanderung. Gedichte. Echternach: Éditions Phi 2002: Förderpreis für Jugend-Theater des Landes 2002. Baden-Württemberg Venezuela [englische Übersetzung von: »Morgen ist 2002: Prix Servais (Luxemburg) Regen«]. Translated by Penny Black. London: Oberon 2004: 3sat-Preis (28. Tage der deutschsprachigen Litera- Books 2003 [ins Französische von Anne Montfort tur in Klagenfurt) übersetzt: Venezuale. Montreuil-sous-bois: Editions 2006: Prix du mérite culturel de la ville d’Esch théâtrales 2008]. (Luxemburg) Venezuela. Esch-sur-Alzette: Éditions Phi 2004. 2006: Stadtschreiber in Hyderabad (Indien) Etwas fehlt immer. Erzählungen. Frankfurt a. M.: Suhr- 2012: Poet in Residence an der Universität Duisburg-Essen kamp 2005. Morgen war schon. Roman. Frankfurt a. M.: Suhrkamp 2007. 2. Werke Die Ruhe der Schlammkröte. Wiederentdeckt, herausge- 2.1 Bücher geben und mit Anmerkungen von Manuel Andrack, mit Fotos von Ute Behrend. Köln: Kiepenheuer & Die Gegenwartsspringer. Gedichte. Esch-sur-Alzette: Ver- Witsch 2007 (KiWi 978). lag am Schluechthaus 1986. Eine Tasse für Nofretete Nilpferd. Berlin: Bloomsbury Die Ruhe der Schlammkröte. Roman. Köln: [ohne Ver- 2010. lag] 1994. Neubrasilien. Roman: Berlin: Eichborn 2010 [ins Ser- Entfernungen (in Zellophan). Gedichte. Echternach: bokroatische von Meral Tarar-Tutuš übersetzt: Novi Éditions Phi 1998. Brazil. Beograd: Karpos 2011]. Leib eigener Leib. Gedichte. Echternach: Éditions Phi Libellenterz. Gesammelte Gedichte mit CD. Mit einem Gegenüber- 2000. Vorwort von Stefan Weidner.
    [Show full text]
  • Arlene Shechet Arlene Newcomb Art Department Tulane University 6823 St
    Arlene Shechet Arlene Newcomb Art Department Tulane University 6823 St. Charles Ave. New Orleans, LA 70118 504.865-5327 http://tulane.edu/liberal-arts/art 2016 Sandra Garrard Memorial Lecture Series Sandra Garrard Memorial Lecture Memorial Garrard Sandra Thursday, November 17, 2016, 7 pm Working Over Time an artist’s talk by Arlene Shechet Arlene Shechet artist 2016 Sandra Garrard Memorial Lecture Series Arlene Shechet is a sculptor living and working in New York City and the Hudson Valley. All at Once, a major, critically-acclaimed 20-year survey of Shechet’s work, was on view at the Institute of Contemporary Art, Boston in 2015. Sebastian Smee of The Boston Globe wrote: “It’s in the harmonies and tensions between these colors and textures, between suggestions of both order and anarchy, decay and blooming freshness, that these works cough, sputter, and sing. If they really are the great analogs to interior life that I feel them to be, it’s because Shechet knows that this life, expertly attended to, has its own folds and wrinkles, its own hollows and protuberances; that it is at once fugitive and monumental … and ultimately unknowable.” All at Once was also hailed by The New York Times as “some of the most imaginative American sculpture of the past 20 years, and Arlene Shechet some of the most radically personal.” In recent years, Shechet’s work has included historical museum installations. Porcelain, No Simple Matter: Arlene Shechet and the Arnhold Collection, on view at The Frick Collection from May Working Over Time : an artist’s talk 2016 to April 2017, is described in The New Yorker as “a balancing act of respectful and radical” with “whimsical beauty and deep smarts.” From Here on Now, Shechet’s solo museum exhibition at the Phillips Collection in Washington, D.C., opens October 2016.
