Solo Exhibitions
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Richard Long Lives and Works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College
Richard Long Lives and works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College of Art, Bristol, UK 1945 Born in Bristol, UK Selected Solo Exhibitions 2020 ‘FROM A ROLLING STONE TO NOW’, Lisson Gallery, New York, USA ‘MUDDY HEAVEN’, Sperone Westwater Gallery, New York, USA ‘FROM URIQUE TO ORIZABA RIVER DEEP MOUNTAIN HIGH’ Cuadra San Cristóbal, Mexico City, Mexico 2019 ‘Fate and Luck’, Galleria Lorcan O’Nell, Rome, Italy Lisson Gallery, Shanghai, China Galleria Tucci Russo Chambres d’Art, Turin, Italy Konrad Fischer Galerie, Berlin, Germany De Pont Museum, Tilburg, Netherlands 2018 ‘The Tide is High’, Alan Cristea Gallery, London, UK ‘Along The Way: Richard Long’, Fondation CAB, Brussels, Belgium Skulpturenhalle, Thomas Schutte Foundation, Neuss, Germany ‘ARTIST ROOMS: Richard Long’, Gallery Oldham, Oldham, UK ‘Circle to Circle’, Lisson Gallery, London, UK 2017 ‘ARTIST ROOMS: Richard Long: Drawn from the Land’, Derby Museum and Art Gallery, Derbyshire, UK ‘EARTH SKY’, Houghton Hall, Norfolk, UK ‘The Isle of Wight as Six Walks’, Quay Arts, Isle of Wight, UK 2016 ‘COLD STONES’, CAC Malaga, Malaga, Spain ‘Avon Tiber’, Galleria Lorcan O’Neill, Rome, Italy 2015 ‘Time and Space’, Arnolfini, Bristol, UK ‘The Spike Island Tapes’, Alan Cristea Gallery, London, UK ‘Larksong Line’, Galerie Tschudi, Zuoz, Switzerland 2014 ‘Prints 1970–2013’, The New Art Gallery, Walsall, UK Mendoza Walking, Faena Art Center, Buenos Aires, Argentina Lisson Gallery, London, UK 2013 ‘Artist Rooms: Richard Long’, Potties Museum -
Francesco Clemente
GALERIE THADDAEUS ROPAC FRANCESCO CLEMENTE JIGSAW PUZZLE PARIS DEBELLEYME 06 Tuesday - 21 Saturday "The images present themselves quickly, in a rushed, hectic, vivid, urgent way. I make raw ink drawings to remember what I see, and then that becomes like a music score." - Francesco Clemente After showing Francesco Clemente's work at our Salzburg gallery in 2004 and 2007, we are very pleased to announce his first solo exhibition of works on paper. Francesco Clemente is one of the most renowned international artists who revitalized figurative painting with the emergence of the Neo- Expressionist movement in the late 1970s early 80s. Clemente's unique style combines the tradition of Indian imagery, the Romanticism of William Blake and of Italian Renaissance frescoes to make evocative and powerful works in a sensuous palette. In this exhibition, the artist will present 21 new pastels and watercolors, all in the form of a puzzle piece, installed to create a mosaic of poetic, colorful figurative images, which do not necessarily reveal a whole picture. As in much of his work, Clemente makes references to non-Western symbols, myth and spirituality, astrology and the four elements, sexuality and senses, as well as dream-like visions. Francesco Clemente was born in 1952 in Naples. From 1970 he studied architecture at the University of Rome, and began to exhibit his drawings, photographs and conceptual works in Europe. From 1973, he travelled regularly to India, and in 1981 he moved to New York. Since the mid-80s, Clemente's work has been the subject of many exhibitions: in the Berlin National Gallery (1984/85), Basel Museum of Contemporary Art (1987), Philadelphia Museum of Art (1990), Royal Academy of Arts, London (1991), Centre Georges Pompidou, Paris (1994/95), Guggenheim Museum, New York (1999/2000), Irish Museum of Modern Art, Dublin (2004), the National Archaeology Museum, Naples (2002/03) and the National Museum of XXIst Century Art, Rome (2006). -
C100 Trip to Houston
Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. -
State of the Art New York, Das Epizentrum Der Kunstwelt
