Louise Lawler

Total Page:16

File Type:pdf, Size:1020Kb

Louise Lawler Louise Lawler Biographie / Biography geboren / born in 1947 in Bronxville, New York lebt und arbeitet / lives and works in Brooklyn, New York Ausbildung / Education 1969 BFA Cornell University, Ithaca, New York Einzelausstellungen (Auswahl) / Selected solo exhibitions 2020 'Metro Pictures: 40 Years', Metro Pictures, New York, USA 2019 'Andy in Chicago', Art Institute of Chicago, USA 'Is Anybody Home', Marc Jancou Chalet, Rossinière, CH 2018 'She’s Here', Sammlung Verbund, Vienna, AT 'Edits and Projections (with Rhea Anastas and Robert Snowden)', 80WSE, New York, USA 'After', Campoli Presti, Paris, FR 2017 'WHY PICTURES NOW', MoMA, New York, USA 2015 'No Drones', Blondeau & Cie, Geneva, CH 2014 'The High Line Billboard', New York, USA 'No Drones', Sprüth Magers, Berlin, DE 'No Drones', Studio Guenzani, Milan, IT 'No Drones', Galerie Greeta Meert, Brussels, BE 'No Drones', Sprüth Magers, London, UK 'No Drones', Metro Pictures, New York, USA 'No Drones', Yvon Lambert, Paris, FR 2013 'Adjusted', Museum Ludwig, Cologne, DE 'November 1 – December 21' (two-person show with Liam Gillick), Casey Kaplan, New York, USA 2012 '(Selected). Louise Lawler’, Galerie Neue Meister, Albertinum, Dresden, DE 'A Movie Will Be Shown Without the Picture', The Movie Cinema, Amsterdam, NL (screening) 2011 'Fitting at Metro Pictures', Metro Pictures Gallery, New York, USA 'No Drones', Sprüth Magers, London, UK 2010 'Later', Yvon Lambert, Paris, FR 2009 'Taking Place', Sprüth Magers, Berlin, DE 2008 'Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other', Metro Pictures, New York, USA 2007 'Where is the Nearest Camera', Sprüth Magers, London, UK 'Louise Lawler: The Tremaine Pictures 1984-2007', BFAS Blondeau Fine Art Services, Geneva, CH 'No Official Estimate', Yvon Lambert, Paris, FR Studio Guenzani, Milan (two-person exhibition with Cindy Sherman), IT 2006 'Twice Untitled and Other Pictures (looking back)', Wexner Center, Ohio, USA 2005 'In and Out of Place: Louise Lawler and Andy Warhol', Dia: Beacon, New York, USA 'MoMA in Hamburg: Louis Lawler', Kunstverein Hamburg, DE 2004 'Not there and other works', Sprüth Magers Lee, London, UK 'Louise Lawler and Others', Museum für Gegenwartskunst, Basel, CH 'Looking Forward', Metro Pictures, New York, USA 2003 'Selected works from 1980 to 2000 & Helms Amendment (963) from 1989', Blondeau & Cie, Geneva, CH 'Probably Not in the Show', Portikus, Frankfurt, DE 'New Walls', Yvon Lambert, Paris, FR 'Add to It', Portikus, Frankfurt, DE 2001 'More Pictures and Other Pictures', Galerie Meert Rihoux, Brussels, BE 'Dunn-Rite and Other Pictures', Studio Guenzani, Milan, IT 'Controlled Temperature', Art & Public, Geneva, CH 2000 'More Pictures', Metro Pictures, New York, USA 'Paint, Wood, Plaster, Fabric, Glass and Other Pictures', Richard Telles Fine Art, Los Angeles, USA 'More Pictures', Neugerriemschneider, Berlin, DE 1999 'Hand On Her Back’ and Other Pictures', Monika Sprüth Galerie, Cologne, DE 'The Tremaine Series 1984', Skarstedt Fine Art, New York, USA 'An Exhibition of Photographs by Louise Lawler From 1985 through 1993 Selected and Installed by Jürgen Becker', Jürgen Becker, Hamburg, DE 1998 'Pictures That May or May Not Go Together', Gallery Larsen, Stockholm, SE 1997 'Farbe – Wände – Bilder', Monika Sprüth Galerie, Cologne, DE 'Paint, Walls, Pictures: Something Always Follows Something Else. She Wasn't Always a Statue', Metro Pictures, New York, USA 'Anonymous', a + a company, New York, USA 'Monochrome', Hirshhorn Museum and Sculpture Garden, Washington D.C., USA 1996 'It Could Be Elvis and Other Pictures', Galerie Six Friedrich, Munich, DE S.L. Simpson Gallery, Toronto, CA 'Fixed Intervalls (two-persons exhibition with Allan McCollum)', John Weber Gallery, New York, USA 1995 'A