PETER HUJAR – Thek’S Studio 1967

Total Page：16

File Type：pdf, Size：1020Kb

PETER HUJAR – Thek’s Studio 1967 7 September – 2 October 2011 private view 7 September 6.00 – 8.00pm Maureen Paley is pleased to present an exhibition of newly discovered photographs taken by Peter Hujar in Paul Thek’s studio from 1967. Paul Thek moved between New York and various European cities in the 1970s. In addition to the sculptures and installations for which he is best known, he made paintings and drawings based on observation in Ponza (Italy), Fire Island and Manhattan. They punctuate a profoundly disparate practice and suggest a continued engagement with his place in the world. The images Peter Hujar took in his close friend’s studio in 1967 lovingly probe its ephemera, Thek’s process and his public persona. Originally taken for potential use in association with Thek’s solo exhibition at Stable Gallery, many images in this series providentially document the making of his infamous sculpture The Tomb/Death of a Hippie. Now widely considered to be the masterwork of his 1960s sculpture. The Tomb was destroyed after languishing in storage, with Thek reportedly having refused delivery of the piece in 1981. Aside from the one used for the Stable Gallery announcement, these images have never been published or exhibited until recently. Photographs from this studio session were uncovered during the research for Paul Thek: Diver, a retrospective curated by Elisabeth Sussman and Lynn Zelevansky. Paul Thek: Diver opened at the Whitney Museum of American Art, New York in October 2010 and is on tour to the Carnegie Museum of Art, Pittsburgh and the Hammer Museum, Los Angeles. Together with these photographs the gallery will also present a series of etchings by Paul Thek. For further information please contact Vera Hild – [email protected] .

Copy Link

Recommended publications

R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985).
[Show full text]
Lives and Works in New York
Jon Kessler Lives and works in New York Selected Solo Exhibitions 2008 Unlimited, Art Basel, Basel Jon Kessler, Reg Vardy Gallery, University of Sunderland, UK Jon Kessler, Louisiana Museum of Moderne Kunst, Copenhagen 2007 Galerie Hans Mayer, Dusseldorf Arndt and Partner, Berlin Jon Kessler, The Drawing Center, New York, NY 2006 The Place at 4 AM, Phoenix Kulturstiftung/Sammlung Falckenberg 2005 Hermes, Tokyo, Japan Jon Kessler, MOMA P.S. 1, Long Island City, NY 2004 Deitch Projects, New York, NY Hermes, Forum Gallery, Tokyo 2003 Hermes, Tokyo, Japan 2002 Hermes, Tokyo, Japan 1999 Luhring Augustine Gallery, New York, NY 1997 Jon Kessler, The University of the Arts, Philadelphia, PA 1996 Jon Kessler, The Augustus Saint Gardens Memorial, Cornish, NH 1994 Luhring Augustine Gallery, New York Jon Kessler’s Asia, Kestner-Gesellschaft, Hannover; Neue Galerie am Landesmuseum Joanneum, Graz Jon Kessler, Salzburger Kunstverein, Salzburg Jon Kessler, Puerto de Santander, Santander 1993 Jon Kessler, Kunstverein, Hamburg 1992 Galerie Max Hetzler, Cologne Luhring Augustine Gallery, New York, NY Jon Kessler, Nanba City Hall, Osaka Jon Kessler, Spiral Garden, Tokyo 1991 Galerie Metropol, Vienna Jon Kessler, Carnegie Museum of Art, Pittsburgh, PA 1990 Luhring Augustine Gallery, New York, NY Jon Kessler, Centre d'Art d'Ivry 1989 Galerie Crousel - Robelin, Paris Galerie Ursula Schurr, Stuttgart Luhring Augustine Hetzler Gallery, Santa Monica Multiples, Galerie Gisela Capitain, Cologne 1988 Galerie Max Hetzler, Cologne 1987 Luhring, Augustine & Hodes, New
[Show full text]
The Encrypted Object: the Secret World of Sixties Sculpture
Title Page The Encrypted Object: The Secret World of Sixties Sculpture Joanne Louise Applin University College London PhD nL ABSTRACT This thesis examines the work of artists Lucas Samaras,Lee Bontecou and HC Westermann, specifically the way in which they have been excluded from dominant accounts of 1960s sculptural practice. I explore the ways in which a theory of 'secrecy' provides a framework through which to think about each of these artists. Chapter one focuses on Samaras's use of small-scale boxes in relation to his dialogue with the Minimal cubic structure, whilst the second chapter examines the structures of Bontecou in terms of their 'secrecy'. Working from welded steel armatures, Bontecou developed a unique practice of stretching dirty, worn skeins of fabric over the metal structure, always with a gaping hole backed with black felt, a disturbing void (MA around which the surface is organised and the spectatorial encounter disturbed. Unlike the voracious mode of looking Bontecou's works engender, or the partial, fragmented 'peering' offered by Samaras's boxes, Westermann's works require a type of looking that has more in common with the physical act of 'drifting'. I cast both the viewing experience and the mode of construction Westermann's works demand, in terms of 'bricolage' and 'braconnage' (or 'poaching). The concluding chapter analyses the role of the artistic homage and notion of influence, taking as model the work of psychoanalysts Nicolas Abraham and Maria Torok on haunting and secrecy in relation to the work of Westermann alongside that of Bruce Nauman and Rachel Whiteread. In chapter four I introduce the idea of the 'phantom, as a way of thinking through the problems of inheritance at work in the artistic homage in terms of a series of ruptures, using Abraham and Toroks' concept of the 'transgenerational phantom', in which familial secretsare unwittingly inherited by one's ancestors.
