Oral History Interview with Joel Shapiro, 1988 July 15-December 14
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Artists Books: a Critical Survey of the Literature
700.92 Ar7 1998 artists looks A CRITICAL SURVEY OF THE LITERATURE STEFAN XL I M A ARTISTS BOOKS: A CRITICAL SURVEY OF THE LITERATURE < h'ti<st(S critical survey °f the literature Stefan ^(lima Granary books 1998 New york city Artists Books: A Critical Survey of the Literature by Stefan W. Klima ©1998 Granary Books, Inc. and Stefan W. Klima Printed and bound in The United States of America Paperback original ISBN 1-887123-18-0 Book design by Stefan Klima with additional typographic work by Philip Gallo The text typeface is Adobe and Monotype Perpetua with itc Isadora Regular and Bold for display Cover device (apple/lemon/pear): based on an illustration by Clive Phillpot Published by Steven Clay Granary Books, Inc. 368 Broadway, Suite 403 New York, NY 10012 USA Tel.: (212) 226-3462 Fax: (212) 226-6143 e-mail: [email protected] Web site: www.granarybooks.com Distributed to the trade by D.A.R / Distributed Art Publishers 133 6th Avenue, 2nd Floor New York, NY 10013-1307 Orders: (800) 338-BOOK Tel.: (212) 627—1999 Fax: (212) 627-9484 IP 06 -ta- Adrian & Linda David & Emily & Ray (Contents INTRODUCTION 7 A BEGINNING 12 DEFINITION 21 ART AS A BOOK 41 READING THE BOOK 6l SUCCESSES AND/OR FAILURES 72 BIBLIOGRAPHIC SOURCES 83 LIST OF SOURCES 86 INTRODUCTION Charles Alexander, having served as director of Minnesota Center for Book Arts for twenty months, asked the simple question: “What are the book arts?”1 He could not find a satisfactory answer, though he tried. Somewhere, in a remote corner of the book arts, lay artists books. -
Joel Shapiro Press Release FINAL
FOR IMMEDIATE RELEASE DOMINIQUE LÉVY TO PRESENT THE FIRST COMPREHENSIVE SURVEY OF JOEL SHAPIRO’S EARLY WOOD WALL RELIEF SCULPTURES ALONGSIDE A MAJOR NEW INSTALLATION Joel Shapiro October 28, 2016 – January 7, 2017 Dominique Lévy 909 Madison Avenue, New York New York … Dominique Lévy is pleased to present the first survey of early wood reliefs by the American sculptor Joel Shapiro, organized with Olivier Renaud-Clément. These works, created between 1978 and 1980, will be on view alongside a new site-specific installation. The exhibition will foreground work from the late 1970s, demonstrating the trajectory of Shapiro’s career, over the course of which the artist has continually pursued ideas of color and mass, culminating in a recent body of room-size sculptural installations. Dominique Lévy will publish a monograph in conjunction with the exhibition featuring texts by David Raskin and Phyllida Barlow and poems by Peter Cole and Ange Mlinko, as well as full documentation of the wood reliefs. This marks the Untitled, 1978. Wood and paint. 5 1/4 x 5 1/4 x 3 inches (13.3 x 13.3 x 7.6 cm). © 2016 Joel Shapiro first time the series will be comprehensively surveyed. / Artists Rights Society (ARS), New York. Shapiro has worked with the idea of form collapsing since 2002; he views his work until this point as building up to this “moment of discovery that I can get the work off the floor and be more playful in the air.”1 He describes these large-scale installations as being “the projection of thought into space without the constraint of architecture.” Shapiro will create a new site-specific installation for the exhibition, which will occupy the second floor of Dominique Lévy Gallery. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Press Release Sean Scully the 12 / Dark Windows
Press Release Sean Scully The 12 / Dark Windows Sean Scully’s Studio, 447 West 17th Street, Chelsea, New York Lisson Gallery, 508 West 24th Street, New York 6 May – 17 June, 2021 The world in which we live, the existential threat from COVID and the environmental problems we face, has influenced me greatly in my art. - Sean Scully, 2021 Sean Scully will open a dual-presentation across two sites in Chelsea, New York, this May, unveiling new work created in his New York studio throughout 2020 and 2021, while the world was rocked by a global pandemic, extensive quarantine measures, Black Lives Matter protests, political instability and mass uncertainty. At Scully’s Chelsea studio, open exclusively for this showcase, the artist unveils a monumental new work entitled The 12 (2020), presented in its entirety for the first time. This twelve-panel piece is a grouping of Landline paintings, each with its own distinct personality ranging from spirited to sombre. A new Black Square Blue (2020) painting will also be on view at Scully's studio. The dual presentation continues at Lisson Gallery's flagship space on 508 West 24th Street which will house a significant multi-panelled painting entitled Dark Windows (2020): a suite of works created during some of the bleakest days of the COVID pandemic. The work will be presented alongside a series of new pastel drawings recently completed by the artist. The 12, a work comprising twelve unique Landline paintings, is an expansion on Scully’s ongoing series of lyrical paintings in which, since 1999, he has endeavoured to “integrate all the parts” of the horizon – physical and philosophical, poetic and pastoral. -
