WASHINGTON, DC WASHINGTON, 104Th ANNUAL CONFERENCE 104Th ANNUAL
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Bustersimpson-Surveyor.Pdf
BUSTER SIMPSON // SURVEYOR BUSTER SIMPSON // SURVEYOR FRYE ART MUSEUM 2013 EDITED BY SCOTT LAWRIMORE 6 Foreword 8 Acknowledgments Carol Yinghua Lu 10 A Letter to Buster Simpson Charles Mudede 14 Buster Simpson and a Philosophy of Urban Consciousness Scott Lawrimore 20 The Sky's the Limit 30 Selected Projects 86 Selected Art Master Plans and Proposals Buster Simpson and Scott Lawrimore 88 Rearview Mirror: A Conversation 100 Buster Simpson // Surveyor: Installation Views 118 List of Works 122 Artist Biography 132 Maps and Legends FOREWORD WOODMAN 1974 Seattle 6 In a letter to Buster Simpson published in this volume, renowned Chinese curator and critic Carol Yinghua Lu asks to what extent his practice is dependent on the ideological and social infrastructure of the city and the society in which he works. Her question from afar ruminates on a lack of similar practice in her own country: Is it because China lacks utopian visions associated with the hippie ethos of mid-twentieth-century America? Is it because a utilitarian mentality pervades the social and political context in China? Lu’s meditations on the nature of Buster Simpson’s artistic practice go to the heart of our understanding of his work. Is it utopian? Simpson would suggest it is not: his experience at Woodstock “made me realize that working in a more urban context might be more interesting than this utopian, return-to-nature idea” (p. 91). To understand the nature of Buster Simpson’s practice, we need to accompany him to the underbelly of the city where he has lived and worked for forty years. -
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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. -
Artist Archaeologist Gonzalo Fonseca ARTIST ARCHAEOLOGIST GONZALO FONSECA (1922-1997)
PUBLIC ART EXPLORER Artist Archaeologist Gonzalo Fonseca ARTIST ARCHAEOLOGIST GONZALO FONSECA (1922-1997) Sun Boat North Shore Drive Pylon 1965 Underpass 1965 Concrete 1965 Concrete N S D Map #1 Concrete Map #3 Map #2 B Trail N S D B Trail M D Gr Trail W P W M D 3 2 1 Gr Trail N S D S N 2 H C LEARN Who was Gonzalo Fonseca? A Budding Artist He was born and raised in Uruguay in South America. When he was eleven, Fonseca spent six months traveling in Europe with his family. The things he experienced and saw on this trip inspired him to become an artist. When his family returned home he set up an art studio in the basement. A Curious Mind Fonseca was a very curious person. He loved learning about history and languages (he spoke at least six!). Fonseca is often called a polymath*, or someone who knows a lot about many different things. He also traveled to continue his education. On his journeys, Fonseca climbed pyramids in Egypt, helped excavate ancient sites in the Middle East and Africa, and visited ancient Greek and Roman ruins. All of these experiences became a part of his artwork. An Inventive Sculptor Fonseca trained to be a painter but switched to sculpture because he wanted to work in three dimensions. The Lake Anne play sculptures are some of the only public art he ever made. They are molded from the same concrete used in the surrounding buildings. Fonseca was excited to have such big spaces to work with, places like the plaza by the lake and the underpass. -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Since 2017 Bezalel Academy for Art and Design, MFA
Hadas Maor Curiculum Vitae Professional Experience: Since 2017 Bezalel Academy for Art and Design, MFA Program, lecturer 2017 Bait LeOmanut Israelit, lecturer 2017 French Institute Focus Program 2016 Sculpture Quadrennial Riga 2016 Invited guest Lecture: Conservatism and Liberalism, appearances in contemporary culture 2015 Curator of the Israeli Pavilion, the 56th International Art Exhibition – la Biennale di Venezia 2014 Artist Mentor Artport, Tel Aviv 2012 The 2nd Ural Industrial Biennial of Contemporary Art Intellectual platform, invited guest Lecture: Contemplating the possibility of criticality within the field of visual art 2012 Lecturer of curatorial studies, School of Arts, Kibbutzim College of Education, Tel Aviv 2011 ARCOmadrid 2011, Professional Meetings, invited guest 2010 Professional visit to LA, organized by the LA-TLV partnership and The Jewish Federation of Los Angeles 2009 Study visit to Poland, organized by Adam Mickiewicz Institute, Warsaw 2007 Art Basel 2007, 7db platform for art professionals, invited guest Since 2006 Consultant to Bank Hapoalim Collection of Israeli Art 2006-2009 Consultant to the Angel Collection of Contemporary Art Since 2001 Curator of the Geny and Hanina Brandes Art Collection, Tel Aviv Since 1998 Independent contemporary art curator (The Tel Aviv Museum of Art, The Haifa Museum of Art, The Herzliya Museum of Contemporary Art, The Petach Tikva Museum of Art, The Ramat Gan Museum of Israeli Art, The Ein Harod Museum of Art, The Tel Aviv University Gallery and more) 1997 - 2005 Senior Lecturer -
Seminar Presents Women As Founders by Jenna Gray ’15 Ters of Research, Discovery and Mount Curriculum in 2013