Spot on the Wall', Münchener Kunstverein, Munich; Neue Galerie, Graz; De Appel, Amsterdam, NL 1994 'Press-papiers, cartes postales, images et cannibalisme', Centre d'Art Contemporain, Geneva, CH 'External Stimulation', Galleria Klemens Gasser, Bolzano, IT 'External Stimulation', Monika Sprüth Galerie, Cologne, DE 'External Stimulation', Studio Guenzani, Milan, IT 'External Stimulation', Metro Pictures, New York, USA 'Blue Cibachromes and Two Fixed Intervals', Friedrich Petzel/ Nina Borgman Gallery, New York, USA (with Allan McCollum) 1993 Sprengel Museum, Hannover, DE 1992 Galerie Isabella Kacprzak, Cologne, DE 1991 'For Sale', Metro Pictures, New York, USA Galerie Meert-Rihoux, Brussels, BE 1990 'A Vendre', Galerie Yvon Lambert, Paris, FR 'The Enlargement of Attention, No One Between the Ages of 21 and 35 is Allowed, Connections: Louise Lawler', Museum of Fine Arts, Boston, USA 1989 'How Many Pictures', Metro Pictures, New York, USA 'The Show Isn't Over', Photographic Resource Center, Boston, USA 1988 'Vous Avez Déjà Vu Ça', Galerie Yvon Lambert, Paris, FR 'Les Objets', Galerie Meert Rihoux, Brussels, BE 'Work by Louise Lawler and Allan McCollum and Fixed Intervals as Matter of Agreement', Le Consortium, Dijon, FR (two-person exhibition with Allen McCollum) 'Investigations 26: Louise Lawler', Institute of Contemporary Art, University of Pennsylvania, Philadelphia, USA (Phamplet with essay by Jack Bankowsky) 1987 'It Remains To Be Seen', Metro Pictures, New York, USA 'Enough, Projects: Louise Lawler', The Museum of Modern Art, New York, USA 'As Serious as a Circus', Isabella Kacprzak, Stuttgart, DE 1986 'What is the Same', Maison de la Culture et de la Communication de Saint-Etienne, Saint-Etienne, FR 'The Big Top Is Up', Kuhlenschmidt / Simon, Los Angeles, USA 1985 'Interesting', Nature Morte, New York, USA 1984 'Home / Museum – Arranged for Living and Viewing', Matrix, The Wadsworth Atheneum, Hartford, USA 'For Presentation and Display: Ideal Settings', Diane Brown Gallery, New York, USA (two-person exhibition with Allen McCollum) 1982 'Another Gallery', Anna Leonowens Gallery II, Halifax, UK 'An Arrangement of Pictures', Metro Pictures, New York, USA 1981 'Jancar/Kuhlenschmidt', Jancar/Kuhlenschmidt Gallery, Los Angeles, USA 1979 'A Movie Will Be Shown Without the Picture', Aero Theater, Santa Monica, USA 1973 'One Person University of California', Davis, New York, USA Gruppenausstellungen (Auswahl) / Selected group exhibitions 2020 'Pictures, Revisited', The Met, New York, USA 'Louise Lawler, R.H. Quaytman, Cameron Rowland', Galerie Buchholz, Cologne, DE 'Social Photography VIII', carriage trade, New York, USA 'The Brandhorst Collection – Lawler, Twombly, Warhol', Museum Brandhorst, Munich, DE 'Sculpture Garden', Geneva Biennale, Geneva, CH 'Material Meanings: Selections from the Constance R. Caplan Collection', Art Institute of Chicago, USA 'Moving Energies – 10 years me Collectors Room', me Collectors Room / Stiftung Olbricht, Berlin, DE 2019 '5 Ways In', Walker Art Center, Minneapolis, USA 'Sound Art? ', Fundació Loan Miró, Barcelona, ES 'Inaugural Exhibition', Rubell Museum, Miami, USA 'Public Images', Museum of Modern Art, New York, USA 'New York: The 1980s, Part I', Le Consortium, Dijon, FR 'Theater of Operations: The Gulf Wars 1991-2011', MoMA PS1, New York, USA 'Moving The Image', curated by Duncan Wooldridge, Camberwell Space, University Gallery at University of Arts London, UK 'Eau de Cologne', Sprüth Magers, H Queen´s, Hongkong, CN 'Birdcalls 1972/81', University Art Museum, University at Albany, State University of New York, USA 'Louis Lawler: Birdcalls', Museum of Contemporary Art, Cleveland, USA 'Spring 2019: Collected Works', Rennie Museum, Vancouver, CA 'Front Room', Baltimore Museum of Art, USA 'Garden of Earthly Delights', Gropius Bau, Berlin, DE 