CINDY SHERMAN Born 1954 in New Jersey
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Paulacoopergallery.Com
P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE JENNIFER BARTLETT Grids & Dots 243A Worth Ave, Palm Beach January 16 – February 7, 2021 PALM BEACH—Opening on Saturday, January 16, 2021 in Paula Cooper Gallery’s Palm Beach location is a focused presentation of work by Jennifer Bartlett titled “Grids and Dots.” On view will be five examples of Bartlett’s pioneering steel and enamel plate works, made between 1971 and 2011. Installed in an interior room of the gallery, the presentation is in dialogue with the concurrent exhibition “Sol LeWitt: Cubic Forms,” highlighting both artists’ parallel interest in geometric forms and programmatic strategies as the foundation for complex and exuberant works of art. Bartlett first began making paintings on white enameled, square-cut steel plates in late 1968. The idea was born from her interest in the metal signs found inside New York City subway stations. “They looked like hard paper,” Bartlett explained. “I needed paper that could be cleaned and reworked. I wanted a unit that could go around corners on the wall, stack for shipping. If you made a painting and wanted it to be longer, you could add plates. If you didn’t like the middle you could remove it, clean it, replace it or not.”1 Inspired by LeWitt's application of the grid and serial systems, Bartlett begins with vertical and horizontal lines silkscreened onto the baked enamel surfaces. Using Testors brand enamel paint, she then plots out various dot patterns within the framework, following simple mathematical schemes. -
Taking Intellectual Property Into Their Own Hands
Taking Intellectual Property into Their Own Hands Amy Adler* & Jeanne C. Fromer** When we think about people seeking relief for infringement of their intellectual property rights under copyright and trademark laws, we typically assume they will operate within an overtly legal scheme. By contrast, creators of works that lie outside the subject matter, or at least outside the heartland, of intellectual property law often remedy copying of their works by asserting extralegal norms within their own tight-knit communities. In recent years, however, there has been a growing third category of relief-seekers: those taking intellectual property into their own hands, seeking relief outside the legal system for copying of works that fall well within the heartland of copyright or trademark laws, such as visual art, music, and fashion. They exercise intellectual property self-help in a constellation of ways. Most frequently, they use shaming, principally through social media or a similar platform, to call out perceived misappropriations. Other times, they reappropriate perceived misappropriations, therein generating new creative works. This Article identifies, illustrates, and analyzes this phenomenon using a diverse array of recent examples. Aggrieved creators can use self-help of the sorts we describe to accomplish much of what they hope to derive from successful infringement litigation: collect monetary damages, stop the appropriation, insist on attribution of their work, and correct potential misattributions of a misappropriation. We evaluate the benefits and demerits of intellectual property self-help as compared with more traditional intellectual property enforcement. DOI: https://doi.org/10.15779/Z38KP7TR8W Copyright © 2019 California Law Review, Inc. California Law Review, Inc. -
Why the Whitney's Humanist, Pro-Diversity Biennial Is a Revelation
Why the Whitney’s Humanist, Pro-Diversity Biennial Is a Revelation Roberta Smith March 16, 2017 Since moving downtown, the Whitney Museum of American Art has grown up, thanks to a larger, dashing new building, more ambitious exhibitions and new responsibilities brought by rising attendance and membership. No surprise, its biennial has grown up, too. Perhaps less expected: So has the art in it. This show’s strength and focus make it doubly important at a time when art, the humanities and the act of thinking itself seem under attack in Washington. The 2017 Biennial, the first held in the expansive Renzo Piano-designed structure on