    [Show full text]
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • Franz Marc / August Macke L'aventure Du Cavalier Bleu
    Franz Marc / August Macke L’aventure du Cavalier bleu 6 mars – 17 juin 2019 Musée de l’Orangerie Jardin des Tuileries 75001 Paris Département de la communication Directrice : Amélie Hardivillier Responsable du Pôle presse : Marie Dussaussoy Attachée de presse : Gabrielle Lacombe Téléphone : 01 40 49 49 20 Courriel : [email protected] 1 2 Sommaire 1. Communiqué de presse 5 2. Press release 7 3. Parcours de l'exposition 11 4. Chronologie 39 5. Liste des œuvres présentées 47 6. Cartels développés 57 7. Publication 61 8. Extraits du catalogue 65 9. Programmation autour de l’exposition 73 10. Liste des visuels disponibles pour la presse 81 11. Mécène de l’exposition 91 12. Partenaires Médias 93 13. Informations pratiques 97 3 4 1. Communiqué de presse Franz Marc / August Macke Franz Marc, Le Rêve [Der Traum], 1912, Madrid, Museo Nacional Thyssen-Bornemisza © Museo Nacional Thyssen-Bornemisza, Madrid L’aventure du Cavalier bleu 6 mars – 17 juin 2019 Musée de l’Orangerie Niveau -2, espace d’exposition temporaire Unis par une profonde amitié, Franz Marc (1880-1916) et August Macke (1887-1914) comptent au rang des artistes majeurs du mouvement expressionniste allemand Der Blaue Reiter (Le Cavalier bleu). Alors que s’achève le cycle de commémorations de la fin de la Première guerre mondiale, le musée de l’Orangerie consacre, pour la première fois à Paris, une exposition aux deux peintres allemands, morts tous deux sur le front en France. C’est à Munich en 1910 qu’a lieu la rencontre entre August Macke, âgé de vingt- August Macke, Joueuse de luth (Lautenspielerin) Paris, Centre Pompidou - trois ans, et Franz Marc, son aîné de sept ans.
    [Show full text]
  • About… Theatre in Luxembourg
    THEATRE About… Theatre in Luxembourg While always well and truly alive, in recent years Luxembourg’s theatrical creation has enjoyed an unparalleled upsurge. Gone are the days of venue shortages, limited offers, precarious working conditions and mediocre productions: in the space of just a few years, Luxembourg has developed into a place to be reckoned with on the international theatre map. The Grand Duchy competence and dedication of both public and private theatre directors, of Luxembourg the increasingly advanced professionalisation of the theatre trade and the Form of readiness of the authorities to support the theatre have all contributed to government: considerably enhance the theatrical offer. Productions in four languages, constitutional co-productions with internationally renowned companies, actors carving monarchy out remarkable careers (both at home and abroad), exchanges involving Neighbouring stage directors and set designers, theatre festivals and prolific writing for countries: the theatre are further visible signs of a rich and vibrant theatre life. Germany, Belgium, France Area: A retrospective glance 2,586 km2 Population: From medieval mountebanks 476,000 to 19th-century theatre inhabitants, of which All throughout the Middle Ages the people of Luxem- 198,000 bourg City and its surroundings were entertained by are foreigners plays of a religious and liturgical nature, but it was not Population density: until 1603, when the Jesuit College opened its doors 184 inhab./km2 to 200 students, that Luxembourg began to witness (2007) a golden age of theatrical creation. The Jesuits looked upon theatre play as a distinguished tool supporting a teaching method imbued with classical culture and com- mitted to the fight against Protestantism.
    [Show full text]
  • American Academy of Arts and Letters NEWS RELEASE
    American Academy of Arts and Letters NEWS RELEASE 633 WEST 155 STREET, NEW YORK, NY 10032 Contact: Souhad Rafey (212) 368-5900 [email protected] www.artsandletters.org EXHIBITION THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES ARTISTS 2011 INVITATIONAL EXHIBITION OF VISUAL ARTS Rosaire Appel MARCH 10 – APRIL 10 Amy Bennett Willard Boepple February 17, 2011 – Over 110 paintings, photographs, sculptures, and works on paper by 35 con- temporary artists will be exhibited at the galleries of the American Academy of Arts and Letters John Bradford on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 10 Katherine Bradford through Sunday, April 10, 2011. Exhibiting artists were chosen from a pool of nearly 200 nominees Troy Brauntuch submitted by the 250 members of the Academy, America’s most prestigious honorary society of Nathan Carter architects, artists, writers, and composers. Robert Chambers Willie Cole ART AWARDS AND PURCHASE PROGRAM The Academy’s art awards and purchase programs serve to acknowledge artists at various stages of Adam Cvijanovic their careers, from helping to establish younger artists to rewarding older artists for their accumu- Donna Dennis lated body of work. Paintings and works on paper are eligible for purchase and placement in mu- Bryan Drury seum collections nationwide through the Hassam, Speicher, Betts and Symons Funds. Works by Jim John Duff Nutt (The Morgan Library & Museum, New York, NY), Chris Martin (Museum of Contemporary Angela Dufresne Art, Chicago, IL), Judy Linn (Dallas Museum of Art, Dallas, TX), and Charles Gaines (Minneapo- lis Institute of Arts, Minneapolis, MN) are among the twelve works purchased last year.