'Constellations', Museu Coleção, PT 'Forever Young: 10 Years Museum Brandhorst', Museum Brandhorst, Munich, DE 'Francesco Vezzoli: Le Lacrime dei poeti', Collection Lambert, Avignon, FR 2018 'Décor: Barbara Bloom, Andrea Fraser, Louise Lawler', MOCA Pacific Design Center, Los Angeles, USA 'Affective Affinities', 33rd Sao Paulo Bienal, BR 'Exhibiting the Exhibition', Kunsthalle Baden-Baden, DE 'Faithless Pictures', National Museum, Oslo, NO 'Brand New', Hirshhorn Museum, Washington, USA 'The Classical Now', Somerset House, King’s College London, UK 'Unexchangeable', WIELS Contemporary Art Centre, Brussels, BE 'Michael Jackson: On the Wall', National Portrait Gallery, London, UK; Grand Palais, Paris, FR 'Other Mechanisms', Secession Vienna, AT 'The Artist is Present', Yuz Museum, Shanghai, CN 'Hunter of Worlds', Salts, Birsfelden, CH 'Picture Industry' , LUMA, Arles, FR 'Signal or Noise: The Photographic II', S.M.A.K.Ghent, BE 'Local Histories', Hamburger Bahnhof, Berlin, DE 2017 'Pop Pictures People', Museum Brandhorst, Munich, DE 'Remastered – die Kunst der Aneignung', Kunsthalle Krems, Krems, AT 'Why Can’t Minimal', The Rooms, St. John’s, CA 'We Need to Talk', Petzel Gallery, New York, USA 'Eau de Cologne', Adrian Rosenfeld Gallery, San Francisco, USA 'Serialities', Hauser & Wirth, New York, USA 'Come to the Edge', Luxembourg & Dayan, New York, USA & London, UK 'Plages', Campoli Presti, London, UK & Paris, FR 'How Beautiful it is and how Easily it can be Broken', S.M.A.K., Ghent, BE 'A Slow Succession with Many Interruptions', San Francisco Museum of Modern Art, USA 'Poïpoï: A Private Collection in Monaco', Nouveau Musée National de Monaco, MC 'Recent Acquisitions', Tate Modern, London, UK 'The World is Made of Stories', Astrup Fearnley Museum, Oslo, NO 'PLAGES', Campoli Presti, London, UK and Paris, FR 'The Ends of Collage', Louxembourg & Dayan, New York, USA & London, UK 'Double Take', Skarstedt Gallery, London, UK 'Wundercamera: Savannah',
Recommended publications
  • The Kids Are Always Right Helen Molesworth on the Reinstallation of Moma’S Permanent Collection
    TABLE OF CONTENTS PRINT JANUARY 2020 THE KIDS ARE ALWAYS RIGHT HELEN MOLESWORTH ON THE REINSTALLATION OF MOMA’S PERMANENT COLLECTION View of “Hardware/Software,” 2019–, Museum of Modern Art, New York. Foreground, from left: Joan Semmel, Night Light, 1978; Maren Hassinger, Leaning, 1980; Senga Nengudi, R.S.V.P. I, 1977/2003. Background: Cady Noland, Tanya as Bandit, 1989. Photo: John Wronn. THE VIBE started to trickle out via Instagram. For a few days, my feed was inundated with pictures of all the cool new shit on view at the Museum of Modern Art, New York. You could smell victory in the air: The artists were happy. Then the New York Times weighed in and touched the wide shoulders of the new, bigger-is-better MoMA with their magic wand. Could it be? Had MoMA, the perennial whipping boy of art historians, radical artists, and cranky art critics, gotten it right? And by right, at this moment, we mean that the collection has been installed with an eye toward inclusivity—of medium, of gender, of nationality, of ethnicity—and that modernism is no longer portrayed as a single, triumphant narrative, but rather as a network of contemporaneous and uneven developments. Right means that the curatorial efforts to dig deep into MoMA’s astounding holdings looked past the iconic and familiar (read: largely white and male). Right means that the culture wars, somehow, paid off. Right means that MoMA has finally absorbed the critiques of the past three decades—from the critical tear-down of former chief curator of painting and sculpture Kirk Varnedoe’s 1990 show “High and Low: Modern Art and Popular Culture” to the revisionist aspirations of former chief curator of drawings Connie Butler’s “Modern Women” project (2005–).
