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A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2020-2 A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines Tommie Soro Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Art and Design Commons Recommended Citation Soro. T. (2020) A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines, Doctoral Thesis, Technological University Dublin. DOI: 10.21427/cs3g-qh75 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines By Tommie Soro BFA (Hons), MFA A Thesis for the Degree of Doctor of Philosophy (Ph.D) Technological University Dublin Supervisors: Dr. Tim Stott and Dr. Brendan K. O’Rourke Graduate School of Creative Arts and Media February 2020 Abstract The bases of artistic reputation have been widely debated within the sociology of art and art history. Remarkably, however, little has been said of the role discourse might play in the construction of artistic reputation. An obstacle to addressing this research gap is that discourse analytic approaches have been developed to analyse evaluation and the construction of legitimacy but not the construction of reputation. -
Art Basel 2019 Preview of Selected Works
ART BASEL 2019 PREVIEW OF SELECTED WORKS GALERIE THOMAS SCHULTE HALL 2.1, BOOTH M16 • Rebecca Horn, Between The Knives The Emptiness, 2014 (detail) Artists on view Also represented Contact Angela de la Cruz Dieter Appelt Galerie Thomas Schulte Hamish Fulton Alice Aycock Charlottenstraße 24 Rebecca Horn Richard Deacon 10117 Berlin Idris Khan David Hartt fon: +49 (0)30 2060 8990 Jonathan Lasker Julian Irlinger fax: +49 (0)30 2060 89910 Michael Müller Alfredo Jaar [email protected] Albrecht Schnider Paco Knöller www.galeriethomasschulte.de Pat Steir Allan McCollum Juan Uslé Iñigo Manglano-Ovalle Thomas Schulte Stephen Willats Robert Mapplethorpe PA Julia Ben Abdallah Fabian Marcaccio [email protected] Gordon Matta-Clark João Penalva Gonzalo Alarcón David Reed +49 (173) 66 46 623 Leunora Salihu [email protected] Iris Schomaker Katharina Sieverding Eike Dürrfeld Jonas Weichsel +49 (172) 30 89 074 Robert Wilson [email protected] Luigi Nerone +49 (172) 30 89 076 [email protected] Juliane Pönisch +49 (151) 22 22 02 70 [email protected] Galerie Thomas Schulte is very pleased to present at this year’s Art Basel recent works by Rebecca Horn, whose exhibition Body Fantasies will be on view at Basel’s Museum Tinguely during the time of the fair (until 22 September). Our booth will also feature works by Angela de la Cruz, Hamish Fulton, Idris Khan, Jonathan Lasker, Michael Müller, Albrecht Schnider, Pat Steir, Juan Uslé and Stephen Willats. This brochure represents a selection of the works at our booth. For further information and to learn more about works which are not shown here, please do not hesitate to contact us. -
Abstraction: on Ambiguity and Semiosis in Abstract Painting
Abstraction: On Ambiguity and Semiosis in Abstract Painting Joseph Daws Submitted in fulfillment of the requirements of the degree of Doctor of Philosophy Visual Arts Creative Industries Faculty Queensland University of Technology 2013 2 Abstract This research project examines the paradoxical capacity of abstract painting to apparently ‘resist’ clear and literal communication and yet still generate aesthetic and critical meaning. My creative intention has been to employ experimental and provisional painting strategies to explore the threshold of the readable and the recognisable for a contemporary abstract painting practice. Within the exegetical component I have employed Damisch’s theory of /cloud/, as well as the theories expressed in Gilles Deleuze’s Logic of Sensation, Jan Verwoert ‘s writings on latency, and abstraction in selected artists’ practices. I have done this to examine abstract painting’s semiotic processes and the qualities that can seemingly escape structural analysis. By emphasizing the latent, transitional and dynamic potential of abstraction it is my aim to present a poetically-charged comprehension that problematize viewers’ experiences of temporality and cognition. In so doing I wish to renew the creative possibilities of abstract painting. 3 Keywords abstract, ambiguity, /cloud/, contemporary, Damisch, Deleuze, latency, transition, painting, passage, threshold, semiosis, Verwoert 4 Signed Statement of Originality The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due acknowledgement is made in the text. Signature: Date: 6th of February 2014 5 Acknowledgements I would like to express my gratitude to my Principal Supervisor Dr Daniel Mafe and Associate Supervisor Dr Mark Pennings and acknowledge their contributions to this research project. -
Miguel Abreu Gallery
miguel abreu gallery FOR IMMEDIATE RELEASE Exhibition: Pieter Schoolwerth Model as Painting Dates: May 21 – June 30, 2017 Reception: Sunday, May 21, 6 – 8PM Miguel Abreu Gallery is pleased to announce the opening on Sunday, May 21st, of Model as Painting, Pieter Schoolwerth’s sixth solo exhibition at the gallery. The show will be held at both our 88 Eldridge and 36 Orchard Street locations. One of the clear characteristics of our digital age is that in it all things, bodies even are generally suspended from their material substance. This increasingly spectral state of affairs is the effect of mostly invisible forces of abstraction that can be associated with the digitization of more and more aspects of experience. We as living beings are now confronting a structural split between the substance of things and their virtual double. To speak concretely, one can point to everyday phenomena such as coffee without caffeine, or food without fat, for example, but also to money without currency, love without bodies, and soon following, to painting without paint, and art without art… In Model as Painting, Pieter Schoolwerth attempts to reverse the above described techno-cultural trend by producing a series of ‘in the last instance’ paintings, in which the stuff of paint itself reappears at the very end only of a complex, multi-media effort to produce a figurative picture. As such, paint here is not immediately used to build up an image from the ground up, if you will, one brush stroke at a time, but rather it arrives only to mark the painting after it has been fully formed and output onto canvas. -
Art Basel MIAMI BEACH 2018 Preview of Selected Works
ART BASEL MIAMI BEACH 2018 PREVIEW OF SELECTED WORKS GALERIE THOmaS SCHULTE BOOTH C18 • Alice Aycock, Alien Twister, 2018 (detail, rendering) Artists on view Also represented Contact Alice Aycock Dieter Appelt Galerie Thomas Schulte Angela de la Cruz Richard Deacon Charlottenstraße 24 Alfredo Jaar David Hartt 10117 Berlin Idris Khan Julian Irlinger fon: +49 (0)30 2060 8990 Jonathan Lasker Paco Knöller fax: +49 (0)30 2060 89910 Robert Mapplethorpe Iñigo Manglano-Ovalle [email protected] Allan McCollum Gordon Matta-Clark www.galeriethomasschulte.de Michael Müller Fabian Marcaccio Pat Steir João Penalva Gonzalo Alarcón Jonas Weichsel David Reed +49 (173) 66 46 623 Leunora Salihu [email protected] Iris Schomaker Katharina Sieverding Eike Dürrfeld Juan Uslé +49 (172) 30 89 074 Stephen Willats [email protected] Robert Wilson Luigi Nerone +49 (172) 30 89 076 [email protected] Thomas Schulte PA Julia Ben Abdallah [email protected] As the most prominent artistic positions of this year’s booth at Art Basel Miami Beach, Galerie Thomas Schulte is pleased to present major works by two of America’s most renowned women artists of the past decades, Alice Aycock and Pat Steir, whose outstanding work is currently being reassessed and revalued by museums and institutions world-wide. The main section of the booth will feature an installation of works by Allan McCollum, Jonathan Lasker, and Alfredo Jaar—three of the defining positions of the gallery’s program—alongside works by younger, upcoming European artists from the program including Angela de la Cruz, Idris Khan, Michael Müller, and Jonas Weichsel. Finally, a highlight of this year’s presentation will be a selection of works by American star photographer Robert Mapplethorpe. -
The Museum of Modern Art (Moma)
QUICK VIEW: Synopsis Since its inception in 1929, the Museum of Modern Art has continually redefined the idea of the museum in contemporary Western culture. Originally conceived by its founders as a place for Modern art to come and go (because what makes up modernism is constantly changing), MoMA, as it is commonly known, established a permanent collection in 1952 and has become the home for some of the greatest works of avant-garde painting, sculpture, film and multi-media art in the world. While MoMA remains true to its roots as a place where new styles of art can circulate, its permanent collection is widely considered the most impressive and diverse assortment of Modern art to ever exist, ranging from late-19th-century van Goghs, Monets and Gauguins to works produced in the present day. The idea of a Museum of Modern Art was once considered by critics to be an oxymoron. Its very existence posed the question: How can there be a museum (a permanent institution housing the heritage of human civilization) for Modern art (which embodies the ideal of always moving forward and constantly changing)? Rather than shy away from this paradox, MoMA has embraced its contradictory nature by appealing to both the history of Modernism and the legacy it continues to leave in the 21st century. Founding principles • The idea for the museum was first developed by a group of philanthropists, educators and museum curators, led by Abby Aldrich Rockefeller (wife of John D. Rockefeller), in 1928. They envisioned a modest-sized location in New York City that could essentially be a stop-over for some of Europe's finest Modern art. -
Jonathan Lasker
GALERIE THADDAEUS ROPAC JONATHAN LASKER RECENT PAINTINGS SALZBURG VILLA KAST 21 Saturday - 21 Tuesday "My painting is both spontaneous and highly conscious. There is a split between the conscious and the unconscious. My painting is very flexible, it goes back and forth between the two." Jonathan Lasker We are delighted to announce our fourth exhibition with new works by the American painter Jonathan Lasker. Jonathan Lasker was born in Jersey City, New Jersey, in 1948; he lives and works in New York City. Since the early 1980s, his work has been exhibited in many one-man shows, including the ICA Philadelphia, Kunsthalle Bielefeld, Stedelijk Museum Amsterdam and Kunstverein St. Gallen. He participated in the 1992 documenta IX in Kassel. After a highly acclaimed travelling exhibition in 2000 (St. Louis, Toronto, Waltham and Birmingham) with a selection of pictures from the 1990s, Jonathan Lasker's presence in the art world culminated in a major retrospective, Jonathan Lasker 1977-2003, in the North Rhine-Westphalia Art Collection in Düsseldorf and the famous Reina Sofía Museum in Madrid. From the late 1970s, Lasker's formal language developed from a reaction to an increasingly conceptual trend in art, against which he wished to explore the possibilities of painting, aiming at a system of painting "which could legitimise itself" (Jonathan Lasker). The formal language of Lasker's pictures is abstract. The spectrum ranges from cipher-like markings to forms which might be categorised more as emblematic. They are always, however, self-referential, thus concerning painting itself, which Lasker takes as his actual theme by conjugating its multifarious linguistic and syntactic possibilities. -
Jonathan Lasker's Dramatis Personae
“Jonathan Lasker’s Dramatis Personae.” In Jonathan Lasker: Paintings, Drawings, Studies. Madrid: Museo Nacional Centro de Arte Reina Sofía in co-production with K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2003; pp. 110-119. Text © Robert Hobbs Robert Hobbs Jonathan Laskers Dramatis Personae After attending Queens College for less than a year in the artists as Allan Kaprow, Nam June Paik., John Baldessari, late 1960s, Jonathan Lasker quit school to play bass guitar Michael Asher, and Douglas Huebler. The school was also and blues harmonica with rock bands. At age twenty-two heir to a relatively recent California Neo-Dadaist tradi this quest took him to Europe for four years, first to Eng tion that curator Walter Hopps inaugurated in 1963 when 110 land, where he worked with a couple of short-lived he staged a full-scale, highly celebrated Marcel Duchamp groups, and then to Germany, where he was employed retrospective at the Pasadena Museum of Art. The pri intermittently as a longshoreman and a house painter. He mary conduits between this particular exhibition and the then came to grips with what he calls his "lack of success Institute's pedagogy were the Californians Baldessari and as a musician" and decided to maximize his strengths, Asher. Lasker called the latter "the Grand Inquisitor which included a long-term fascination with art, coupled against painting," since he assumed personal responsibi with "excellent eye-hand coordination," by becoming a lity for eradicating the last vestiges of modernist senti painter. 1 He returned to New York, where he became an ments in students' works. -
FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco
UNDER THE HIGH PATRONAGE OF HIS SERENE HIGHNESS PRINCE ALBERT II OF MONACO FROM IMPRESSIONISM TO POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco FROM IMPRESSIONISM TO POP ART Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposi- tion qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”. -
Dennis Hopper, Photographs 1961–1967, Edited by Dennis Hopper and Tony Shafrazi
Dennis Hopper, Photographs 1961–1967, edited by Dennis Hopper and Tony Shafrazi. Taschen, 2018 (484 pages). Joanna Elena Batsakis For fans of the prolific Hollywood artist Dennis Hopper, the re-release of Dennis Hopper, Photographs 1961–1967 is a sensational addition to the growing Hopper canon within Western film scholarship. Originally, the book was published as a limited-edition collector’s item in 2011, with a small run of 1,500 copies. Each copy was signed by Hopper himself, and there was an alternative option to purchase its even more prestigious version entitled Photographs 1961–1967 Art Edition, which included a gelatine print of Hopper’s infamous photograph Biker Couple (1961). In collaboration between The Hopper Art Trust, gallerist Tony Shafrazi, and Dennis Hopper, this original volume was massive in size: with 544 pages, its hardcover measured 30 centimetres in height by 33 centimetres in length and weighed 5.5 kilograms. The volume displayed dozens of black-and-white photographs Hopper had taken between 1961 and 1967, all on his Nikon Tri-X camera which was gifted to him by his first wife Brooke Hayward. The book also included introductory essays by Hopper’s long-time friends, such as Shafrazi and West Coast art pioneer Walter Hopps, as well as an extensive photographic biography authored by filmmaker and journalist Jessica Hundley. In 2018, Taschen and The Hopper Art Trust have co-operated to release a slightly smaller, unlimited trade edition of the same book, which is the subject of this review. Even though this year’s edition of has now been reduced to 484 pages and weighs 3.5 kilograms, the book is still an extremely ambitious project and integral to the Dennis Hopper canon. -
Curating Now: Imaginative Practice/Public Responsibility Morning Session: Sunday, October 15, 2000 Edited by Paula Marincola
QUESTIONS OF PRACTICE Curating Now: Imaginative Practice/Public Responsibility Morning Session: Sunday, October 15, 2000 Edited by Paula Marincola THE PEW CENTER FOR ARTS & HERITAGE / PCAH.US / @PEWCENTER_ARTS PHILADELPHIA EXHIBITIONS INITIATIVE CURATING NOW MORNING SESSION SUNDAY, OCTOBER 15, 2000 Institute of Contemporary Art 124 RESPONSE Dave Hickey > Writer and art critic, Professor of Art Criticism and Theory, University of Nevada, Las Vegas It’s very nice to be here in Philadelphia. I was trying to think of the turn on W.C. Fields’s epitaph—that, probably, on the whole, I’d rather be dead. But that’s not it, since I really appreciate this opportunity.Although I have to doubt the wisdom of The Pew Charitable Trusts in bringing a person like myself here to address a group of people who represent more capital leverage, more institu- tional authority, and more political power than the entire continent of Latin America. Here’s what Pew has done:They have asked a private citizen, who lives in a small apartment in a small city in the middle of the desert, who teaches at a small university where they don’t like him, who writes periodical art journalism, the weakest kind of writing you can do, to respond to your discussions of curat- ing.And so I shall, and you may take everything I say with that very large grain of salt. I realize, as I look around, that I am probably the senior person in this room, so the future is almost certainly yours. I do, however, have thirty-five years of experience in various ghettos of the art world. -
WEEKEND UPDATE by Walter Robinson
WEEKEND UPDATE by Walter Robinson If things feel a little droopy in New York, it ain’t just the heat -- it’s the Surrealists! The Guggenheim Museum is filled with symbolic phalluses, all castrated, deflated or stacked on skewers by Louise Bourgeois. Never has the spiral concrete womb so resembled a vast beehive, with queen Louise in its center. Down at the Museum of Modern Art are Salvador Dali’s famous melting clocks and oystery self-portraits, well-known emblems of his own impotency, in "Dali: Painting and Film." It’s a great show, with the galleries converted into a series of spacious theater spaces for Dali’s movies: Un Chien andalou (1929), L’Âge d’or(1930), the dream-sequence clip from Alfred Hitchcock’s Spellbound (1944), Andy Warhol’s 1966 screen test. Especially bizarre is the cartoon Destino (1946), a seven-minute-long Disney-Dali mashup that Dali did some fabulous drawings for, but that was only finished by the cartoon giant in 2003. Imagine Snow White dancing around a Dali landscape to an atonal symphony, and you pretty much got it. (As for press stills, there are none; no doubt Disney, famous for suing kindergartens for painting Mickey Mouse on their walls without permission, has some corporate policy against it.) Best of all is Dali’s Chaos and Creation (1960), a 17-minute-long black-and-white video made withPhilippe Halsman as a televised greeting to an avant-garde conference. Like a demented Ed Sullivan, Dali presents an easel holding a Piet Mondrian painting, which dissolves into an actual pigsty, with real pigs in one square, a model in an evening gown in another and a motorcycle in a third.