PDF Released for Review Purposes Only Not for Publication Or Wide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor
NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark -
In Conversation with Adam Pendleton: What Is Black Dada?
In conversation with Adam Pendleton: What is Black Dada? Awa Konaté James Baldwin once said, ‘we used to think of history as the realm of the settled as an inalterable past, as a nightmare. That was the legacy bequeathed us by the past century’s catastrophes. But while we can never redeem what has been lost, versions of the past are forever being reconstructed in our fabrication of the present.’1 Although Baldwin enumerated these words in 1972, today’s volatile political moments and relations reminds us that the past is repeatedly embedded, and evermore so, in our present sphere. Baldwin comments on the interrelations between past and present realities as a continuum of cultural and historical notions that constitute the very materiality of our social fabric as ever persistent, suggesting the past is never past but an ongoing rupture in the present. Adam Pendleton is an artist whose unwinnable and complex layered practice is exceptionally occupied with Baldwin’s declarative statement. With a career spanning nearly two decades, Pendleton has situated the intersections of race, belonging, cultural politics and art history as varying constructions that are rearticulated and imposed in the very centre of our ‘Contemporary’ – not merely in order to inquire ‘how’ and ‘what if’ but to push the very logic that constitutes their historical and social functions. My first encounter with Adam Pendleton was his large ‘Black Lives’ banner at the Venice Biennale’s Belgian pavilion in 2015.2 The context was stupendous, the banner’s dominating and large scaled presence appeared to almost ‘devour’ the white cubed pavilion by forcing the centrality of its race relations. -
Kunstausstellungen in Der Schweiz Als Mittel Der Auswärtigen Kulturpolitik Der Weimarer Republik Und Des "Dritten Reiches" 1919-1939
Kunstausstellungen in der Schweiz als Mittel der auswärtigen Kulturpolitik der Weimarer Republik und des "Dritten Reiches" 1919-1939 Autor(en): Saehrendt, Christian Objekttyp: Article Zeitschrift: Schweizerische Zeitschrift für Geschichte = Revue suisse d'histoire = Rivista storica svizzera Band (Jahr): 54 (2004) Heft 4 PDF erstellt am: 04.10.2021 Persistenter Link: http://doi.org/10.5169/seals-81379 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Miszellen / Melanges SZG/RSH/RSS 54, 2004, Nr. 4 Kunstausstellungen in der Schweiz als Mittel der auswärtigen Kulturpolitik der Weimarer Republik und des «Dritten Reiches» 1919-1939 Christian Saehrendt Auswärtige Kulturpolitik begleitet die Außenpolitik Deutschlands seit ungefähr 100 Jahren. -
70 Documentos Do Acervo
DOBRA DOBRA MUSEU LASAR SEGALL MUSEU LASAR SEGALL Os documentos reunidos em vida por Lasar Segall ( ) formam o Arquivo Lasar Segall, uma importante coleção para pesquisa da história da arte brasileira e europeia. Esse acervo, composto por cerca de . itens, constitui-se, pelo seu ineditismo, natureza e dimensão, em uma das mais importantes fontes para a análise e compreensão da vida e da obra do artista, um dos principais nomes da arte moderna brasileira. _CAPA final_70 documentos_MLS.indd 1 06/02/20 11:05 DOBRA DOBRA _CAPA final_70documentos_MLS.indd 2 DOBRA DOBRA DOBRA DOBRA 06/02/20 11:05 MeMória e História MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 1 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 2 06/02/20 11:04 MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 3 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 4 06/02/20 11:04 7 ApresentAção Daniel Rincon caiRes 11 MeMóriA e históriA VeRa D’HoRta 31 CurAdoriA e Arquivos de Museus de Arte ana MagalHães 49 divisAs biográficas 63 diásporAs, derivAs, desloCAMentos 79 inquietAções estéticas 99 revolução ModernistA nA AleMAnhA 133 ModernisMos brAsileiros 169 intiMidAde 177 rAízes JudAicas 189 AnotAções téCnicas 197 biblioteCA pArtiCulAr 209 eMpreendiMentos iMobiliários 221 english version 287 Créditos _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 5 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 6 06/02/20 11:04 Apresentação Daniel Rincon caiRes Em 1986 o Arquivo Lasar Segall inaugurava a sua jorna- da. -
Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y
Speakers Series : Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y. 00:00:20:12 ALISON KARASYK: Hi, everyone. Hi. It is my great pleasure to introduce Rujeko Hockley for the CCS Fall 2017 Speaker Series. Ru joined the Whitney Museum of American Art as assistant curator last March. Prior, she was assistant curator of contemporary art at the Brooklyn Museum, where she curated numerous exhibitions, edited multiple publications, and worked on solo presentations of LaToya Ruby Frazier, Kehinde Wiley, and Tom Sachs, among others. Ru co-curated “Crossing Brooklyn: Art From Bushwick, Bed-Stuy and Beyond,” which opened in October, 2014. Shortly thereafter, she dove into co-organizing the landmark exhibition “We Wanted a Revolution: Black Radical Women, 1965-’85,” currently on view at the California African American Museum, and heading back to the East Coast, luckily for us, in February, to the Albright-Knox Art Gallery in Buffalo, and the ICA Boston after. 00:01:28:01 Ru co-produced two unique publications in conjunction with this exhibition. Prior to the exhibition, she wrote essays within and co-edited We Wanted a Revolution: A Sourcebook, made up of thirty-eight remarkable archival documents by artists, writers, and thinkers, such as bell hooks, the Combahee River Collective, and Linda Goode Bryant. During our office hour earlier, Ru described this publication to me as a way to transport the research materials that inspired the show into the world, instead of treating them as mere footnotes. The book is a powerful reminder of the ongoing curatorial necessity to move beyond the narratives that have already been written into art historical and feminist discourses. -
Toward a Diasporan Ethics by Ianna Hawkins Owen A
Ordinary Failures: Toward a Diasporan Ethics by Ianna Hawkins Owen A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in African American Studies and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Darieck Scott, Chair Professor Leigh Raiford Professor Juana María Rodríguez Professor Michael Cohen Summer 2016 Abstract Ordinary Failures: Toward a Diasporan Ethics by Ianna Hawkins Owen Doctor of Philosophy in African American Studies and the Designated Emphasis in Women, Gender, and Sexuality University of California, Berkeley Professor Darieck Scott, Chair In Ordinary Failures I develop a new conception of “diaspora” as the ordinary failure of recognitions and solidarities founded on ideological and ancestral ties. Informed by the queer studies turn toward negativity and the relational turn in African diaspora studies, my project examines the interventions of artists and writers of the diaspora who opt to recite intraracial failure (between blacks) in the face of their structurally overdetermined failure as minoritized subjects. I identify in textual and visual objects an engagement with the promise of intimacy attendant to the artist’s lived experience of diaspora and there I aim to expose the limits of diaspora discourse. My explorations of the failures of diaspora are aided by pushing on queer theories of negativity to speak to race. This project departs from traditional approaches to black failure such as the black mainstream’s condemnation or eschewal of black failure in favor of respectability politics and the black left’s redemption of failure through revisionist narratives of resistance. -
Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18)
Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18) São Paulo, Museu de Arte Contemporânea, Apr 25–27, 2018 Deadline: Mar 9, 2018 Erika Zerwes In 1937 the German government, led by Adolf Hitler, opened a large exhibition of modern art with about 650 works confiscated from the country's leading public museums entitled Degenerate Art (Entartete Kunst). Marc Chagall, Otto Dix, Max Ernst, George Grosz, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Piet Mondrian and Lasar Segall were among the 112 artists who had works selected for the show. Conceived to be easily assimilated by the general public, the exhibition pre- sented a highly negative and biased interpretation of modern art. The Degenerate Art show had a rather large impact in Brazil. There have been persecutions to modern artists accused of degeneration, as well as expressions of support and commitment in the struggle against totalitarian regimes. An example of this second case was the exhibition Arte condenada pelo III Reich (Art condemned by the Third Reich), held at the Askanasy Gallery (Rio de Janeiro, 1945). The event sought to get support from the local public against Nazi-fascism and to make modern art stand as a synonym of freedom of expression. In the 80th anniversary of the Degenerate Art exhibition, the University of São Paulo’s Museum of Contemporary Art, in partnership with the Lasar Segall Museum, holds the International Seminar “Degenerate Art – 80 Years: Repercussions in Brazil”. The objective is to reflect on the repercus- sions of the exhibition Degenerate Art (Entartete Kunst) in Brazil and on the persecution of mod- ern art in the country in the first half of the 20th century. -
Out Side In: in His Arresting Work, Lyle Ashton Harris Looks to the Recent Past for New Ways Forward by Maximilíano Durón POSTED 04/02/19 9:30 AM
Out Side In: In His Arresting Work, Lyle Ashton Harris Looks to the Recent Past for New Ways Forward BY Maximilíano Durón POSTED 04/02/19 9:30 AM Lyle Ashton Harris photographed at his studio in New York City, January 2019. ALEX LOCKETT The video opens in a dimly lit bedroom. A voice offscreen begins to speak. “Sometimes, I feel, I guess, deprived. I don’t know. I guess I do know.” A Roberta Flack song plays softly in the background: “The first time ever I saw your face / I thought the sun rose in your eyes.” A young man with a mop of black hair in a red sweater and khakis—the speaker, presumably—walks onscreen and crawls on the bed. “What should I say?” he asks. Looking into the camera, he speaks again. After a few moments, he thinks better of it and goes to grab a chunky white cordless telephone and his address book. He spends the next hour talking with friends and family. He went dancing for the first time in a few months. He’s still processing his breakup with his boyfriend. He’s in pretty bad debt, but things are looking up: he’s going to be included in an upcoming show at the Whitney Museum. Lyle Ashton Harris made this video in the early 1990s, when he had just returned to Los Angeles after finishing the Whitney Independent Study Program in New York. Then in his 20s, Harris had been making diaristic videos for a few years, and photographing his life as it went along. -
Introduction
INTRODUCTION N APRIL 1972 THE GOVERNMENT of Senegal inaugurated an exhibition of art by Pablo Picasso at the Musée Dynamique I near downtown Dakar (figure 1).1 Only sparse visual documen- tation of the exhibition has survived, but the details of the exhibi- tion ended up mattering less than did its catalytic function for reassessing, in Dakar, the direction and scope of art nègre—or “black art.”2 By 1972 “black art,” a category with its own circuitous genealogy dating from the early twentieth century, had come to encompass canonical African sculpture as well as modern painting and sculpture by artists of African descent. The category’s critical reassessment took place mainly through a conference, “Picasso, Art Nègre, et Civilisation de l’Universel” (Picasso, black art, and civilization of the universal), organized in conjunction with the Dakar exhibition and featuring prominent artists and intellectuals from Senegal and France.3 At the conference, African sculpture held a pivotal place in discussions of Picasso’s practice, which, in turn, became a contested terrain where the stakes of African mod- ernism were up for debate. 1 60870txt.indd 1 20-02-13 5:44 AM figure 1 Pablo Picasso, exhibition poster, Musée Dynamique, Dakar, 1972, lithograph, 21 ½ × 30 in. Henri Deschamps Lithographie; printed by Mourlot, Paris. Private collection. Artwork © 2020 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Lyan’lex Bernales. 60870txt.indd 2 20-02-13 5:44 AM Given dominant scholarly characterizations of African modernist movements as territorially nationalist, anticolonialist, future-facing, and in many respects opposi- tional toward modernism in the West, it might seem infelicitous to focus on Africans and Europeans contemplating Picasso in postcolonial Dakar. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
A Finding Aid to the Charles Henry Alston Papers, 1924-1980, in the Archives of American Art
A Finding Aid to the Charles Henry Alston Papers, 1924-1980, in the Archives of American Art Jayna M. Hanson Funding for the digitization of this collection was provided by the Terra Foundation for American Art August 2008 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, 1924-1977........................................................ 5 Series 2: Correspondence, 1931-1977.................................................................... 6 Series 3: Commission and Teaching Files, 1947-1976........................................... -
German and Austrian Art of the 1920S and 1930S the Marvin and Janet Fishman Collection
German and Austrian Art of the 1920s and 1930s The Marvin and Janet Fishman Collection The concept Neue Sachlichkeit (New Objectivity) was introduced in Germany in the 1920s to account for new developments in art after German and Austrian Impressionism and Expressionism. Gustav Friedrich Hartlaub mounted an exhibition at the Mannheim Museum in 1925 under the title Neue Art of the1920s and1930s Sachlichkeit giving the concept an official introduction into modern art in the Weimar era of Post-World War I Germany. In contrast to impressionist or abstract art, this new art was grounded in tangible reality, often rely- ing on a vocabulary previously established in nineteenth-century realism. The artists Otto Dix, George Grosz, Karl Hubbuch, Felix Nussbaum, and Christian Schad among others–all represented in the Haggerty exhibi- tion–did not flinch from showing the social ills of urban life. They cata- logued vividly war-inflicted disruptions of the social order including pover- Otto Dix (1891-1969), Sonntagsspaziergang (Sunday Outing), 1922 Will Grohmann (1887-1968), Frauen am Potsdamer Platz (Women at Postdamer ty, industrial vice, and seeds of ethnic discrimination. Portraits, bourgeois Oil and tempera on canvas, 29 1/2 x 23 5/8 in. Place), ca.1915, Oil on canvas, 23 1/2 x 19 3/4 in. café society, and prostitutes are also common themes. Neue Sachlichkeit artists lacked utopian ideals of the Expressionists. These artists did not hope to provoke revolutionary reform of social ailments. Rather, their task was to report veristically on the actuality of life including the ugly and the vulgar. Cynicism, irony, and wit judiciously temper their otherwise somber depictions.