    [Show full text]
  • The Causes of the German Emigration to America, 1848-1854
    xrmv.ov THE CAUSES OF THE GERMAN EMIGRATION TO AMERICA, 1848 TO 1854 BY JESSIE JUNE KILE A. B. Rockford College, 1912 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY IN THE GRADUATE SCHOOL^, OF THE UNIVERSITY OF ILLINOIS 1914 13 14- UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL \ I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY \AsQJ,^ ^-slAAAsL ^k^L ENTITLED ~rtjL C[ Vx^c^CLa^- "EL^^ - % 'si^AMico^ I i±.t / BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE UAsCX/LAU*QjiXul, £H-3. DEGREE OF Qrf l^M^'v^v/=> b-^-^f . hy Charge of Major Work Head of Department Recommendation concurred in: Committee on Final Examination 284593 O' . I TABLE OF COI7TEI7ES CHAPTER P*GE T~ tdotitt^ n T TOT 1 Emigration previous to 1848; comparison of the German with the French, English, and Irish emigration; character of German emi- grants • II RELIGIOUS CAUSES Religious emigration previous to 1848; Pro- testant dissatisfaction; growth of free think- ing; German Catholicism; effects of religious disturbances Ill POLITICAL CAUSES 14 ?he Mettemioh policy; the Revolution of 1848 and its failure; the reaction. 17 ECONOMIC CAUSES V° 23 .^Overpopulation; famine, prioes, and emigration; reudal tenure and Stein-Hardenberg reforms; em- igration and rainfall; indiistrial revolution; wages ; commercial crisis. 1 Y SH? ^ I V I'2D PRIVITil AID Emigration Societies; legal freedom of emigra- tion; advieo to emigrants; state appropriations. T CAUSES II! AMERICA 44. Opening up of the West; discovery of gold in California; letter: -,nd advice of earlier emi- grants .
    [Show full text]
  • An Exhibition of Conceptual Art
    THE MUSEUM OF ME (MoMe) An Exhibition of Conceptual Art by Heidi Ellis Overhill A thesis exhibition presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Fine Arts in Studio Art East Campus Hall Gallery of the University of Waterloo April 13 to April 24, 2009 Waterloo, Ontario, Canada, 2009. ©Heidi Overhill 2009 i Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-54870-7 Our file Notre référence ISBN: 978-0-494-54870-7 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Women in the City Micol Hebron Chapman University, [email protected]
    Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art 1-2008 Women in the City Micol Hebron Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Part of the Art and Design Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Hebron, Micol. “Women in the City”.Flash Art, 41, pp 90, January-February, 2008. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Women in the City Comments This article was originally published in Flash Art International, volume 41, in January-February 2008. Copyright Flash Art International This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/45 group shows Women in the City S t\:'-: F RA:'-.CISCO in over 50 locations in the Los ments on um screens throughout Museum (which the Guerrilla Angeles region. Nobody walks in the city, presenting images of Girls have been quick to critique LA, but "Women in the City" desirable lu xury items and phrases for its disproportionate holdings of encourages the ear-flaneurs of Los that critique the politics of work by male artists). The four Angeles to put down their cell commodity culture. L{)uisc artists in "Women in the City," phones and lattcs and look for the Lawler's A movie will be shown renowned for their ground­ billboards, posters, LED screens without the pictures (1979) was re­ breaking exploration of gender and movie marquis that host the screened in it's original location stereotypes, the power of works in this eJ~;hibition.