[Show full text]
FIRST MAJOR US RETROSPECTIVE of the WORK of PAUL THEK to OPEN at the WHITNEY October 21, 2010-January 9, 2011
FIRST MAJOR US RETROSPECTIVE OF THE WORK OF PAUL THEK TO OPEN AT THE WHITNEY October 21, 2010-January 9, 2011 Peter Hujar, Thek in the Palermo Catacombs , 1963 (reproduced from the original negative, 2010). © 1987 The Peter Hujar Archive LLC; courtesy Matthew Marks Gallery, New York NEW YORK, October 20, 2010 – An artist who defies classification, Paul Thek (1933-1988), the sculptor, painter, and creator of radical installations who was hailed for his work in the 1960s and early 70s, then nearly eclipsed within his own short lifetime, is the subject of an upcoming retrospective co-organized by the Whitney Museum of American Art and Carnegie Museum of Art. Paul Thek: Diver, A Retrospective , the first major exhibition in the United States to explore more… Paul Thek: Diver, A Retrospective , 2 the work of the legendary American artist, debuts in the Whitney’s fourth-floor Emily Fisher Landau Galleries, from October 21, 2010 to January 9, 2011; it travels to Carnegie Museum of Art, from February 5 to May 1, 2011, and then to the Hammer Museum, Los Angeles, from May 22 to September 4, 2011. Co-curators Elisabeth Sussman, curator and Sondra Gilman Curator of Photography at the Whitney, and Lynn Zelevansky, the Henry J. Heinz II Director of Carnegie Museum of Art, write in their catalogue introduction, “If today his art appears more relevant than ever, it may be because so many in the art world have hearkened to Thek’s tune and moved closer to the art he made: an art directly about the body; an art of moods, mysteries, and communal ideas; an art that was ephemeral, disrespectful of the conditions of museums, and that essentially ceased to exist once an exhibition closed.” The title of the exhibition, “Diver,” refers to paintings that Thek made in 1969-70 on the island of Ponza, off the coast of southern Italy, possibly inspired by the cover slab from the Tomb of the Diver , an ancient fresco unearthed in Paestum in 1968.
[Show full text]
Fit to Print May 1 – June 30, 2021
FOR IMMEDIATE RELEASE April 20, 2021 CONTACT: Mikaela Hawk, [email protected] Fit to Print May 1 – June 30, 2021 PHILADELPHIA, PA – (April 20, 2021) The Print Center is pleased to present Fit to Print, an online exhibition which explores the use of newspapers in art from the post-war era to the present day. It addresses how artists work with the medium of newsprint as a nexus where the studio, everyday life and current events perennially merge and collide. This exploration is particularly timely in an age when truth in news is fractured and suspect, due to the proliferation of sensationalist stories pitted against traditional sources of journalism. Fit to Print features Lisa Blas, Jennifer Bolande, Chryssa, Laura Fields, Jef Geys, Beatriz González, Helena Hernmarck, Rita Maas, Dan Perjovschi, Donna Ruff, Soledad Salamé and Paul Thek. The works of these twelve modern and contemporary artists reveal slippages between everyday life and what is depicted and recounted on the printed, published page. In this exhibition, they present visual spaces of rupture as sites for re-inscription, socio-political critique and material transformation. In each artwork, image and language oscillate, stretching notions of time and triggering memories. The urgency and implications of our engagement with the news is highlighted, asking viewers, “What do you read, what do you retain, what do you share?” Lisa Blas, First(s), Monday’s image, v. 2, Fit to Print is inspired by the legacy of artists who have harnessed the 2021, dye sublimation print, 40” x 32”. Courtesy of the Artist potency of newspaper’s form and surface.
