Jennifer Bolande

Total Page:16

File Type:pdf, Size:1020Kb

Jennifer Bolande MAGENTA PLAINS JENNIFER BOLANDE Born in 1957 in Cleveland, OH Lives and works in Los Angeles and Joshua Tree, CA Education 1979 BFA Nova Scotia College of Art & Design Solo Exhibitions 2020 The Composition of Decomposition, Magenta Plains, New York 2018 The Composition of Decomposition, Pio Pico, Los Angeles 2014 Measured Against What, Green Gallery, Chicago 2012 Landmarks, a Survey Exhibition, Luckman Gallery, Cal State Los Angeles Landmarks, a Survey Exhibition, Institute of Contemporary Art, Philadelphia, PA 2010 Landmarks, a Survey Exhibition, Institute of Visual Arts, INOVA, Wisconsin, MI Mathematics and Myths of Yesterday and Today, Thomas Solomon & Cottage Home, Los Angeles Plywood Curtains, West of Rome Public Art, citywide installation, Los Angeles 2008 Smoke Screens, Alexander and Bonin, New York 2004 Earthquake, Alexander and Bonin, New York 2003 Fotohof, Salzburg, Austria 2001 Globe Sightings, Alexander and Bonin, New York 1999 The City at Night Alexander and Bonin, New York MoMA P.S.1, Long Island City, New York 1995 Road Movie, John Gibson Gallery, New York Kunstraum München, Munich, Germany Kunsthalle Palazzo, Liestal, Switzerland 1994 Richard Telles Fine Art, Los Angeles 1992 Metro Pictures, New York 1990 Urbi et Orbi, Paris France Galleri Nordanstad-Skarstedt, Stockholm, Sweden 1989 Margo Leavin Gallery, Los Angeles 1988 Metro Pictures, New York 1987 Galerie Sophia Ungers, Cologne, Germany 1986 Nature Morte, New York 1983 Artists Space, New York magentaplains.com 94 Allen Street New York, NY 10002 917-388-2464 1982 The Kitchen, New York Select Group Exhibitions 2020 After the Plaster Foundation, Queens Museum, New York, NY 2019 Celebration of Our Enemies, Hammer Museum, Los Angeles, CA Make Believe, Magenta Plains, New York, NY BreatheWatchListenTouch, The Work and Music of Yoko Ono, Femmebit and Makingout-LA at Walt Disney Concert Hall, Los Angeles, CA 2018 Readymades Are For Everyone, Swiss Institute, New York, NY Brand New: Art and Commodity in the 1980s, Hirschorn Museum, Washington, DC Arcadias, Magenta Plains, New York, NY Art & Entertainment, MAMCO, Geneva, Switzerland Social Photography VI, Carriage Trade, New York, NY Naturel pas naturel, Palais Fesch Musée des beaux-arts, Ajaccio, France Picture City, Carriage Trade, New York 2017 Desert X, Site-specific art exhibition/installation in the Coachella Valley, CA Vernacular Environments, Edward Cella Gallery, Los Angeles 2016 Every Future Has A Price: 30 Years After Infotainment, Elizabeth Dee, New York Apeirophobia/Aporia, Human Resources, Los Angeles Don’t Look Back; The 1990s at MOCA, Geffen Contemporary at MOCA, Los Angeles 2015 Artists and Architecture; Variable Dimensions, du Pavillon de l’Arsenale, Paris Rideaux/Blinds, Institut d’Art Contemporain Villeurbanne Rhône-Alps, France 2014 Modèles modèles, MAMCO, Geneva, Switzerland 2012 The Pathos of Things, Carriage Trade, NYC (catalogue) Tell It To My Heart: Collected by Julie Ault, Kunstmuseum Basel; Artists Space, New York Skyscraper, Art and Architecture Against Gravity, MCA, Chicago This Will Have Been, Art Love and Politics in the 1980’s, Museum of Contemporary Art, Chicago (curated by Helen Molesworth), travelling to Walker Art Center, Minneapolis, and ICA, Boston 2010 Mixed Use, Manhattan: Photography and Related Practices 1970s to Present, Museo Centro de Arte Reina Sofia, Madrid, Spain, curated by Lynne Cooke & Douglas Crimp 2009 Phot(o)bject, Presentation House Gallery, Vancouver, B.C., curated by Robert Nickas 2005 The Art of Design: The Architecture and Design Collection, San Francisco MOMA, CA The Forest: Politics, Poetics, Practice, Nasher Museum of Art, Duke University, Durham, NC 2004 Architecture & Arts: 1900/2000, Palazzo Ducale, Genova, curated by Germano Celant 2003 Influence, Anxiety, and Gratitude, MIT List Visual Arts Center, Cambridge, curated by Bill Arning Living Inside the Grid, New Museum of Contemporary Art, New York, curated by