    [Show full text]
  • The Districts of North Rhine-Westphalia
    THE DISTRICTS OF NORTH RHINE-WESTPHALIA S D E E N R ’ E S G N IO E N IZ AL IT - G C CO TIN MPETENT - MEE Fair_AZ_210x297_4c_engl_RZ 13.07.2007 17:26 Uhr Seite 1 Sparkassen-Finanzgruppe 50 Million Customers in Germany Can’t Be Wrong. Modern financial services for everyone – everywhere. Reliable, long-term business relations with three quarters of all German businesses, not just fast profits. 200 years together with the people and the economy. Sparkasse Fair. Caring. Close at Hand. Sparkassen. Good for People. Good for Europe. S 3 CONTENTS THE DIstRIct – THE UNKnoWN QUAntITY 4 WHAT DO THE DIstRIcts DO WITH THE MoneY? 6 YoUTH WELFARE, socIAL WELFARE, HEALTH 7 SecURITY AND ORDER 10 BUILDING AND TRAnsPORT 12 ConsUMER PRotectION 14 BUSIness AND EDUCATIon 16 NATURE conseRVAncY AND enVIRonMentAL PRotectIon 18 FULL OF LIFE AND CULTURE 20 THE DRIVING FORce OF THE REGIon 22 THE AssocIATIon OF DIstRIcts 24 DISTRIct POLICY AND CIVIC PARTICIPATIon 26 THE DIRect LIne to YOUR DIstRIct AUTHORITY 28 Imprint: Editor: Dr. Martin Klein Editorial Management: Boris Zaffarana Editorial Staff: Renate Fremerey, Ulrich Hollwitz, Harald Vieten, Kirsten Weßling Translation: Michael Trendall, Intermundos Übersetzungsdienst, Bochum Layout: Martin Gülpen, Minkenberg Medien, Heinsberg Print: Knipping Druckerei und Verlag, Düsseldorf Photographs: Kreis Aachen, Kreis Borken, Kreis Coesfeld, Ennepe-Ruhr-Kreis, Kreis Gütersloh, Kreis Heinsberg, Hochsauerlandkreis, Kreis Höxter, Kreis Kleve, Kreis Lippe, Kreis Minden-Lübbecke, Rhein-Kreis Neuss, Kreis Olpe, Rhein-Erft-Kreis, Rhein-Sieg-Kreis, Kreis Siegen-Wittgenstein, Kreis Steinfurt, Kreis Warendorf, Kreis Wesel, project photos. © 2007, Landkreistag Nordrhein-Westfalen (The Association of Districts of North Rhine-Westphalia), Düsseldorf 4 THE DIstRIct – THE UNKnoWN QUAntITY District identification has very little meaning for many people in North Rhine-Westphalia.
    [Show full text]
  • Mdms Fraser List of Works E.Docx
    Andrea Fraser List of Works This list of works aims to be comprehensive, and works are listed chronologically. A single asterisk beside the title (*) indicates that an installation or project is represented in the exhibition only as documentation. Two asterisks (**) indicate that a work is not included in the exhibition. The context of a performance or work (for example commission, project, or exhibition) is listed after the medium. When no other performer is listed, the artist performed the work alone. When no other location is listed, videotapes document the original performance. Unless otherwise specified, videotapes are standard definition. If no other language is indicated, texts, performances, and videos are in English. Dates of performances are noted where possible. Dimensions are given as height x width x depth. Collection credits have been listed for series up to editions of three and public collections have been listed for editions of four to eight. Unless otherwise specified, exhibited works are on loan from the artist. Woman 1/ Madonna and Child 1506–1967 , 1984 Artist’s book Offset print, 16 pages 8 5/8 x 10 1/16 in. (22 x 25.5 cm) Edition: 500 Untitled (Pollock/Titian) #1 , 1984/2005 (**) Digital chromogenic color print 26 3/4 x 60 in. (67.9 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #2, 1984/2005 (**) Digital chromogenic color print 27 x 60 in. (68.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #3 , 1984/2005 (**) Digital chromogenic color print 40 x 60 in. (101.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #4 , 1984/2005 (**) Digital chromogenic color print 40 x 61 in, (101.6 x 154.94 cm) Edition: 5 + 1 AP 1/5 Kemper Museum of Art, Kansas City, MO Untitled (de Kooning/Raphael) #1 , 1984/2005 (**) Digital chromogenic color print 40 x 30 in.