Gan- sevoort Street, is an adult affair: spatially gracious to art and visitors alike, and exceptionally good looking, with an overall mood of easy accessibility. My first thought: It needs a little more edge. Yet this show navigates the museum’s obligations to a broader public and its longtime art-world audience with remarkable success. Organized by Christopher Y. Lew, the Whitney’s associate curator, and Mia Locks, an independent curator, it has some immature inclusions and other letdowns. But once you really start looking, there’s edge all over the place. The show spotlights 63 artists and collectives working at the intersection of the formal and the social, and in this it announces a new chapter of so-called political art — though one already brewing in small museums, galleries and studios. Many of these artists confront such Ameri- can realities as income inequality, homelessness, misogyny, immigration, violence, hatred and biases of race, religion and class. -
The New Yorker April 05, 2021 Issue
PRICE $8.99 APRIL 5, 2021 APRIL 5, 2021 4 GOINGS ON ABOUT TOWN 11 THE TALK OF THE TOWN Jonathan Blitzer on Biden and the border; from war to the writers’ room; so far no sofas; still Trump country; cooking up hits. FEED HOPE. ANNALS OF ASTRONOMY Daniel Alarcón 16 The Collapse at Arecibo FEED LOVE. Puerto Rico loses its iconic telescope. SHOUTS & MURMURS Michael Ian Black 21 My Application Essay to Brown (Rejected) DEPT. OF SCIENCE Kathryn Schulz 22 Where the Wild Things Go The navigational feats of animals. PROFILES Rachel Aviv 28 Past Imperfect A psychologist’s theory of memory. COMIC STRIP Emily Flake 37 “Visions of the Post-Pandemic Future” OUR LOCAL CORRESPONDENTS Ian Frazier 40 Guns Down How to keep weapons out of the hands of kids. FICTION Sterling HolyWhiteMountain 48 “Featherweight” THE CRITICS BOOKS Jerome Groopman 55 Assessing the threat of a new pandemic. 58 Briefly Noted Madeleine Schwartz 60 The peripatetic life of Sybille Bedford. PODCAST DEPT. Hua Hsu 63 The athletes taking over the studio. THE ART WORLD Peter Schjeldahl 66 Niki de Saint Phalle’s feminist force. ON TELEVISION Doreen St. Félix 68 “Waffles + Mochi,” “City of Ghosts.” POEMS Craig Morgan Teicher 35 “Peers” Kaveh Akbar 52 “My Empire” COVER R. Kikuo Johnson “Delayed” DRAWINGS Johnny DiNapoli, Tom Chitty, P. C. Vey, Mick Stevens, Zoe Si, Tom Toro, Adam Douglas Thompson, Suerynn Lee, Roz Chast, Bruce Eric Kaplan, Victoria Roberts, Will McPhail SPOTS André da Loba CONTRIBUTORS Caring for the earth. ©2020 KENDAL Rachel Aviv (“Past Imperfect,” p. 28) is a Ian Frazier (“Guns Down,” p. -
Press Release
DON DUDLEY : RECENT WORK 17 September - 29 October, 2017 Opening Reception: Sunday, 17 September, 6-8pm Magenta Plains is pleased to present Don Dudley: Recent Work, an exhibition of eight new panel paintings and eight works on paper made during the past two years by the New York-based painter. Born in Los Angeles, California in 1930, Dudley lived and worked on the West Coast for thirty-eight years before relocating to New York City in 1969. Dudley is a crucial, historical link between the optical and surface oriented “Cool School” or “Finish Fetish” generation of California artists who came into prominence in the 1960s (largely revolving around the Ferus Gallery scene) and the more cerebral, Hard-edged Minimalist artists such as Frank Stella, Brice Marden and Ellsworth Kelly. Since the early 1960s, Dudley’s practice has embraced drawing and painting by way of sculpture and installation— creating subtle and sophisticated wall works that stand out for both their elegance and formal intelligence. Like many of his peers and friends, including Robert Irwin, John Altoon and Ken Price, Dudley’s early, sprayed-lacquer Prism paintings channelled the industrial sublime promised by seemingly limitless corporate innovation, car culture and the youthful optimism of an endless summer. In 1969, Dudley gave up his Venice Beach studio and teaching position at CalArts, packed his belongings into a station wagon and drove from Los Angeles to New York City. Settling first into a loft on Broome Street in SoHo, he later became one of the early pioneers in TriBeCa—where his studio remains to this day. -