[Show full text]
Richard Tuttle
RICHARD TUTTLE born 1941, Rahway, New Jersey lives and works in New York, NY and Abiquiú, NM EDUCATION 1963 Trinity College, Hartford, Connecticut, BA SELECTED SOLO / TWO PERSON EXHIBITIONS (* Indicates a publication) 2022 *What is the Object?, Bard Graduate Center, New York, NY 2021 Nine Stepping Stones, David Kordansky Gallery, Los Angeles, CA 2020 Stories, I-XX, Galerie Greta Meert, Brussels, Belgium TheStars, Modern Art, London, England 2019 Days, Muses and Stars, Pace Gallery, New York, NY *Basis, 70s Drawings, Pace Gallery, New York, NY Introduction to Practice, M Woods Museum, Beijing, China Double Corners and Colored Wood¸ Pace Gallery, Beijing, China 2018 For Ourselves As Well As For Others, Pace Gallery, Geneva, Switzerland 8 of Hachi, Tomio Koyama Gallery, Tokyo, Japan Intersections: Richard Tuttle. It Seems Like It’s Going To Be, The Phillips Collection, Washington, D.C. Thoughts of Trees, Pace Gallery, Seoul, South Korea 2017 100 Epigrams, Pace Prints, New York, NY Light and Color, Kunstmuseum aan Zee, Oostend, Belgium Books, Multiples, Prints, Writings and New Projects, Galerie Christian Lethert, Cologne, Germany The Critical Edge, Pace London, England My Birthday Puzzle, Modern Art, London, England De Hallen Haarlem, Haarlem, Netherlands [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 2016 *Both/And Richard Tuttle Print and Cloth, Oklahoma State University Museum of Art, Stillwater, OK *Al Cielo de Noche de Lima / To the Night Sky of Lima, Proyecto AMIL and Museo de Arte de
[Show full text]
Harald Szeemann Papers
http://oac.cdlib.org/findaid/ark:/13030/c8ff3rp7 Online items available Finding aid for the Harald Szeemann papers Alexis Adkins, Heather Courtney, Judy Chou, Holly Deakyne, Maggie Hughes, B. Karenina Karyadi, Medria Martin, Emmabeth Nanol, Alice Poulalion, Pietro Rigolo, Elena Salza, Laura Schroffel, Lindsey Sommer, Melanie Tran, Sue Tyson, Xiaoda Wang, and Isabella Zuralski. Finding aid for the Harald 2011.M.30 1 Szeemann papers Descriptive Summary Title: Harald Szeemann papers Date (inclusive): 1800-2011, bulk 1949-2005 Number: 2011.M.30 Creator/Collector: Szeemann, Harald Physical Description: 1998.3 Linear Feet(3882 boxes, 449 flatfiles, 6 crates, 3 bins, 24 reels) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Swiss art curator Harald Szeemann (1933-2005) organized more than 150 exhibitions during a career that spanned almost five decades. An advocate of contemporary movements such as conceptualism, land art, happenings, Fluxus and performance, and of artists such as Joseph Beuys, Richard Serra, Cy Twombly and Mario Merz, Szeemann developed a new form of exhibition-making that centered on close collaborative relationships with artists and a sweeping global vision of contemporary visual culture. He organized vast international surveys such as documenta 5; retrospectives of individual artists including Sigmar Polke, Bruce Nauman, Wolfgang Laib, James Ensor, and Eugène Delacroix; and thematic exhibitions on such provocative topics as utopia, disaster, and the "Plateau of Humankind." Szeemann's papers thoroughly document his curatorial practice, including preliminary notes for many projects, written descriptions and proposals for exhibitions, installation sketches, photographic documentation, research files, and extensive correspondence with colleagues, artists and collaborators.
[Show full text]
Bruce Nauman
BRUCE NAUMAN 1941 Born in Fort Wayne, Indiana Lives and works in New Mexico Education 1964 University of Wisconsin, Madison 1966 University of California, Davis Solo exhibitions 2021 Contrapposto Studies, Punta della Dogana, Venice 2020 Tate Modern, London touring to Stedelijk Museum, Amsterdam, and Pirelli HangarBicocca, Milan Models, Skulpturenhalle, Neuss, Germany 2019 Rooms, Bodies, Words, Museo Picasso Málaga, Spain Blue and Yellow Corridor, Jan Shrem and Maria Manetti Shrem Museum of Art, Davis, California 2018 Disappearing Acts, Schaulager, Basel touring to The Museum of Modern Art, New York and MoMA PS1, New York No, No, New Museum, Memorial Art Gallery, Rochester, New York Parameters, Estancia Femsa – Casa Luis Barragán, Mexico City Time Tunnel: Bruce Nauman’s Corridor Installation with Mirror, Natalie and James Thompson Art Gallery, San Jose, California 2017 ARTIST ROOMS, Tate Modern, London 2016 Contrapposto Studies, I through VII, Philadelphia Museum of Art, Pennsylvania Language Body, Center for Contemporary Art & Culture, Portland, Oregon 2015 Prints 1970-2006, Sims Reed Gallery, London Selected Works from 1967-1990, Gagosian Gallery, Paris Fondation Cartier pour l’Art Contemporain, Paris; Friedrich Kiesler Stiftung, Vienna; Skulpturenpark Waldfrieden, Wuppertal, Germany 2014 Bruce Nauman’s Words on Paper, Art Gallery of Ontario, Toronto 2013 Some Illusions -- Drawings and Videos, Sperone Westwater, New York Göteburgs Konstmuseum, Gothenburg, Sweden Bruce Nauman: Mindfuck. Hauser & Wirth, London 2012 One Hundred Fish Fountain,
[Show full text]
PRESS RELEASE PAUL THEK NOVEMBER 12, 2016 - JANUARY 7, 2017 Opening: November 12, 10Am - 6Pm
PRESS RELEASE PAUL THEK NOVEMBER 12, 2016 - JANUARY 7, 2017 Opening: November 12, 10am - 6pm Hannah Hoffman Gallery is pleased to present an exhibition of works by the renowned American artist Paul Thek (1933-1988). This will mark the first solo gallery exhibition of the artist’s work in Los Angeles, and the most significant presentation of his work in L.A. sincePaul Thek: Diver, a retrospective at the Hammer Museum in 2011. Beginning his career in New York primarily with painting, drawing and sculpture, Thek eventually became known in the 1960s for his immersive installations. From 1967 to 1976, Thek lived in Europe, where he began pioneering room-size environments. His works, often marked by fragile or ephemeral materials with regard to the personal, mystic, and spiritual, have been a source of widespread influence to artists such as Mike Kelley, Tony Oursler, and Robert Gober, amongst numerous others. Paul Thek was born in Brooklyn in 1933. He studied at the Art Students League, the Pratt Institute, and Cooper Union School of Art in the early 1950s. In 1954, Thek moved to Miami and first exhibited his works in 1957 at Mirrel Gallery. He was the recipient of the Fulbright Fellowship in 1967 and National Endowment for the Arts Grant in 1976. Thek’s work has been shown at numerous exhibitions internationally, including The Arts Club of Chicago, Chicago; The Corcoran Gallery of Art, Washington D.C.; P.S.1 Center for Contemporary Art, New York; Palais de Tokyo, Paris; Tate, London; Stedelijk Museum, Amsterdam; Reina Sofia, Madrid; Sammlung Falckenberg, Hamburg; and Moderna Museet.
[Show full text]
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Anarchic Intimacies: Queer Friendship and Erotic Bonds Permalink https://escholarship.org/uc/item/76510324 Author Dumortier, Laurence Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Anarchic Intimacies: Queer Friendship and Erotic Bonds A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Laurence Hilary Dumortier March 2017 Dissertation Committee: Dr. Jennifer Doyle, Chairperson Dr. Steven Gould Axelrod Dr. George E. Haggerty Copyright by Laurence Hilary Dumortier 2017 The Dissertation of Laurence Hilary Dumortier is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous support and guidance of my dissertation committee, Jennifer Doyle, Steven Gould Axelrod and George E. Haggerty. Their advice, suggestions and encouragement have been invaluable. I also want to recognize how inspiring they have been to me as examples of brilliant scholarship, dedicated teaching, and personal integrity. I’m also grateful to Stephen Koch who granted me several lengthy personal interviews about his recollections of Peter Hujar and David Wojnarowicz, and who allowed me to study previously unpublished photographs and contact sheets from the Peter Hujar Archive. iv ABSTRACT OF THE DISSERTATION Anarchic Intimacies: Queer Friendship and Erotic Bonds by Laurence Hilary Dumortier Doctor of Philosophy, Graduate Program in English University of California, Riverside, March 2017 Dr. Jennifer Doyle, Chairperson What makes a friendship “queer”? The queerness of the friendships I will explore in this project is, in part related to, but not co-extensive with, the sexual orientation of its participants.
[Show full text]
PETER HUJAR Page 1
PETER HUJAR page .1 PETER HUJAR 11 October 1934 – 26 November 1987 Born in Trenton, New Jersey SELECTED INDIVIDUAL EXHIBITIONS 2017-18 Peter Hujar: Speed of Life, Fundación MAPFRE, Barcelona, Spain; Morgan Library, New York, NY; Berkeley Art Museum, Berkeley, CA 2016 Peter Hujar: Lost Downtown, Paul Kasmin Gallery with Pace/MacGill Gallery, New York, NY 2015 Peter Hujar: Night, Galerie Thomas Zander, Köln, Germany Peter Hujar, Buchholz Galerie, Köln, Germany 2014 Love & Lust, Fraenkel Gallery, San Francisco, CA 2011 Three Lives: Peter Hujar, Paul Thek, & David Wojnarowicz, Ma[hew Marks Gallery, New York, NY 2010 Peter Hujar: Thek’s studio 1967, Alexander & Bonin, New York; travelled to Mai 36 Galerie, Zürich, Switzerland 2009 Peter Hujar: Photographs 1956-1958, Ma[hew Marks Gallery, New York, NY 2008 Peter Hujar: Second Avenue, Ma[hew Marks Gallery, New York, NY Peter Hujar, Maureen Paley, London, England Peter Hujar: Photography in the SevenLes (The Outsiders), Marie[a Neuss Projects, London, England 2007 Peter Hujar, Insatute of Contemporary Arts, London, England FRAENKELGALLERY.COM [email protected] PETER HUJAR page .2 2005 Peter Hujar, P.S.1 Contemporary Art Center, Long Island City, N.Y. Night, Fraenkel Gallery, San Francisco, CA; Ma[hew Marks Gallery, New York, NY; Howard YeZerski Gallery, Boston, MA; Scalo Galerie, Zürich, Switzerland 2002 Peter Hujar, Fraenkel Gallery, San Francisco, CA Portraits in Life & Death, Ma[hew Marks Gallery, New York, NY 2000 Photographs 1980–1987, Ma[hew Marks Gallery, New York, NY 1999 Galerie Berinson, Berlin Howard YeZerski Gallery, Boston, MA Hujar, The Stephen Daiter Gallery, Chicago, IL Some Sort of Grace: A RelaLonship, PPOW, New York, NY (with David Wojnarowicz) 1998 Seminal Works, James Danziger Gallery, New York, NY 1996 Peter Hujar: Das Photographische Werk, DAAD Galerie, Berlin, Germany; Galerie Rodolphe Janssen, Brussels, Belgium 1995 Peter Hujar.
[Show full text]
Large Print Guide Andy Warhol
ANDY WARHOL 12 March – 15 November 2020 LARGE PRINT GUIDE 6 7 5 8 4 9 3 10 11 1 2 12 WARHOL AUDIO GUIDE Scan this QR code to play the FREE Warhol audio guide. Place a smart phone camera over the QR code or click on the URL. Hear commentary, stories and personal reflections from Tate curators and Warhol collaborators. Please use headphones https://pwa.aiwebservices.com/c/warholtatemodern 3 CONTENTS Introduction ........................................................................5 1. Andrew Warhola ..............................................................7 2. Sleep .............................................................................20 3. Pop ................................................................................24 4. The Factory ....................................................................46 5. Silver Clouds ..................................................................60 6. Exploding Plastic Inevitable ............................................63 7. The Shooting ..................................................................71 8. Back to work ..................................................................90 9. Ladies and Gentlemen ....................................................99 10. Exposures ...................................................................115 11. Mortal Coil .................................................................. 129 12. The Last Supper .......................................................... 135 Credits ............................................................................
[Show full text]