Kunst. Werte. Leidenschaft. Galerienszene in Chelsea, Jean-Michel Basquiat im Marktcheck, George Brecht auf der Flucht State of the Art New York, das Epizentrum der Kunstwelt AC0120_001 1 30.03.20 14:28 BRANDNEU DER ARTPRICE KUNSTMARKTBERICHT 2019 Der Kunstmarkt wächst weiter: 2019 wurden weltweit ganze 550.000 Lose versteigert, die höchste jemals ver- zeichnete Anzahl von Kunstwerken, die in einem Jahr verkauft wurden. In Bezug auf den Umsatz verzeichnete der Kunstmarkt einen Rückgang von -14%, verzeichnete aber dennoch ein eindrucksvolles Gesamtvolumen von 13,3 Milliarden US-Dollar. Wichtigster nationaler Markt ist nach wie vor die USA (35%), dicht gefolgt von China (31%). Die Rate weltweit unverkauf- ter Lose blieb mit 38% vollkommen stabil, ebenso wie der Gesamtpreis- index, der um + 0,48% stieg. Diese und viele weitere Informati- onen fi nden Sie im Detail im Kunst- marktbericht 2019 von Artprice. Ab sofort auf Artprice.com als kostenloser Download verfügbar! WELTMARKTFÜHRER FÜR KUNSTMARKTINFORMATIONEN T : +33 (0)4 72 42 17 06 Artmarket.com, Geschäftsbezeichnung Artprice.com, ist im Eurolist by Euronext Paris (PRC 7478-ARTF) geführt AC0120_002 2 30.03.20 13:34 EDITORIAL/CONTENT Kniefall und Verfall In Zeiten von Corona verlagert sich das Galerien und Auktionshäuser ist dies Geschäft mit der Kunst ins Internet. New York. Die USMetropole mit ihrem Der Anbieter Artsy boomt und lässt Wettbewerbslärm bildet das Epizent- sich seine Dienste − laut einem inves- rum des Kunstmarkts und der künst- tigativen Artikel von Paddy Johnson lerischen Produktion. Auf die enorme in „The Art Newspaper“ − noch mehr Dichte an überall in New York verstreu- als vor der Krise kosten. -
George Condo: 'I Was Delirious. Nearly Died' He Worked for Warhol, Jammed with Basquiat – and Now Designs Albums for Kanye West and Handbags for Kim Kardashian
The Guardian S. Jeffries, ‘George Condo: ‘I was delirious. Nearly died’ 10 February 2014 George Condo: 'I was delirious. Nearly died' He worked for Warhol, jammed with Basquiat – and now designs albums for Kanye West and handbags for Kim Kardashian. But has a recent near-death experience made George Condo's work even weirder BY Stuart Jeffries 'I describe what I do as psychological cubism' … George Condo at the Simon Lee Gallery in London. Photograph: Sarah Lee for the Guardian Last May, George Condo had a near-death experience. The American artist was visiting Berlin after finishing a suite of ink drawings. "I guess my immune system was down and I was in a weird state of mind." "Weirder than usual?" I ask, as we look at those drawings at the Skarstedt Gallery, one of two London venues showing his work this month. "Much weirder," he says. He points to the silhouette of a head dominating the foreground of a work called The Prisoner. Behind the silhouette are iron bars, and behind those is a prisoner facing us, whose head seems to have been flayed to reveal the throbbing orange cranium beneath. "That's where my mind was at." The ink drawings were to be the final portraits of a weird menagerie of archetypal figures – among them banker, butler, alcoholic, and an odd French guy called Jean Louis, who cropped up in various improbable guises including that of a French maid – that Condo had culled from his imagination and worked on for a quarter of a century. "It's the last hurrah of the pods," he says. -
JEAN-MICHEL BASQUIAT New York, NY 10014