Michael Heizer Selected Bibliography
G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. -
Williams College/Clark Art Institute
GRADUATE PROGRAM IN THE HISTORY OF ART Williams College/Clark Art Institute Summer 2001 NEWSLETTER ~ '" ~ o b iE The Class of 2001 at their Hooding Ceremony. From left to right: Mark Haxthausen, Jeffrey T. Saletnik, Clare S. Elliott, Jennifer W. King, Jennifer T. Cabral, Karly Whitaker, Rachel Butt, Elise Barclay, Anna Lee Kamplain, and Marc Simpson LETTER FROM THE DIRECTOR CHARLES W. (MARK) HAx'rHAUSEN Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program With this issue we are extremely pleased to revive the Graduate Program's ANNuAL NEWSLETTER, in a format that is greatly expanded from its former incarnation. This publication will appear once a year, toward the end of the summer, bringing you news about the program, Williams, the Clark, our faculty, students, and graduates. The return of the newsletter is a fruit of one of the happy developments of a remarkably successful year-the creation of the position ofAsSOCIATE DIRECTOR of the Graduate Program. In recent years, with the introduction of the QualifYing Paper and Annual Symposium, the workload in the Graduate Program had seriously outgrown the capacities of its small staff. With the naming ofMARc SIMPSON to the new post, we have the resources not only to handle existing administrative demands but to expand our activities into neglected areas, one ofwhich is the publication of this newsletter, for which Marc serves as editor. We feel especially fortunate to have added Marc to the Program. A leading scholar of American art, he received his Ph.D. from Yale and served from 1985 to 1994 as Ednah Root Curator ofAmerican Paintings at the Fine Arts Museums of San Francisco. -
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 -
The New York Times Review/Art
FORT GANSEVOORT Review/Art; 3 Museums Collaborate To Sum Up a Decade Roberta Smith May 25, 1990 What happened to American art during the tumultuous, comba?ve 1980's is a large and mul?-faceted subject that will undoubtedly be debated for some ?me. But less than six months into the 90's, one of the first assessments has already arrived, in the form of the messy, provoca?ve exhibi?on ?tled ''The Decade Show: Frameworks of Iden?ty in the 1980's.'' This exhibi?on comes from an unusual collabora?on of three young and very different museums well known for presen?ng alterna?ve views of contemporary art: the New Museum of Contemporary Art and the Museum of Hispanic Contemporary Art, both in SoHo, and the Studio Museum in Harlem. Not sur - prisingly, the curators at these museums have knit their alterna?ve agendas into an alterna?ve overview. ''The Decade Show'' and its thick opinionated catalogue try to shake up any ideas about 80's art that aren't nailed down, and may say as much about art's future as they do about its recent past. The exhibi?on gathers together work by more than 100 creators of pain?ngs, sculptures and installa?on pieces and nearly 40 video and performance ar?sts. It features many collabora?ve efforts, in pain?ngs to poli?cal posters, from Tim Rollins and K.O.S., the Guerrilla Girls, Gran Fury, Group Material and a rela?ve - ly unknown Asian-American ar?sts' collec?ve called Epoxy Art Group. -
Caitlin Keogh: Feminine Feminism
The Kennesaw Journal of Undergraduate Research Volume 5 Issue 2 College of the Arts Special Issue Article 4 October 2017 Caitlin Keogh: Feminine Feminism Madeline Beck Kennesaw State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/kjur Part of the Contemporary Art Commons, Theory and Criticism Commons, and the Women's Studies Commons Recommended Citation Beck, Madeline (2017) "Caitlin Keogh: Feminine Feminism," The Kennesaw Journal of Undergraduate Research: Vol. 5 : Iss. 2 , Article 4. DOI: 10.32727/25.2019.20 Available at: https://digitalcommons.kennesaw.edu/kjur/vol5/iss2/4 This Article is brought to you for free and open access by the Office of Undergraduate Research at DigitalCommons@Kennesaw State University. It has been accepted for inclusion in The Kennesaw Journal of Undergraduate Research by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Caitlin Keogh: Feminine