    [Show full text]
  • Arlene Shechet Born in 1951, New York, New York, USA Biography Lives and Works in New York, USA
    Arlene Shechet Born in 1951, New York, New York, USA Biography Lives and works in New York, USA Education M.F.A. Rhode Island School of Design, Providence, US B.A. New York University, US Selected solo exhibitions 2020 'Skirts', Pace Gallery New York City, NY, USA 'Together', Pace Gallery, East Hampton, NY, USA 2019 'Sculpture', Vielmetter Los Angeles, CA, USA 'Full Steam Ahead', Madison Square Park, New York City, NY, USA 2018 'Some Truths', Almine Rech Gallery, Paris, France 'More Than I Know', Joslyn Art Museum, Omaha, USA 'Travel Light', commissioned work on view at The Jewish Museum, New York, USA 'Round and Round', Madeline Square Park, New York, USA Susanne Vielmetter, Los Angeles, USA 2017 'In the Meantime', Corbett vs. Dempsey, Chicago, USA 2016 'From Here On Now', Phillips Collection, Washington DC. 'Turn Up the Bass', Sikkema Jenkins & Co, US 'Still Standing', special project at The Box, Pippy Houldsworth Gallery, London 'Porcelain, No Simple Matter: Arlene Shechet and the Arnhold Collection', The Frick Collection, New York, US 'Urgent Matter', Contemporary Art Museum St. Louis, US 2015 All At Once, ICA Boston, US Blockbuster, Lora Reynolds Gallery, Austin, US 2014 Meissen Recast, RISD Museum, Providence, US 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris 2013 [email protected] Slip, Sikkema Jenkins & Co., New York, US - Abdijstraat 20 rue de l’Abbaye That Time, Weatherspoon Art Museum, Greensboro, US Brussel 1050 Bruxelles [email protected] 2012 - Grosvenor Hill, Broadbent House Breaking
    [Show full text]
  • 6. Images and Identities
    6. Images and Identities Wilhelm Amann, Viviane Bourg, Paul Dell, Fabienne Lentz, Paul Di Felice, Sebastian Reddeker 6.1 IMAGES OF NATIONS AS ‘INTERDISCOURSES’. PRELIMINARY THEORETICAL REFLECTIONS ON THE RELATION OF ‘IMAGES AND IDENTITIES’: THE CASE OF LUXEMBOURG The common theoretical framework for the analysis of different manifestations of ‘images and identities’ in the socio-cultural region of Luxembourg is provided by the so-called interdiscourse analysis (Gerhard/Link/Parr 2004: 293-295). It is regarded as an advancement and modification of the discourse analysis developed by Michel Foucault and, as an applied discourse theory, its main aim is to establish a relationship between practice and empiricism. While the discourses analysed by Foucault were, to a great extent, about formations of positive knowledge and institutionalised sciences (law, medicine, human sciences etc.), the interdiscourse analysis is interested in discourse complexes which are precisely not limited by specialisation, but that embrace a more comprehensive field and can therefore be described as ‘interdiscursive’ (Parr 2009). The significance of such interdiscourses arises from the general tension between the increasing differentiation of modern knowledge and the growing disorientation of modern subjects. In this sense, ‘Luxembourg’ can be described as a highly complex entity made up of special forms of organisation, e.g. law, the economy, politics or also the health service. Here, each of these sectors, as a rule, develops very specified styles of discourse restricted to the respective field, with the result that communication about problems and important topics even between these sectors is seriously impeded and, more importantly, that the everyday world and the everyday knowledge of the subjects is hardly ever reached or affected.
    [Show full text]
  • NINA KATCHADOURIAN Born 1968 in Stanford, CA Lives and Works in Brooklyn, NY [email protected]
    NINA KATCHADOURIAN Born 1968 in Stanford, CA Lives and works in Brooklyn, NY [email protected] www.ninakatchadourian.com EDUCATION 1996 Whitney Museum Independent Study Program 1993 University of California, San Diego M.F.A., Visual Art 1989 Brown University B.A. Visual Arts and B.A. Literature and Society (Honors) SOLO EXHIBITIONS 2016 Solo traveling exhibition curated by Veronica Roberts, the Blanton Museum, Austin, TX (catalog) 2015 Kansas Cut-Up, Kentucky Museum of Arts and Crafts, Louisville Sorted Books, Byrdcliffe Guild, Woodstock, NY 2014 Nina Katchadourian: Seat Assignment, Gund Gallery at Kenyon College Seat Assignment, Cecilia Brunson Projects + Basha Projects, London 2013 Two Libraries: Recently Sorted Books, Catharine Clark Gallery, San Francisco Return Trip, testsite, Austin, TX Grand State of Maine, permanent public commission for GSA, Van Buren, ME 2012 Seat Assignment, Catharine Clark Gallery, San Francisco Once Upon a Time in Delaware/In Quest of the Perfect Book, Delaware Art Museum, Wilmington, DE 2011 Seat Assignment, Dunedin Public Art Gallery, Dunedin, New Zealand 2010 Sorted Books, Clifford Art Gallery, Colgate University, Hamilton, NY Sorted Books, Philip Feldman Gallery at Pacific Northwest College of Art, Portland, OR 2009 Nina Katchadourian, Galeria Llucia Homs, Barcelona, Spain Tech Tools of the Trade, Contemporary New Media Art, de Saisset Museum at Santa Clara University, Santa Clara, CA 2008 A Fugitive, Some Maps, Cute Animals and a Shark, Catharine Clark Gallery, San Francisco, CA Nina Katchadourian:
    [Show full text]