82 Gansevoort Street JEAN-MICHEL BASQUIAT New York, NY 10014 p (212) 966-6675 allouchegallery.com Born 1960, Brooklyn, NY Died 1988, Manhattan, NY SELECTED SOLO EXHIBITIONS 2018 Boom for Real, Shirn exhibition hall, Frankfurt, Germany 2015 Basquiat: The Unknown Notebooks, Brooklyn Museum, Brooklyn, NY 2015 Jean-Michel Basquiat: Now’s the Time, Art Gallery of Ontario, Ontario, Canada. Travelled to: Guggenheim Bilbao, Bilbao, Spain 2013 Jean-Michel Basquiat: Paintings and Drawings, Galerie Bruno Bischofberger, Zurich, Switzerland 2012 Warhol and Basquiat, Arken Museum of Modern Art, Ishøj, Denmark 2010 Jean-Michel Basquiat, The Fondation Beyeler, Basel, Switzerland. Traveled to: City Museum of Modern Art, Paris, France 2006 The Jean-Michel Basquiat show, Fondazione La Triennale di Milano, Milan, Italy 2006 Jean-Michel Basquiat 1981: The Studio of the Street, Deitch Projects, New York, NY 2005 Basquiat, Curated by Fred Hoffman, Kellie Jones, Marc Mayer, and Franklin Sirmans Brooklyn Museum, New York, NY Traveled to: Museum of Contemporary Art, Los Angeles, CA, The Museum of Fine Arts, Houston, TX 2002 Andy Warhol & Jean-Michel Basquiat: Collaboration Paintings, Gagosian Gallery, Beverly Hills, CA 1998 Jean-Michel Basquiat: Drawings & Paintings 1980-1988, Gagosian Gallery, Beverly Hills, CA 1997 Jean-Michel Basquiat: Oeuvres Sur Papier, Fondation Dina-Vierny-Musée Maillol, Paris, France 1996 Jean-Michel Basquiat, Serpentine Gallery, London, England; Palacio Episcopal de Mágala, Málaga, Spain 1994 Jean-Michel Basquiat: Works in Black and White, -
Travelogue 2015 VI Edizione Artists in Residence Re
Travelogue 2015 VI Edizione Artists in Residence Re-thinking Lucio Amelio Artisti coinvolti: Vedovamazzei, Luigi Presicce, Liliana Moro, Marcello Maloberti, Jannis Kounellis Periodo 30 settembre-4 ottobre, artisti coinvolti Liliana Moro, Marcello Maloberti, Jannis Kounellis A cura di Arianna Rosica e Damiano Gullì Scuole coinvolte: Liceo Classico Istituto Alberghiero plesso Axel Munthe – Capri La Fondazione Capri prosegue il proprio impegno a sostegno della formazione degli studenti di Capri con un’edizione che vedrà il coinvolgimento di artisti italiani di fama internazionale: Liliana Moro, Stefano Arienti, Marcello Maloberti, ed il grande Maestro Jannis Kounellis. Gli artisti di Travelogue sono invitati a riflettere sulla figura di Lucio Amelio, grande gallerista napoletano, ma soprattutto committente, protagonista e anima della storia dell’arte contemporanea, che ha contribuito a rendere Napoli uno dei centri più attivi e vivaci della ricerca artistica degli ultimi decenni a livello nazionale e internazionale. Amelio visse dal 1971 in numerose case di Capri, da Villa Orlandi ad Anacapri a Villa Quattro Venti, luoghi amati in cui ospitò artisti, critici e personaggi del mondo dell’arte provenienti da tutto il mondo. Capri fu la sua ultima dimora, qui vent’anni fa volle essere sepolto, nel cimitero acattolico. L'edizione di Travelogue 2015 diviene quindi un pretesto per scoprire e riscoprire i luoghi di Capri amati e vissuti da Amelio, luoghi condivisi con alcuni tra i più importanti artisti di fama internazionale da Cy Twombly a Robert Rauschenberg, da Gerhard Richter a Keith Haring e Robert Mapplethorpe. Senza dimenticare l'artista fondamentale per Amelio, Joseph Beuys e a lui legato da una profonda amicizia. -
Ticketing Guide
Ticketing Guide June 2021 1 Contents 1. Games Overview p2 2. Games Venue p3 3. Tickets Rules p7 4. Accessibility p8 5. Competition Schedule p9 6. Full Competition Schedule And Prices p10 Opening and Closing Ceremonies p10 Golf p41 Aquatics (Swimming) p11 Gymnastics (Artistic) p42 Aquatics (Diving) p13 Gymnastics (Rhythmic) p43 Aquatics (Artistic Swimming) p14 Gymnastics (Trampoline) p43 Aquatics (Water Polo) p15 Handball p44 Aquatics (Marathon Swimming) p17 Hockey p46 Archery p18 Judo p48 Athletics p19 Karate p50 Athletics (Marathon) (Race Walk) p21 Modern Pentathlon p51 Badminton p22 Rowing p52 Baseball p23 Rugby p53 Softball p24 Sailing p54 Basketball (3x3 Basketball) p25 Shooting p55 Basketball p26 Skateboarding（Park） p56 Boxing p28 Skateboarding（Street） p56 Canoe（Slalom） p30 Sport Climbing p57 Canoe（Sprint） p31 Surfing p58 Cycling（BMX Freestyle） p32 Table Tennis p59 Cycling（BMX Racing） p32 Taekwondo p61 Cycling（Mountain Bike） p33 Cycling（Road） p33 Tennis p62 Cycling（Track） p34 Triathlon p65 Equestrian/Eventing p35 Beach Volleyball p66 