Press Release Ryan Gander NY 2020
Press Release Ryan Gander These are the markers of our time 10 September – 21 October 2020 508 West 24th Street, New York “For all their concern for promoting individuality as opposed to collectivity, fractioning as opposed to solidifying, communitarianism as opposed to commonality, to the subjects of identity politics and the internet, the hyper-real and the not so real, and your nostalgic hankerings in a quest to slow time... you are perhaps somewhat missing the point, or at least the subject. These are not the subjects of your time, these are only the consequences of your time. Time… That is the subject of your time.” - Extract from Ryan Gander, ‘The End’ (February, 2020) Ryan Gander will open Lisson Gallery’s new space in New York with an exhibition hiGhliGhtinG time as the new currency, reflectinG on how – in an aGe of identity politics, selfie culture and an incessant need to shout the loudest – the focus of our time should be on the value of time itself. The exhibition is made up of many individual works that create a whole, like chapters in a book, but with no linear beginning or end. Upon entering the space, the visitor is presented with a feeling of disarray – from broken glass to graphite marks on the walls – where each work is a piece of the puzzle, referencinG Gander’s interest in chance, serendipity and storytellinG, layinG out a series of clues and markers to be decrypted. In his last exhibition at Lisson Gallery London, Gander encouraGed the viewer to allow a natural course of action, claiminG that time has its own course, a power that we cannot control. -
Press Release Julian Opie
Press Release Julian Opie 7 November 2020 – 27 February 2021 2/F, 27 Huqiu Road, Huangpu District, Shanghai Opening: Friday 6 November, 5 – 7pm Lisson Gallery is pleased to present an exhibition of all new work by renowned British artist Julian Opie, for his first solo exhibition with the gallery in Shanghai. The presentation features seven works depicting new subjects (all 2020) in a variety of media, with three large-scale group portraits, three stand-alone sculptures, and one moving computer animation. In this new body of work, Opie draws on the ubiquitous imagery of urban scenes and the cityscape, recalling the vocabulary of everyday life but instilling it with a new energy and vitality. The show coincides with Opie’s presentation as part of the Jing'an International Sculpture Project in Shanghai, as well as the unveiling of his commission for the Huarun Group Embankment Square Pudong. Opie, renowned globally for his contribution to contemporary art, draws on influences as diverse as billboard signs, contemporary dance, classical portraiture and sculpture. A central motif of Opie’s work is the human figure, whether depicted running, posing, walking or dancing, alone or in crowded cities. These portraits – found in public spaces in many major cities across the world – reflect the artist’s preoccupation with exploring the very nature of representation and the means by which it is perceived and understood. The artist’s bold colours and radically simplified forms can be seen here in the lightboxes, Old Street May 2. and Old Street June 1. where striking figures in white, yellow and black silhouette against vibrant orange and blue backdrops, alongside the quieter palette, Old Street August 12. -
Museum Presents Four New Installations in Collection Galleries
The Museum of Modern Art For Immediate Release December 1990 MUSEUM PRESENTS FOUR NEW INSTALLATIONS IN COLLECTION GALLERIES The Museum of Modern Art regularly rotates the exhibitions in its collection galleries to make a broad spectrum of its holdings available to the public. STILL LIFE INTO OBJECT Through February 19, 1991 This exhibition of prints traces innovations in the traditional genre of still life from the last decade of the nineteenth century to the 1970s. A variety of stylistic approaches to this conventional subject matter are presented, beginning with works by the Nabis and Cubists, and including master prints from the 1940s and 1950s by Georges Braque, Henri Matisse, and Pablo Picasso. The exhibition concludes with prints by Jim Dine, Jasper Johns, and Claes Oldenburg, who, in depicting commonplace objects, redefined the subject matter of the still life and questioned the objective character of the print itself. Organized by Lindsay Leard, Curatorial Assistant, Department of Prints and Illustrated Books. (Paul J. Sachs Gallery, third floor) GIFTS OF THE ASSOCIATES: 1975-1990 Through February 19, 1991 This exhibition brings together thirty-nine prints by twenty-one artists, all of which were acquired annually with funds given by the Associates of the Museum's Department of Prints and Illustrated Books. The selection includes early twentieth-century prints by Erich Heckel, Mikhail Larionov, Henri Matisse, and Pablo Picasso, as well as recent works by Richard Diebenkorn, Donald Judd, Barbara Kruger, and Roy Lichtenstein. In 1975, a small group of print collectors joined together to form the Associates in order to acquire new works for the collection, to study prints and printmaking, and to sponsor special departmental programs. -
THE SHAPE-SHIFTER How Lynda Benglis Left the Bayou and Messed with with the Establishment
THE SHAPE-SHIFTER How Lynda Benglis left the bayou and messed with with the establishment BY M.H. MILLER Senior Editor You notice her face first. This is odd, because she’s nude, her body bronzed and oiled, with one wiry arm holding a large dou- ble-sided dildo between her legs. Her eyes aren’t even in play; a pair of white sunglasses covers them. The focus is really on her face, framed by an androgynous hairstyle that could have been cut and pasted from the cover of David Bowie’s Aladdin Sane. Her eyebrows are shaved. Her expression, to the extent that it’s readable, rests somewhere between a smirk and a grimace. Lynda Benglis was about to turn 33, and she wanted her nude self-portrait to run alongside a feature article about her by Robert Pincus-Witten in the November 1974 issue of Artforum. John Coplans, Artfo- rum’s editor, wouldn’t allow that, so her dealer at the time, Paula Cooper Gallery, took out an ad, which cost $2,436. Benglis paid for it, which involved a certain amount of panic. In the middle of October, as the issue was getting ready to go to the printer, she reached out to Cooper, frantically trying to track down collectors with outstanding payments so she could put the money toward the ad. “Everyone seems out to get me,” she wrote. Benglis’s ad might have been written off as a quirky footnote for an artist who would go on to become a pioneer of contemporary art in numerous guises, from video to sculpture to painting and beyond. -
Joel Shapiro: Sculpture and Drawings 1969-1972 to Be Exhibited at Craig F
CRAIG F. STARR GALLERY FOR IMMEDIATE RELEASE: CONTACT: Emily Larson + 1 (212) 570 1793 [email protected] Joel Shapiro: Sculpture and Drawings 1969-1972 To be exhibited at Craig F. Starr Gallery February 1 – March 23, 2013 NEW YORK – Craig F. Starr Gallery is pleased to announce an exhibition of early works by Joel Shapiro. On view from February 1 through March 23, the exhibition includes a selection of sculpture and drawings from 1969 through 1972. A fully illustrated catalogue accompanies the show with an essay by art historian Richard Shiff, Effie Marie Cain Regents Chair in Art at The University of Texas at Austin. Joel Shapiro began working in the late 1960s at a time when traditional notions of sculpture were being radically redefined by Minimalism and Conceptual Art. Between 1968 and 1973, he was interested in creating art that explored the passage of time and the accumulation of marks and materials. In his drawings, he investigated these ideas through the repeated gesture of mark-making with fingerprints on paper, and in sculpture, by amassing conical and spherical shapes which he hand formed in clay and porcelain. The works exhibited are primarily on loan from private collections across the country. Four sculptures and 13 drawings will be on view, including the large-scale Fingerprint Drawing (1969) from The Museum of Modern Art. Joel Shapiro (born 1941, New York City) received B.A. and M.A. degrees from New York University. Shapiro’s work has been the subject of more than 160 solo exhibitions and retrospectives internationally. He has executed over thirty commissions and publicly sited sculptures in major cities across the globe. -
Danish Sixties Avant-Garde and American Minimal Art Max Ipsen
Danish Sixties Avant-Garde and American Minimal Art Max Ipsen “Act so that there is no use in a centre”.1 Gertrude Stein Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early. Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 1960s, and I will examine whether one can claim that Danish artists were influenced by American minimal art. Empirical minimal art The last question first. Were Danish artists and writers influenced by American minimal art? The straight answer is no. The fact is that they did not know about American minimal art when they first made works, which we today can characterize as minimal art or minimalism. Minimalism was just starting to occur in America when minimalist works of art were made in Denmark. Some Danish artists, all of them linked up with Den eksperimenterende Kunstskole (The Experimenting School of Art), or Eks-skolen as the school is most often called, in Copenhagen, were employing minimalist techniques, and they were producing what one would tend to call minimalist works of art without knowing of international minimalism. One of these artists, Peter Louis-Jensen, years later, in 1986, in an interview explained: [Minimalism] came to me empirically, by experience, whereas I think that it came by cognition to the Americans.