    [Show full text]
  • Francesco Vezzoli: a True Hollywood Story’ We May Well Ask Who Exactly Is Francesco Vezzoli
    In the shadow of style: The invention of Francesco Vezzoli Gregory Burke Given the exhibition title ‘Francesco Vezzoli: A True Hollywood Story’ we may well ask who exactly is Francesco Vezzoli. Despite its explicit assertion to the contrary this very title immediately disrupts expectations of veracity in terms of a survey of the life and work of a contemporary artist. Rather, the appropriation of the E! True Hollywood Story moniker promises a no holes barred expose replete with revealed secrets and salacious reenactments. In short the title sets Vezzoli up as the potential victim of gossip, with its dependence on innuendo, misinformation and scandal. It raises the question as to who is telling the story with the presumption, given the contemporary art context and the artist’s oeuvre, that Vezzoli himself is at least complicit with its fabrication. While Vezzoli has included his artistic persona as a subject in much of his work, ‘Francesco Vezzoli: A True Hollywood Story’ suggests an autobiographic treatment to bring his persona centre stage. Nevertheless it also begs the question as to what Hollywood has to do with the contemporary Italian artist and what if anything can we expect to be true in the story that is to be told. The nucleus of the exhibition and the work that inspired the exhibition’s title, is the film installation ‘Marlene Redux: A True Hollywood Story!’, 2006. Vezzoli himself is the subject of the film through the tracking of his art career. Establishing his birthplace in Italy the film narrates his sojourn in London as a young art student at St Martins School of Art in the early 1990s, positioning his work in embroidery and needlepoint as a reaction to the largesse of the new wave of young British artists who were then invigorating the contemporary art scene in London.
    [Show full text]
  • Jenny Holzer, Attempting to Evoke Thought in Society
    Simple Truths By Elena, Raphaelle, Tamara and Zofia Introduction • A world without art would not only be dull, ideas and thoughts wouldn’t travel through society or provoke certain reactions on current events and public or private opinions. The intersection of arts and political activism are two fields defined by a shared focus of creating engagement that shifts boundaries, changes relationships and creates new paradigms. Many different artists denounce political issues in their artworks and aim to make large audiences more conscious of different political aspects. One particular artist that focuses on political art is Jenny Holzer, attempting to evoke thought in society. • Jenny Holzer is an American artist who focuses on differing perspectives on difficult political topics. Her work is primarily text-based, using mediums such as paper, billboards, and lights to display it in public spaces. • In order to make her art as accessible to the public, she intertwines aesthetic art with text to portray her political opinions from various points of view. The text strongly reinforces her message, while also leaving enough room for the work to be open to interpretation. Truisms, (1977– 79), among her best-known public works, is a series inspired by Holzer’s experience at Whitney Museum’s Independent Study Program. These form a series of statements, each one representing one individual’s ideology behind a political issue. When presented all together, the public is able to see multiple perspectives on multiple issues. Holzer’s goal in this was to create a less polarized and more tolerant view of our differing viewpoints, normally something that separates us and confines us to one way of thinking.
    [Show full text]
  • The Art of Duplicitous Ingemination
    Originally published in ALLAN McCOLLUM Stedelijk Van Abbemuseum Eindhoven, Holland; 1989 Allan McCollum: The Art of Duplicitous Ingemination LYNNE COOKE ‘THE QUESTION OF NUANCE (within unity) is linked to the model, while difference (within uniformity) is linked with mass-production. Nuances are infinite, they are an inflexion, renewed continually by invention within a free syntax. Differences are finite in number and result from the systematic bending of a paradigm. We must not make a mistake here: if nuance seems rare and the marginal difference unquantifiable, because it benefits from being diffused widely, structurally it is still only the nuance which is inexhaustible. (In this way the model is linked to the work of art). The serial difference returns into a finite combination, into a system which changes continually according to fashion but which, for each synchronic moment in which it is considered, is limited and narrowly restricted by the dictates of production. When all is said Allan McCollum. Over Ten Thousand and done, a limited range of objects is offered to the vast Individual Works (detail). 1987-88. majority through the series, while a tiny minority is Enamel on cast Hydrocal, 2” diameter each, lengths variable. presented with an infinite variation of models. The first social group is offered a repertoire (however vast) of fixed elements, while the latter is given a multiplicity of opportunities (the former is given an indexed code of values, the latter a continually new invention). The question of class is therefore fundamental to this whole business. Through the redundancy of its secondary characteristics, the serial object makes up for the loss of its fundamental qualities.