Equestrian/Dressage,Eventing,Jumping p35 Volleyball p68 Fencing p36 Weightlifting p70 Football p38 Wrestling p71 1 1. Games Overview Olympic Sports A total of 33 different sports will be contested at the Olympic Games Tokyo 2020. The 2020 Games are also the first time that the International Olympic Committee (IOC) has enabled the Organising Committee to propose additional sports for that edition of the Olympic Games. The Tokyo 2020 Organising Committee proposed the five additional sports of Baseball/Softball, Karate, Skateboarding, Sport Climbing and Surfing. All five were approved by the IOC for inclusion in the Tokyo 2020 Games. sports including Karate, Skateboarding, Sport Climbing and Surfing, which will be making their Olympic debuts at the Olympic Games Tokyo 2020 23 July – 8 August 2021 (17 days) 2 2. -
ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience. -
The Art of Performance a Critical Anthology
THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times. Copyright @ 1967 by The New York Times Company. -
Kenny Schachter on the Debut of Vito Schnabel's Gallery in St. Moritz
Art World Kenny Schachter on the Debut of Vito Schnabel's Gallery in St. Moritz Kenny Schachter, Saturday, January 2, 2016 Image: Courtesy of Kenny Schachter At 1,822 meters in altitude, St. Moritz, in the Swiss Engadine Valley, is among the highest peaks in the Alps and a sporting mecca, having hosted the Winter Olympic Games in 1928 and 1948, one of only three cities to do so twice (besides Innsbruck, Austria and Lake Placid, New York). The physical effects of high elevation include faster breathing, increased heart rate, and lower mortality rates but a higher number of suicides; it's as though you are charging through time at an accelerated pace, in addition to bombing down the mountain in the gear of your choice. Aside from the altitude and skiing, etc., you'll need all the boost you can muster as there are more galleries per square mile than any resort on the planet. Yippee. With the premiere of Vito Schnabel's (b. 1986) space—it opened December 28 with Urs Fischer's (b. 1966) Bruno & Yoyo and Sterling Ruby's (b. 1972) Stoves—occupying the former digs of his godfather, Bruno Bischofberger (b. 1940), there's now a new kid (literally) in town. Even more so than in the past, St. Moritz has been Basel-ized by the art lifestyle and I am thrilled for my vocation and avocation. After 25 years of visiting my in-laws here, who are all annoyingly good skiers, I'm grateful it's congealed into an art hub. Having recently hung up my snowboard (I was always the hesitant skier), I can't complain too much about the shocking effects of global warming, which have reduced the usually-snowy slopes to a brown parched Arizona landscape. -
Gender and the Collaborative Artist Couple
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Summer 8-12-2014 Gender and the Collaborative Artist Couple Candice M. Greathouse Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Greathouse, Candice M., "Gender and the Collaborative Artist Couple." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/168 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GENDER AND THE COLLABORATIVE ARTIST COUPLE by CANDICE GREATHOUSE Under the Direction of Dr. Susan Richmond ABSTRACT Through description and analysis of the balancing and intersection of gender in the col- laborative artist couples of Marina Abramović and Ulay, John Lennon and Yoko Ono, and Chris- to and Jeanne-Claude, I make evident the separation between their public lives and their pri- vate lives, an element that manifests itself in unique and contrasting ways for each couple. I study the link between gendered negotiations in these heterosexual artist couples and this divi- sion, and correlate this relationship to the evidence of problematic gender dynamics in the art- works and collaborations. INDEX WORDS: