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Faith Ringgold Interviewed by Dena Muller Date: Sunday, Nov
NYFAI Interview: Faith Ringgold interviewed by Dena Muller Date: Sunday, Nov. 25th, 2007 D.M. O.k. it’s November 25th of 2007, we’re at Faith Ringgold’s studio in New Jersey, and conducting the oral history interview for the New York Feminist Art Institute. My name is Dena Muller interviewing Faith Ringgold. So, we’re going to start just talking about the earliest history of the New York Feminist Art Institute. The gala to raise money to open the New York Feminist Art Institute was in March of 1979 and it was at the World Trade Center and the piece there by Louise Nevelson was being featured as part of the gala celebration and Louise was there. F.R. An outdoor piece. D.M. No, the indoor piece that was there (in lobby). F.R. The indoor piece. Now I’m completely foggy on that one. D.M. I raised it just to say do you remember the gala at all? You were involved in the New York Feminist Art Institute later, but do you remember the gala happening or do you remember hearing anything about it. F.R. Well, I’ll tell you, I’ve been in so many galas (laughter). D.M. We just want to . F.R. I remember there were lots of exciting things that happened. Most every week there was something, something to remember, something really historically moving that had to do with the feminist movement. And I know now that there is nothing. There is nothing. D.M. (hesitate) Right. F.R. -
The Evolution of Craft in Contemporary Feminist Art
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2010 The volutE ion of Craft in onC temporary Feminist Art Carolyn E. Packer Scripps College Recommended Citation Packer, Carolyn E., "The vE olution of Craft in onC temporary Feminist Art" (2010). Scripps Senior Theses. Paper 23. http://scholarship.claremont.edu/scripps_theses/23 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Evolution of Craft in Contemporary Feminist Art By: Carolyn Elizabeth Packer SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS Professor Susan Rankaitis Professor Nancy Macko May 3, 2010 This Senior Project is dedicated to my Grandmother, Gloria Carolyn Reich. Thank you for giving me the invaluable skills that have inspired my art and being the model for woman I strive to become. Thank you also to Professor Susan Rankaitis for inspiring my dedication to this project, and to Professor Nancy Macko for being such a supportive and encouraging advisor, thesis reader, and role model. 2 Women’s art is rooted in a long history of traditional craft practices. It is said that during the times of male-dominated society, if a woman had any brains she would explore her creativity through quilting, clothing design and needlework; creating utilitarian objects for the household to serve her husband and family. Being a part of an extended family lineage of talented and inspired craftswomen has provoked me to analyze the evolution of craft from a domestic practice into a higher form of feminist art. -
Nancy Azara Amy Brener Matthew Craven Melanie Daniel Jeffrey Gibson Emily Noelle Lambert September 12 - October 19, 2013 Trish Tillman
Nancy Azara Amy Brener Matthew Craven Melanie Daniel Jeffrey Gibson Emily Noelle Lambert September 12 - October 19, 2013 Trish Tillman Asya Geisberg Gallery is pleased to present Totem: an exploration of both the aesthetic qualities of totemic sculpture, as well as the symbolic, narrative, and trans-cultural borrowing of indigenous motifs endemic to much current art and culture. With a combination of sculpture, painting, and works on paper, the exhibition finds traces of a notion of totem whether in material or narrative choices, in works by seven artists from diverse origins. Jeffrey Gibson draws on his Native American heritage, and confounds the conventions of strict identity politics by combining it with Modernist abstraction, while Matthew Craven jumps across nations and cultures, disrupting strictly “authentic” narrative implications. Trish Tillman investigates her newly-discovered Native-American heritage for its suggested personal mythology, and conflates it with her pre-existing interest in the shamanistic rituals of everyday life. Melanie Daniel and Nancy Azara explore the narrative power and traditional totem’s use of figurative and animal parts, as symbolic, repetitive, and non-mimetic strategies. Amy Brener and Emily Noelle Lambert create towering, repetitive and stacked forms in freshly distinctive approaches and materials. Totems, in their original northwest coastal context, are an expression of ancestral pride, representing the divine origins of families. In their establishment of a constructed family lineage, they are akin to European heraldic crests. They also find parallels in carved figurative totems from Papua New Guinea, the anthropomorphic stacked Inushguks of the Inuktituk, African spirit totems, and the cross-cultural appeal of simple forms of cairns or a Louise Bourgeois or Brancusi sculpture. -
Winter 1989 CAA Newsletter