Feminism Cover Page Footnote I would like to thank Dr. Diana McClintock, Dr. Jessica Stephenson, Sarah Higgins, Dr. Amy Buddie and the Office of Undergraduate Research, the anonymous reviewers of this paper, and KSU College of the Arts. This article is available in The Kennesaw Journal of Undergraduate Research: https://digitalcommons.kennesaw.edu/ kjur/vol5/iss2/4 Beck: Caitlin Keogh: Feminine Feminism Caitlin Keogh: Feminine Feminism Madeline Beck and Dr. Diana McClintock (Faculty Advisor) Kennesaw State University ABSTRACT The painter Caitlin Keogh (b. 1982) is a rising star in the Contemporary Art scene in the United States. Currently living and working in Brooklyn, New York, Keogh is one of countless emerging painters in the trendy arts hub, but her work is already receiving international attention and critical acclaim. -
Dia Art Foundation Readings in Contemporary Poetry Major Jackson and Peter Schjeldahl
Dia Art Foundation Readings in Contemporary Poetry Major Jackson and Peter Schjeldahl Tuesday, March 5, 2019 Dia:Chelsea 535 West 22nd Street, 5th Floor New York City Introduction by Vincent Katz Major Jackson’s books of poems include Leaving Saturn (University of Georgia Press, 2002), Hoops (W. W. Norton & Company, 2006), Holding Company (W. W. Norton & Company, 2010), and Roll Deep (W. W. Norton & Company, 2015). Jackson is the Richard Dennis Green and Gold University Distinguished Professor in the department of English at University of Vermont, Burlington, and a graduate faculty member of the Creative Writing Program at New York University. He serves as the poetry editor of the Harvard Review. Many of the references in Major Jackson’s poetry - e.g. “I better git it in my soul” - are known to me, and many others are not. They all intrigue me to know more. The title of his most recent volume, Roll Deep, seemed to me as though it might come from football; I intuit a physicality there, a sense of simultaneous mobility and pleasurable stasis. Deep too as in profound. A more in-depth study revealed the phrase refers to the comfort zone of one’s posse. In this case, Jackson extends that to his wife, Didi, to whom the volume is dedicated, and their children, and beyond, via quotes from Lord Byron, Langston Hughes, and others. Jackson has always been extending, in his poetry, from his first book, Leaving Saturn, which established in vivid detail his North Philadelphia roots, to recent poems from the ongoing sequence “Urban Renewal,” set in the Cyclades, Spain, Brazil, Kenya, and Italy. -
ANNUAL REPORT 2013 BOARD of TRUSTEES 5 Letter from the Chair
BOARD OF TRUSTEES 2 LETTER FROM THE CHAIR 4 A STRATEGIC VISION FOR THE 6 PHILADELPHIA MUSEUM OF ART A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Learning 30 Connecting and Collaborating 38 Building 48 Conserving 54 Supporting 60 Staffing and Volunteering 70 A CALENDAR OF EXHIBITIONS AND EVENTS 75 FINANCIAL STATEMENTS 80 COMMIttEES OF THE BOARD OF TRUSTEES 86 SUPPORT GROUPS 88 VOLUNTEERS 91 MUSEUM STAFF 94 BOARD OF TRUSTEES TRUSTEES EMERITI TRUSTEES EX OFFICIO OFFICERS Peter A. Benoliel Hon. Tom Corbett Constance H. Williams Jack R Bershad Governor, Commonwealth Chair, Board of Trustees Dr. Luther W. Brady, Jr. of Pennsylvania and Chair of the Executive Committee Helen McCloskey Carabasi Hon. Michael A. Nutter Mayor, City of Philadelphia H. F. (Gerry) Lenfest Hon. William T. Raymond G. Perelman Coleman, Jr. Hon. Darrell L. Clarke Chairs Emeriti Ruth M. Colket President, City Council Edith Robb Dixon Dennis Alter Hannah L. Henderson Timothy Rub Barbara B. Aronson Julian A. Brodsky B. Herbert Lee The George D. Widener Director and Chief David Haas H. F. (Gerry) Lenfest Executive Officer Lynne Honickman Charles E. Mather III TRUSTEES Victoria McNeil Le Vine Donald W. McPhail Gail Harrity Vice Chairs Marta Adelson Joan M. Johnson David William Seltzer Harvey S. Shipley Miller President and Chief Operating Officer Timothy Rub John R. Alchin Kenneth S. Kaiserman* Martha McGeary Snider Theodore T. Newbold The George D. Widener Dennis Alter James Nelson Kise* Marion Stroud Swingle Lisa S. Roberts Charles J. Ingersoll Director and Chief Barbara B. Aronson Berton E. Korman Joan F. Thalheimer Joan S.