    [Show full text]
  • RICHARD PRINCE ALL AMERICAN IDOL to Be Offered in the POST-WAR & CONTEMPORARY ART - EVENING AUCTION Christie’S London, 8 King Street 14 October 2011
    For Immediate Release 26 September 2011 Contact: Cristiano De Lorenzo tel. +44 7500 815 344 [email protected] RICHARD PRINCE ALL AMERICAN IDOL To Be Offered In The POST-WAR & CONTEMPORARY ART - EVENING AUCTION Christie’s London, 8 King Street 14 October 2011 London - Four outstanding works by Richard Prince (B. 1949) will be offered at Christie's London on 14 October, forming highlights of the Post-War & Contemporary Art evening auction. Spanning the course of the artist’s rich career they include Untitled (Fashion) (1983-1984), Untitled (Cowboy) (1999), Nurse Forrester’s Secret (2002-2003) and Untitled (de Kooning) (2007). Dina Amin, Head of the Sale; Director of Post War and Contemporary Art, Christie's London: ‚In October we are delighted to unite two masterpieces from the course of Richard Prince’s rich career including the iconic photograph, Untitled (Cowboy) (1999) and the painterly Nurse Forrester’s Secret (2002-2003.) Richard Prince is a master of Appropriation art. One of the first of a group of artists emerging in the 1970s including Cindy Sherman and Louise Lawler, who came to be known as the ‘pictures generation’, he has transformed some of the most enduring and iconic popular images in America. Fundamentally challenging notions of authorship, ownership and aura, he has radically reinvented the work of art, creating his own unique signature.‛ A key highlight of the Prince section is the large scale, dramatically executed Untitled (Cowboy), presenting a denim-clad lonesome American ranger (illustrated above right.) Created in 1999, this is a magnificent example of Richard Prince’s most celebrated series, exploring the American idol ‘par excellence’: the cowboy.
    [Show full text]
  • Interview: Francesco Vezzoli
    Financial Times: 'Antidotes to Absurdity', by Rachel Spence, August 28th 2015 Interview: Francesco Vezzoli The Italian artist and film-maker on his ‘obsession’ with truth and the connection between sexuality, art and capitalism Generally, videos are a cross that art-lovers have to bear. Most are too long and pretentious, made by practitioners who would never have survived were they obliged to use a less generous medium such as paint or marble. So it was with a heavy heart that I pushed open the curtain that shielded Francesco Vezzoli’s film at the 2005 Venice Biennale. Six minutes later, I was reeling. For “Trailer for a Remake of Gore Vidal’s ‘Caligula’ ” was a hilarious riff on Bob Guccione’s 1979 movie Caligula. Disavowed by Vidal, the original screenwriter, Caligula had been panned by critics as a piece of hard-porn kitsch masquerading as a feature film. Vezzoli had made a trailer for a movie that didn’t exist inspired by one that was never what it pretended to be. Furthermore, he had scooped up Hollywood stars, including Helen Mirren — who had also appeared in Guccione’s film — Milla Jovovich and Benicio del Toro. Vidal himself intoned the introduction. Courtney Love popped up in a cameo as Caligula. Not only was it far more engaging than most artists’ films, the logistics were baffling. How did Vezzoli persuade his all-star cast to participate? Mirren is a busy woman. Vidal was no pushover. “Sincerity and flowers!” Vezzoli replies when I ask him, 10 years later, how he had convinced such legends to work with him.
    [Show full text]
  • Barbara Kruger Born 1945 in Newark, New Jersey
    This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek
    [Show full text]