Newsletter Volume 14, Number 4 Winter 1989 CAA Makes Statement on Corcoran Decision At the October 14, 1989, meeting of the lectual self-expression. It would be a bition. but we must refrain from approach Board of Directors of the College Art breach of faith to our constituency if we did ing the Corcoran Gallery with proposals Association, Judith Brodsky, on behalf of not now speak out in support of the artists for events in conjunction with the 1991 the Artists Committee, of which she is who have over the past few months with national conference until such time as you chair, proposed a motion that CAA make a drawn their work from Corcoran-sponsored make progress in rethinking your goals statement on behalf of its membership exhibitions in protest over the cancel and policies to develop guidelines based on directed to the Board of Trustees of the lation of the Robert Mapplcthorpe show. the right to self-expression which has Corcoran Gallery of Art in Washington, We also want to go on record in our nourished the art of our country. We want D.C. The committee urged the Corcoran's own right as expressing our deep disap to express our encouragement for your board to respond to the Corcoran' s pointment over the revocation of your doing so. We also offer any expertise that cancellation of the Robert Mapplethorpe commitment to mounting that exhibition. might be helpful to you. exhibition. The following letter was sent We hope that in the wake of subsequent We realize the difficult nature of this to the Corcoran's Board of Trustees on events, you are in the process of develop situation, but we are confident that you will November 12, 1989: ing a policy of noncensorship. -
Joan Arbeiter Interviewed by Dena Muller Date: September 20Th, 2006
NYFAI Interview: Joan Arbeiter interviewed by Dena Muller Date: September 20th, 2006 Edited for clarity by J.A. DM: When did you first become involved with NYFAI? JA: Shortly before NYFAI opened its doors in 1979, I spotted a brief notice about it in Ms. Magazine. It interested me so much that I can still recall exactly where I was when I saw it. DM: What was the notice? Was it advertising for administrative help? JA: No. It was the announcement of the Gala Opening of NYFAI at the World Trade Center. So, I went to the opening and saw Louise Nevelson make her dramatic appearance as honored guest. It was a celebration. Donna Henes wove us all together with string and symbolism. There were wonderful happenings that evening – which was my first experience with this kind of female energy. DM: Why did you become involved? JA: Well, I was ready to return to school after my marriage and children had reached a certain level of maturity. I was picking up the threads of my formal education, which I began as an art major in college. I was ready to get my MFA and wanted to become a college art teacher, a Professor of Art. I had recently enrolled in a patriarchal institution for my MFA, and one of the elective courses was finding yourself an Internship. I decided to use this course as an opportunity to get as much experience in as many places as I could – and one of these places was NYFAI. I became a working intern at NYFAI and other places, and in turn I received graduate credit. -
Nancy+ Azara+ CV
A.I.R. NANCY AZARA CV website: nancyazara.com email: [email protected] EDUCATION AAS Finch College, N.Y. BS Empire State College S.U.N.Y Art Students League of New York, Sculpture with John Hovannes, Painting and Drawing with Edwin Dickinson Lester Polakov Studio of Stage Design, New York City SELECTED SOLO EXHIBITIONS 2021 High Chair and Other Works, A.I.R. Gallery, Brooklyn, NY 2020 Gold Coat with Red Triangle, Gallery Z, Windows Exhibition, New York, NY 2019 The Meeting of the Birds, curated by Robert Tomlinson, Kaaterskill Fine Arts Gallery, Hunter Village Square, NY 2018 Nancy Azara: Nature Prints, a cabinet installation, curated by Claudia Sbrissa, Saint John’s University, Queens, NY 2017 Passage of the Ghost Ship: Trees and Vines, The Picture Gallery at The Saint- Gaudens Memorial, Cornish, New Hampshire 2016 Tuscan Spring: Rubbings, Scrolls and Other Works, curated by Harry J Weil, A.I.R. Gallery, Brooklyn, NY 2015 Allegory of Leaves, (3 person show) The Harold B. Lemmerman Gallery, New Jersey City University, Jersey City, NJ 2015 I am the Vine, You are the Branches, St. Ann & the Holy Trinity Church, Brooklyn, NY 2013 Of leaves and vines . A shiing braid of lines, SACI Gallery, Florence, Italy 2012 Natural Linking, (3 Person Show) Traffic Zone Center for Visual Arts, Minneapolis, MN 2011 Spirit Taking Form: Rubbings, Tracings and Carvings, Gaga Arts Center, Garnerville, NY 2010 Spirit Taking Form: Rubbings, Tracings and Carvings, Fairleigh Dickinson University, Teaneck, NJ 2010 Nancy Azara: Winter Song, Andre Zarre Gallery, NYC, NY 2009 Nancy Azara, Suffolk Community College, Long Island, NY 2008 Nancy Azara, Sanyi Museum, Miaoli, Taiwan 2008 Maxi’s Wall, A.I.R. -
N.Paradoxa Online Issue 13, Sept 2000
n.paradoxa online, issue 13 September 2000 Editor: Katy Deepwell n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 13, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue13.pdf September 2000, republished in this form:January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 2 List of Contents Defining Experiences: Feminist Exhibitions in the 1990s 4 In September 2000, n.paradoxa asked a number of artists, critics and curators for a short quote or statement in response to the questions below: What is your most memorable experience of a feminist/ women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism? Responses from Yoshiko Shimada, Irina Aktuganova, Lynn Hershman, -