The Campanile Mount Saint Joseph Academy Volume LII, Number 2 December 2014 Seminar presents Women as Founders By Jenna Gray ’15 ters of research, discovery and Mount curriculum in 2013. After were selected to participate in the lar sentiments, saying, “I was planning by nine Mount students completing applications and writ- course. overwhelmed with the level of Mount’s Women as Founders and the teachers, administrators ing essays explaining their inter- During the second semester commitment and motivation of Week featured assemblies, pre- and alumnae who guided them. est in Seminar, Annemarie Bran- of their junior year, the students the students. They went far above sentations and a panel celebrating After a committee of teachers co, Nora Cipressi, Grace Havard, met twice a week from 7:25 to and beyond what was expected of female accomplishments. This and administrators restructured Maddie Loftus, Katie Maransky, 8:10 a.m. to explore the history them and really made this course single week of female empower- the course, the Women as Found- Katie Mars, Belin Mirabile, Mag- of women’s social problems and their own.” ment is the result of two semes- ers Seminar reappeared in the gie Schoeller and Bridget Sykes reform movements and unearth Upon their completion of the current movements in women’s semester filled with reading liter- issues. ature and poetry, watching films With teachers including Mrs. and videos and discussing what Bender, Sister Joannie Cas- they learned in class on online sidy, Mr. Curry, Mr. Holdren, discussion boards, the nine girls Mrs. Kennedy, Ms. Korey and were ready to create culminating S. -
Light in Her Eyes FINAL
POV Community Engagement & Education DISCUSSION GUIDE The Light in Her Eyes A Film by Julia Meltzer and Laura Nix www.pbs.org/pov LETTER FROM THE FILMMAKERS LOS ANGELES, 2012 Filmmaker Julia Meltzer Filmmaker Laura Nix Photo courtesy of Tracey Landworth Photo courtesy of Anne Etheridge In a courtyard off a busy street in Damascus, Syria, boisterous girls run and play before class starts in the women’s side of Al-Zahra mosque. Inside the mosque, preacher Houda al-Habash teaches the Quran, educating women and girls about their religion, and their rights, within their faith. Julia Meltzer lived in Damascus in 2005, and from the moment she first entered Al-Zahra mosque, she recognized what a unique place it was. Houda’s school was well-organized and energized—filled with women and girls supporting each other in their studies. Most people don’t associate Islam with women’s rights, and that’s exactly what we found interesting about the Al-Zahra Mosque Quran School. Inside this community, we uncovered a lively debate about women’s roles as mothers, teachers, wives, workers, sisters and daughters. Houda insists that secular education is an integral part of worship, because it gives her stu- dents the tools to make decisions about their futures. However, the school also emphasizes the importance of modesty and piety. These women and girls are following “the straight path” of Islam, because they want to live according to its structure, rules and ethics. DISCUSSION GUIDE The Light in Her Eyes |2 LETTER FROM THE FILMMAKERS Houda’s version of women’s rights doesn’t look like ours. -
The Kitchen Presents a New Performance by Miranda July
Press Contact: Rachael Dorsey tel: 212 255-5793 ext. 14 fax: 212 645-4258 [email protected] For Immediate Release The Kitchen presents a new performance by Miranda July New York, NY, January 3, 2007 - The Kitchen presents a new performance by filmmaker, performance artist, and writer Miranda July titled THINGS WE DON'T UNDERSTAND AND DEFINITELY ARE NOT GOING TO TALK ABOUT. This new work is a tale of heartbreak and obsession so familiar you could tell it yourself. In fact, each night July employs members of the audience to help her reveal the humor and terror that are at the heart of intimacy, betrayal, and creativity. As in her earlier productions, July utilizes video and music, and plays multiple characters. The performances will take place at The Kitchen (512 West 19th Street) on Thursday, March 1 through Sunday, March 4 at 8pm. Tickets are $15. THINGS WE DON'T UNDERSTAND AND DEFINITELY ARE NOT GOING TO TALK ABOUT, with music composed by Jon Brion (Eternal Sunshine of the Spotless Mind, Punch-Drunk Love), has been performed at The Steve Allen Theater (Los Angeles) and Project Theater Artaud/San Francisco Cinematheque, and offers insight into July’s filmmaking process; her next feature film revolves around the same themes and characters. Most recently, she is best known as the writer and director of her award-winning feature length film Me and You and Everyone We Know (2005). July first received critical acclaim in New York for her performances at The Kitchen, The Swan Tool (2001) and Love Diamond (2000). About the Artist Miranda July is a filmmaker, performing artist and writer. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Cecilia De Torres, Ltd. [[email protected]] En Nombre De Cecilia De Torres, Ltd
De: Cecilia de Torres, Ltd. [[email protected]] en nombre de Cecilia de Torres, Ltd. [[email protected]] Enviado el: jueves, 01 de octubre de 2015 12:49 p.m. Para: Alison Graña Asunto: The South was Their North: Artists of the Torres-García Workshop- Now open through January 2016 Cecilia de Torres, Ltd. invites you to The South was Their North: Artists of the Torres-García Workshop, an exhibition of paintings, sculpture, wood assemblages, furniture and ceramics by Julio Alpuy, Gonzalo Fonseca, José Gurvich, Francisco Matto, Manuel Pailós, Augusto Torres, Horacio Torres and Joaquín Torres-García, on view from September 2015 through January 2016. Related to the upcoming retrospective exhibition, Joaquin Torres-García: The Arcadian Modern at the Museum of Modern Art, Cecilia de Torres, Ltd. presents an aspect of the artist's endeavors that is inextricably associated with his personality and his career: the creation of a school of art that would realize “Constructive Universalism,” his theory of a unified aesthetic based on the visual canon he developed. Torres-García’s ambition was to establish an autonomous artistic tradition based on Constructive Universalism that would eventually expand to all the Americas. This utopian undertaking occupied the last fifteen years of his life as an artist and teacher to new generations, leaving a considerable body of work and an indelible mark on South America’s modern art. The works in this exhibition date from 1936 to the 1980s. Our intent is to present work by this group of exceptional artists that is emblematic of their individuality, works of mature achievement as well as of their constructivist origins. -
Cita, Apropiación Y Montaje En La Obra De Grete Stern Paula Bertúa
Paula Bertúa. Poética de la reinvención. (Auto) cita, apropiación y montaje en la obra de Grete Stern. Papeles de Trabajo, Año 4, N° 7, abril 2011, pp. 74-92. Poética de la reinvención. (Auto) cita, apropiación y montaje en la obra de Grete Stern Paula Bertúa (UBA – CONICET) Resumen En este trabajo se analiza una serie de fotomontajes elaborados por la fotógrafa Grete Stern para ilustrar una columna psicológico-sentimental de la revista femenina Idilio. En ellos, Stern retomó, mediante la cita y la apropiación, fotografías ya concebidas, propias y ajenas, para intervenirlas en nuevas composiciones que resignifican sus efectos estéticos, redefiniendo, a su vez, el rol de la práctica artística en un medio de masas. Palabras clave: Fotografía – Cita – Apropiación – Montaje – Grete Stern. Keywords: Photography – Quote – Appropiation – Montage – Grete Stern. Grete Stern en Idilio En agosto de 1948 la fotógrafa Grete Stern comenzaba un trabajo en colaboración de largo aliento que significaría una intervención cultural singular y original en el campo de las publicaciones populares argentinas de mediados de siglo. Convocada por el sociólogo Gino Germani participaría en una columna de consultorio psicológico- sentimental llamada “El psicoanálisis le ayudará” en la revista femenina Idilio, de la Editorial Abril.46 La sección fue el producto de una intervención interdisciplinaria, que 46 Idilio se comenzó a publicar el 26 de octubre de 1948, por la editorial Abril, fundada por Césare Civita. En sus páginas convivían una serie de géneros discursivos habituales en las revistas dirigidas a la mujer: cartas de lectoras, columna de consultorio sentimental, artículos referidos a problemáticas hogareñas, moda y belleza, publicidades e historias de amor, y novelas por entregas. -
VISITOR FIGURES 2015 the Grand Totals: Exhibition and Museum Attendance Numbers Worldwide
SPECIAL REPORT VISITOR FIGURES2015 The grand totals: exhibition and museum attendance numbers worldwide VISITOR FIGURES 2015 The grand totals: exhibition and museum attendance numbers worldwide THE DIRECTORS THE ARTISTS They tell us about their unlikely Six artists on the exhibitions blockbusters and surprise flops that made their careers U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXV, NO. 278, APRIL 2016 II THE ART NEWSPAPER SPECIAL REPORT Number 278, April 2016 SPECIAL REPORT VISITOR FIGURES 2015 Exhibition & museum attendance survey JEFF KOONS is the toast of Paris and Bilbao But Taipei tops our annual attendance survey, with a show of works by the 20th-century artist Chen Cheng-po atisse cut-outs in New attracted more than 9,500 visitors a day to Rio de York, Monet land- Janeiro’s Centro Cultural Banco do Brasil. Despite scapes in Tokyo and Brazil’s economic crisis, the deep-pocketed bank’s Picasso paintings in foundation continued to organise high-profile, free Rio de Janeiro were exhibitions. Works by Kandinsky from the State overshadowed in 2015 Russian Museum in St Petersburg also packed the by attendance at nine punters in Brasilia, Rio, São Paulo and Belo Hori- shows organised by the zonte; more than one million people saw the show National Palace Museum in Taipei. The eclectic on its Brazilian tour. Mgroup of exhibitions topped our annual survey Bernard Arnault’s new Fondation Louis Vuitton despite the fact that the Taiwanese national muse- used its ample resources to organise a loan show um’s total attendance fell slightly during its 90th that any public museum would envy.