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FOR IMMEDIATE RELEASE Transparent Studio: Chitra Ganesh
FOR IMMEDIATE RELEASE Chitra Ganesh, A Magician and Her Muse, 2011, 9.5 x 36 feet, site-specific installation created for Samtidigt Tennis Palace Museum, Helsinki Transparent Studio: Chitra Ganesh Residency dates: 18 June – 16 July 2013 Open Studio & Artist Talk: Thursday, 11th July 6-9pm Brooklyn, NY --- Transparent Studio at Bose Pacia is pleased to announce the current artist-in- residence, Chitra Ganesh. Her drawing, installation, text-based work, and collaborations seek to excavate and rewrite hidden narratives typically excluded from official canons of history, literature, and art. Her work is inspired by mythology, folklore, sci-fi, Bollywood, comic books and graffiti. During the month long residency, Ganesh will use the space to develop her wall drawings by exploring the use of sculptural elements, printmaking technique and collage ephemera. The public is invited to an Open Studio and Artist Talk on 11th July from 6-9pm. Please contact the gallery to arrange for a visit to the studio between June 18th and July 16th. Born in Brooklyn, New York, Chitra Ganesh received her BA in Comparative Literature and Art Semiotics in 1996 and her MFA from Columbia University in 2002. Ganesh’s work has been exhibited widely at venues including PS 1/MOMA, Brooklyn Museum, the Asia Society, and the Andy Warhol Museum, Fondazione Sandretto in Italy, Nature Morte Berlin, ZKM in Germany, and the Gothenburg Kunsthalle. She is the recipient of numerous awards including the Joan Mitchell Awards for Painting and Sculpture, and a John Simon Guggenheim Creative Arts Fellowship. Ganesh will be the 2012-2013 artist-in-residence at New York University’s A/P/A Institute with Mariam Ghani for their work, Index of the Disappeared. -
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MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world. -
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18 | The Cooper Union for the Advancement of Science and Art Notes was in Mentors: The Mentoring of Artists , an exhibit honoring the Marriages and artist-mentor relationship, at the Firehouse Center for the Falcon Engagements Foundation in Portland, Maine, August to October 2011 . Derek Dalton Musa (BSE’ 03 ) and Gloria Corinne Cochrane Nippert are Frey Yudkin (A’ 48 ) continues to engaged and planning a 2012 wed - teach and is showing her work at Hewlett Library in March and April ding. Garrett Ricciardi (A’ 03 ) and Lindsay Ross were married in July 2012 . Alex Katz (A’ 49 ) had 2011 solo shows at Gavin Brown’s enter - Constance Ftera (A’53) was in the 2011 . Sara and Michael Kadoch prise and Senior & Shopmaker 4th National Juried Exhibition (BSE’ 05 ) married on June 12 , 2011 at Prince Street Gallery. Gallery. (A’ 49 ) had a in New York. Kristen Breyer (A’ 06 ) Henry Niese and (A’ 08 ) married Laura Miller Margolius (A’42) with solo show of paintings and drawings Jeff Castleman 1960 s as an international network on Saturday, September 3, 2011 , at one of her art pieces in her home in from the mid- 1950 s to present enti - of artists, composers and designers the UC Berkeley Botanical Gardens Bronxville, New York. tled The Painter’s Palette at Gold Leaf Rosyln Fassett (A’56), Cameroon employing a “do-it-yourself” atti - Earth, oil painting, 50 x 40 Redwood Grove in Berkely Studios in Washington, DC, private collections. Irving Lefkowitz tude and focusing on blurring California. Included in their wed - September to November 2011 . -
Roysdon Cv Tranzit
Emily Roysdon Education University of California Los Angeles, MFA, Interdisciplinary Studio, 2006 Whitney Museum Independent Study Program, New York, NY 2001 Hampshire College, BA, Amherst, MA 1999 Solo Projects 2012 not yet titled, Tate Live Performance Room, Tate Modern (London) not yet titled, Tramway (Glasgow) not yet titled, Visual Art Center, University of Texas (Austin) 2011 POSITIONS, New Commissions, Art in General (New York) (catalog forthcoming) A Gay Bar Called Everywhere (with costumes and No Practice), The Kitchen (New York) 2010 If Donʼt Move Can You Hear Me?, Matrix 235, Berkeley Art Museum Sense and Sense, Konsthall C (Stockholm) 2008 Work, Why, Why not, Weld (Stockholm) Select Exhibitions 2012 Abstract Possible; The Stockholm Synergies, Tensta Konsthall (Stockholm) Coming After, The Power Plant (Toronto) Photography Is, Higher Pictures (New York) Nothing is forgotten, some things considered, UKS (Oslo) Social Choreography, Gallery TPW (Toronto) In Numbers: Serial Publications by Artists Since 1955, ICA London Read, Look, We promise itʼs not dangerous, Emily Harvey Foundation (New York) Millennium Magazines, Museum of Modern Art Library (New York) 2011 Abstract Possible, Museo Tamayo (Mexico City) (catalog) Time Again, Sculpture Center (New York) (catalog) Dance/ Draw, ICA Boston (catalog) Untold Stories, Kunsthalle Talinn NY Temporary, Center for Photography and the Moving Image (New York) Always The Young Stranger, Higher Pictures (New York) Through Symbolic Worlds, International Project Space (Birmingham, UK) Symposion, -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
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TA 4.3_01_art_Smith.qxd 12/8/06 10:59 AM Page 169 Technoetic Arts: A Journal of Speculative Research Volume 4 Number 3. © Intellect Ltd 2006. Article. English language. doi: 10.1386/tear.4.3.169/1 Art games: Interactivity and the embodied gaze Graham Coulter-Smith Southampton Solent University Elizabeth Coulter-Smith Staffordshire University Abstract Keywords One of the most salient differences between fine art and new media art lies in art games the possibility for interactivity. Interactivity is not simply an inherent quality of art into life new media, it also relates to a crucial ethico-aesthetic premise informing decon- creativity structive art from Dada and Surrealism through radical art of the 1960s and installation art 1970s and into the present. The ethico-aesthetic premise in question concerns interactive art breaking down the barrier between the viewer and the work of art and bringing relational aesthetics art into life. More specifically the goal is to bring creativity into everyday life as an antidote to alienation and reification. Whereas new media art finds it rela- tively easy to devise art games that encourage creative involvement on the part of the viewer, fine art is severely hindered in its attempts in this direction by the traditional focus on the artist-genius and the transformation of the artistic prod- uct (whatever its material) into a precious object. It will be shown that creative games exist in fine art but they are for the most part designed by the artist for the artist. This is even the case with the most radical fine artists celebrated at the turn of the millennium such as Rirkrit Tiravanija who Nicolas Bourriaud put forward as a prime instance of so-called relational aesthetics. -
C O L L E C T I O N B O
THYSSEN-BORNEMISZA ART CONTEMPORARY T HE COLLECTION BOOK y �� THYSSEN-BORNEMISZA ART CONTEMPORARY ��THE T H E COLLECTIONCOllECtIoN BOOK y BOOK VERLAG DER BUCHHANDLUNG WALTHER KÖNIG, KÖLN 4 5 CONTENTS 6 Acknowledgments by FRANCESCA VON HABSBURG 01 02 03 04 t t t t 10 WAYS BEYOND 72 DIE OR PERFORM 280 T H E A L E P H 354 PRESERVATION OBJECTS by ANDREAS SCHLAEGEL P O T E N T I A L AND REANIMATION FRANCESCA VON HABSBURG by ELKE KRASNY THROUGH in conversation with 88 MONICA BONVICINI CONTEMPORARY ART HANS ULRICH OBRIST 92 CANDICE BREITZ 288 PARADOXES OF AND ARCHITECTURE 97 JANET CARDIFF COLLECTING 22 AI WEIWEI 107 MAURIZIO CATTELAN FRANCESCA VON HABSBURG 361 MONUMENTAL 28 DOUG AITKEN 110 CHEN QUILIN in conversation with by MARK WIGLEY 34 DARREN ALMOND 116 ANETTA MONA CHISA & PETER PAKESCH 40 KUTLUĞ ATAMAN LUCIA TKÁČOVÁ 366 JULIAN ROSEFELDT 52 FIONA BANNER 120 CYBERMOHOLLA HUB 292 RIVANE NEUENSCHWANDER 376 THOMAS RUFF 56 JOHN BOCK 125 EMANUEL DANESCH & 298 JUN NGUYEN-HATSUSHIBA 378 RITU SARIN & DAVID RYCH 302 CARSTEN NICOLAI TENZING SONAM 129 DON’T TRUST ANYONE 308 OLAF NICOLAI 383 HANS SCHABUS OVER THIRTY 314 PAUL PFEIFFER 390 CHRISTOPH SCHLINGENSIEF 138 OLAFUR ELIASSON 320 WALID RAAD / 398 GREGOR SCHNEIDER 152 ELMGREEN & DRAGSET THE ATLAS GROUP 406 ALLAN SEKULA 160 MARIO GARCÍA TORRES 330 RAQS MEDIA COLLECTIVE 414 NEDKO SOLAKOV 164 ISA GENZKEN 336 JASON RHOADES 419 MONIKA SOSNOWSKA 168 DOUGLAS GORDON 340 PIPILOTTI RIST 422 THOMAS STRUTH 172 FLORIAN HECKER 344 MATTHEW RITCHIE 426 DO HO SUH 176 CARSTEN HÖLLER 430 CATHERINE SULLIVAN 181 TERESA -
Gianni Motti
TRANSFERT Publisher TRANSFERT Editor MARC-OLIVIER WAHLER ART DANS L’ESPACE URBAIN KUNST IM URBANEN RAUM ART IN URBAN SPACE No 10 ESS Biel-Bienne CH 17 06 - 31 08 2000 «I LOOKEDATTHE CITY AND I SAW NOTHING» -F DE 8 INTRODUCTION (F) 28 MARC-OLIVIER WAHLER 176 MARC-OLIVIER WAHLER 320 MARC-OLIVIER WAHLER 14 EINFÜHRUNG (D) “J’AI REGARDÉ VERS LA VILLE “ICH SCHAUTE AUF DIE STADT “I LOOKED AT THE CITY AND ET JE N’AI RIEN VU” UND SAH NICHTS” I SAW NOTHING” 20 INTRODUCTION (E) 36 JOSHUA DECTER 184 JOSHUA DECTER 328 JOSHUA DECTER COMMUNICATION-VILLE KOMMUNIKATION STADT COMMUNICATION CITY 46 JEAN-CHARLES MASSÉRA 194 JEAN-CHARLES MASSÉRA 338 JEAN-CHARLES MASSÉRA PUISSE LE PROCESSUS GLOBAL MÖGE DER GLOBALE AKKUMULATIONS- MAY THE GLOBAL PROCESS OF D’ACCUMULATION TREMBLER PROZESS VOR EINER REVOLUTION DER ACCUMULATION TREMBLE AT THE À L’IDÉE D’UNE RÉVOLUTION DES BENUTZER ERZITTERN (MANIFEST FÜR IDEA OF A USERS’ REVOLUTION USAGERS (MANIFESTE POUR DIE (MANIFESTO FOR CONSCIOUSNESS LA CONSCIENTISATION DE LA BEWUSSTMACHUNG DES DEVELOPMENT ABOUT THE USER CONDITION USAGÈRE) BENUTZERDASEINS) CONDITION) 60 OLIVIER MOSSET 208 OLIVIER MOSSET 350 OLIVIER MOSSET INFORMATION TRANSFER INFORMATION TRANSFER INFORMATION TRANSFER 66 MARTIN CONRADS 214 MARTIN CONRADS 356 MARTIN CONRADS COLORIS GLOCAL “GLOKALKOLORIT” GLOCAL COLOR 74 FRANK PERRIN 222 FRANK PERRIN 364 FRANK PERRIN LE JOGGER, HÉROS DE LA VIE DER JOGGER, HELD DES THE JOGGER, HERO OF POSTMODERNE POSTMODERNEN LEBENS POSTMODERN LIFE 82 LORI HERSBERGER 230 OLIVIER BLANCKART 372 PETER LAND 88 OLIVIER MOSSET 236 JONATHAN -
Download the Program of Events
PUBLIC PROGRAMS F N O L U A Cultural Response to Climate Change September 30–December 15, 2011 All events take place in the gallery unless otherwise indicated. Sheila C. Johnson Design Center Anna-Maria and Stephen Kellen Gallery Parsons The New School for Design 2 W. 13 Street, Ground Floor Open daily 12:00–6:00 p.m. and D until 8:00 p.m. on Thursdays Admission is free www.newschool.edu/sjdc INTRODUCTION CONTENTS These days, breezy conversations by the dating play. We’ll look at climate change in PANELS & CONVERSATIONS elevator about the weather soon dip into cities across the world as well as what could doldrums of worry about climate. It’s raining happen on our own Gowanus. We’ll learn Conversation with the Curators: David Buckland and Chris Wainwright 2 again and it’s been a sodden summer. We about Asia’s mega-deltas, everyday religion What Ifs: Climate Change and Creative Agency 2 find we know what flood zone we live in. and climate change in the Himalayas, the Climate Change: Art, Activism, and Research 4 Upstate farms have been ravaged, making waterlines of Venice, and Antarctica. We’ll Under Water: Climate Change, Insurance Risk, and New York Real Estate 5 our neighborhood greenmarkets places of listen to a musical performance of this What Insects Tell Us: A Conversation between David Dunn and Hugh Raffles 5 strange melancholy. We’re anxious about our clement world and also to what insects tell us. Southern Discomforts: A Focus on Antarctica 6 tap water and perplexed by spurious choices Students are invited to participate in a video between clean energy and clean water. -
Genshiken Season Two 2 Free Ebook
FREEGENSHIKEN SEASON TWO 2 EBOOK Shimoku Kio | 200 pages | 21 Mar 2013 | Kodansha America, Inc | 9781612622422 | English | New York, United States Genshiken - Wikipedia The Society for the Study of Modern Visual Culture, otherwise known as Genshiken, is now under the charge of a more confident Sasahara. Things have changed in between semesters, and the otaku club now has a new otaku-hating member named Ogiue. Sasahara's initial goal of starting a doujin circle and selling those fan-made magazines at the next Comic Festival becomes a reality, but reality is a cruel master Afterward, the club is abuzz with talk about Tanaka and Ohno's relationship, which takes a hesitant step forward. Source: Media Blasters. Hide Ads Login Sign Up. Genshiken 2. Edit What would you like to edit? Add to My List. Add to Favorites. Buy on Manga