Feminist Periodicals
. The U n vers ty o f w sconsln System Feminist Periodicals A current listing of contents WOMEN'S STUDIES Volume 20, Number I, Spring 2000 Published by Phyllis Holman Weisbard LIBRARIAN Women's Studies Librarian F minist CD Peri 1 Is A current listing of contents Volume 20, Number 1 Spring 2000 Periodical literature is the cutting edge of women's scholarship, feminist theory, and much of women's culture. Feminist Periodicals: A Current Listing of Contents is pUblished by the Office of the University of Wisconsin System Women's Studies Librarian on aquarterly basis with the intentof increasing pUblicawarenessoffeminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with awide spectrum offeminist periodicals; and to provide the requisite bibliographic information should a reader wish to sUbscribe to ajournal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table ofcontents pages from current issues of major feministjournals are reproduced in each issue of Feminisf Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the following information on each journal: 1. Year of first publication. 2. Frequency of pUblication. 3. U.S. subscription price(s). 4. Subscription address. 5. -
Feminist Exhibitions in the 1990. in September 2000 N
n.paradoxa online, issue 13 September 2000 Editor: Katy Deepwell n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 13, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue13.pdf September 2000, republished in this form:January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 2 List of Contents Defining Experiences: Feminist Exhibitions in the 1990s 4 In September 2000, n.paradoxa asked a number of artists, critics and curators for a short quote or statement in response to the questions below: What is your most memorable experience of a feminist/ women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism? Responses from Yoshiko Shimada, Irina Aktuganova, Lynn Hershman, -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
Nancy Azara 91 Franklin Street New York, NY 10013 (917) 572-7461 [email protected]
Nancy Azara 91 Franklin Street New York, NY 10013 (917) 572-7461 http://www.nancyazara.com [email protected] ONE-WOMAN EXHIBITIONS: 2020 Upcoming, A.I.R. Gallery, Brooklyn, NY 2019 Crow and Sandal Series and Other Works, curated by Robert Tomlinson, Kaaterskill Fine Arts Gallery, Hunter VillaGe Square, NY 2018 Nancy Azara: Nature Prints, a cabinet installation, curated by Claudia Sbrissa, Saint John’s University, Queens, NY 2017 Passage of the Ghost Ship: Trees and Vines, The Picture Gallery at The Saint- Gaudens Memorial, Cornish, New Hampshire 2016 Tuscan Spring: Rubbings, Scrolls and Other Works, curated by Harry J Weil, A.I.R. Gallery, Brooklyn , NY 2015 Allegory of Leaves, (3 person show) The Harold B. Lemmerman Gallery, New Jersey City University, Jersey City, NJ I am the Vine, You are the Branches, St. Ann & the Holy Trinity Church, Brooklyn, NY 2013 Of leaves and vines . A shifting braid of lines, SACI Gallery, Florence, Italy 2012 Natural Linking, (3 Person Show) Traffic Zone Center for Visual Arts, Minneapolis, MN 2011 Spirit Taking Form: Rubbings, Tracings and Carvings, GaGa Arts Center, Garnerville, NY 2010 Spirit Taking Form: Rubbings, Tracings and Carvings, FairleiGh Dickinson University, Teaneck, NJ Nancy Azara: Winter Song, Andre Zarre Gallery, NYC, NY 2009 Nancy Azara, Suffolk Community ColleGe, LonG Island, NY 2008 Nancy Azara, Sanyi Museum, Miaoli, Taiwan Maxi’s Wall, A.I.R. Gallery, NYC, NY 2005 Spirit at Comma, Comma Gallery Orlando, FL 2004 New Sculpture, Froelick Gallery Portland OR Transformations, The Firehouse -
Nancy Azara Interviewed by Flavia Rando Date: November, 2005
NYFAI Interview: Nancy Azara interviewed by Flavia Rando Date: November, 2005 F.R. O.k., I’m going to start going on from what Harriet Lyons said to me, because she began talking to me about the consciousness-raising group. N.A. Oh, she did? F.R. That you were all in. N.A. 1970 F.R. …that really was the idea where NYFAI originated. So, I’m going to ask you about that. N.A. Well, I don’t, I mean, I didn’t see it as the idea of NYFAI actually being originated from that; but the idea of my class, the consciousness-raising visual diaries art making class, which I think I had mentioned, came out of that CR group. Now, CR group started in 1970. And, as women were talking in the consciousness-raising group, I was trying to give up smoking and also I was trying to record visually what words we were saying because I was trying to see if there was any way that that was possible. And it was a disaster, it didn’t work, because you can’t really capture the texture of what words say in a visual manner. So, I kept, as people would talk, I kept drawing. I drew the whole night. I had this black book, a bound open black book that was blank and I would draw and draw and draw and draw and draw. F.R. Abstraction? N.A. They were abstraction. I didn’t draw people’s faces or hands, I was trying to kind of get a sense for how forms would present themselves in a way that was similar to what the words described as happening.