Store. Synonyms: Gendai Shikaku Bunka Kenkyuukai 2. Type: TV. Premiered: Fall Licensors: Media Blasters. Studios: Arms. Score: 7. Ranked: 2 2 based on the top anime page. Ranked Popularity Members 71, Fall TV Arms. Preview Manga. More characters. Genshiken Season Two 2 staff. Edit Opening Theme. Edit Ending Genshiken Season Two 2. More reviews Reviews. Jan 1, Overall Rating : Jul 23, Overall Rating : 8. Jun 11, Overall Rating : 7. Mar 27, Overall Rating : 9. More discussions. More featured articles. Your harem or reverse harem anime isn't worth the time of day if it doesn't have a tsundere in it. But what is a tsundere, where did the term originate, and why are they everywhere? Read on to find out! More recommendations. -
Henry Varnum Poor: Commemorating 125 Years
Henry Varnum Poor: Commemorating 125 Years by Ron Michael, Curator, Birger Sandzén Memorial Gallery Extended Essay - August 2012 Seeking Beauty Henry Varnum Poor is an important name not only for those interested in the history of Kansas or American art, but for Angular detail of Self Portrait, circa those who celebrate bountiful lives. Determined to follow his own 1917, lithograph, size unknown. path, he was committed to a life based on unadorned pursuits and a constant search for beauty. He once wrote to friend and fellow artist Birger Sandzén, “I want to make beautiful things so as to make our living as beautiful as possible.”1 Developing and using his multi-faceted talents, he also lived a life of great variety. At various times in his life he combined one or more professions as an artist, craftsman, builder, writer, teacher, organizer, administrator, evaluator and more. He was the perennial “jack-of-all-trades,” or perhaps more appropriately, a “renaissance man.” Just within the arts he explored a vast array of differing media – oils, watercolors, ceramics, pastels, drawings, frescos, etchings, lithography, woodworking, textiles, and illustration. He seemed to turn everything he touched into art. Perhaps nowhere is this better evident than the house he designed and constructed near New City, New York. Dubbed Crow House it was conceived as a place of comfort for his family – away from, but still accessible to, the bustling metropolis of New York and other Eastern cities. As he continued to write in his letter to Birger Sandzén, “The joy and satisfaction in making the house has been tremendous, and the future work of carving and painting our huge beams and stones will be great. -
Dara Birnbaum
DARA BIRNBAUM 8 NOVEMBER 201 8 – 12 JANUARY, 2019 OPENING RECEPTION: THURSDAY 8 NOVEMBER 2018 , 6– 8pm “Her use of video and found footage, her editing and image processing are groundbreaking…. This is our visual language.” -Eva Respini, Barbara Lee Chief Curator, ICA, Boston Marian Goodman Gallery London is delighted to present an exhibition of works by Dara Birnbaum, with special focus on her large-scale video installations from the 1990s. The exhibition will open on 8 November 2018, running until 12 January 2019. Birnbaum’s practice has long been concerned with the lexicon of broadcasting and communication and the way ‘truths’ are delivered to the viewer. An early proponent of video art, Birnbaum began by isolating imagery from television, recontextualising it in an attempt to understand its true meaning. For the first time since her major 2009/2010 travelling retrospective, The Dark Matter of Media Light, the three works Tiananmen Square: Break-In Transmission, 1990, Transmission Tower: Sentinel, 1992 and Hostage, 1994, will be shown Transmission Tower: Sentinel, 1992. Installation view, together. All three pieces were made in response to major political events in the latter part of Documenta IX commission, Kassel, Germany, 1992. the 20th century, as a way to uncover the complex relationship between the media, the events covered and the way in which those events are presented to the public. On view in the side galleries will be a selection of two-dimensional works focusing on the anonymous street posters from the May 68 protests in France, as well as the series Lesson Plans (To Keep the Revolution Alive), 1977, which formed the basis of the artist’s first exhibition, at Artists Space in New York in 1977.