Dan Cameron 2002 The Photogenic: Photography Through Its Metaphors in Contemporary Art, ICA, Philadelphia 1997 Deep Storage, Haus der Kunst, Munich; Nationalgalerie, Berlin; Kunstmuseum, Dusseldorf; PSI, New York; Henry Art Gallery, Seattle, WA 1996 Just Past, curated by Anne Goldstein, Museum of Contemporary Art, Los Angeles Making Pictures: Women and Photography, 1975 – NOW, Nicole Klagsbrun, New York 1993 Jennifer Bolande, Sophie Calle, Vic Muniz & Mike Scott, Wooster Gardens, New York 1992 Jennifer Bolande, Sylvia Gertsch, Marie-Therese Huber, Pippilotti Rist, Mio Shirai, Shedhalle, Zurich, Switzerland Constructing Images: Synapse Between Photography and Sculpture, Lieberman & Saul, NYC, Tampa Museum of Art, FL, Ctr. for Creative Photography, AZ; curated by Ingrid Schaffner 1990 The Readymade Boomerang, Eighth Biennale of Sydney, Australia, curated by Rene Block Status of Sculpture, L’espace Lyonnais d’Art Contemporain, Lyon; ICA, London; Lowen-Palais, Berlin magentaplains.com 94 Allen Street New York, NY 10002 917-388-2464 Jennifer Bolande, Mike Kelley, John Miller, Seibu Gallery, Japan Jennifer Bolande, Tim Ebner, Mike Kelley, Ken Lum, Robbin Lockett Gallery, Chicago 1988 Graz 1988, Stadtmuseum Graz, Austria Made in Camera, curated by Peter Anderson, Galerie Sten Eriksson, Stockholm Presi per Incantamento, Padiglione d’Arte Contemporanea, Milan, curated by Gregorio Magnani, Giorgio Verzotti and Daniela Salvioni 1986 Cinemaobject, City Gallery, New York, curated by Dennis Adams 1985 Infotainment, Texas Gallery, Houston; Rhona Hoffman Gallery, Chicago Vanguard Gallery, Philadelphia; Aspen Art Museum, CO; Galerie Montenay, Paris 1982 Real Life Magazine Presents, White Columns, New York Resource Material: Appropriation in Current Photography, Bard College, Proctor Art Ctr, Annandale-on-Hudson, NY, curated by Stephen Frailey Artist Books 2016 The Times, self published, 428 pages, hardcover book edition of 12 2016 Excavation Volumes 1-35, unique bound newsprint books, variable dimensions 2015 Short Story, self published hardcover book 20 pages, edition of 6 2010 Space Photography, ZG Press Monographs 2011 Jack Bankowsky, Rosetta Brooks, Ingrid Schaffner, Nicholas Frank, Christina Valentine, Dennis Balk; Jennifer Bolande, Landmarks, published by JRP|Ringier (link) 1995 Justin Hoffmann and Phillip Ursprung; Jennifer Bolande, Kunsthalle Palazzo, Basel, Switzerland 1992 Gertrude Sandqvist and Daniela Salvioni; Jennifer Bolande, New York, published by Nordenstad-Skarsted Catalogs 2019 Elizabeth Dee, ed. with texts by Alan Belcher and Robert Nickas, Every Future Has a Price- 30 years after Infotainment; publ. by Elizabeth Dee Andrew Roth & Neville Wakefield, ed. Desert X 2017 Catalogue, PPP Editions, NY 2018 Gianni Jetzer, Brand New: Art and Commodity in the 1980s; Hirshhorn Museum 2016 Julie Ault, Martin Beck and Richard Birkett; Macho Man, Tell It To My Heart – Collected by Julie Ault, Vol. 2; Hatje Cantz + Cover Illustration 2015 Ogor Gourvennec, Gregory Lang; Artists and Architecture; Variable Dimensions, Editions du Pavillon de l’Arsenale, Paris 2014 Gregory Stamatina, ed: Brian Weil 1979-1995: Being In The World, ICA, Philadelphia, illustrations and reference to Bolande; The Porn Series, 1982 2012 Michael Darling & Joanna Szupinska, Skyscraper: Art and Architecture Against Gravity, Museum of Contemporary Art, Chicago 2011 Helen Molesworth ed., This Will Have Been: Art, Love & Politics in the 1980s. Museum of Contemporary Art, Chicago; Yale University Press 2010 Douglas Crimp and Lynne Cooke ed., Mixed Use, Manhattan; Photography and Related Practices, 1970s to the Present, Museo Nacional Centro de Arte Reina Sofia, Madrid, MIT Press 2009 Charlotte Cotton, The Photograph as Contemporary Art, Thames & Hudson Ltd. 2005 Germano Celant, ed. Architecture & Arts: 1900/2004 A Century of Creative Projects in Building, Design, Cinema, Painting, Sculpture, Milan: Skira Editore magentaplains.com 94 Allen Street New York, NY 10002 917-388-2464 Kathleen Goncharov. The Forest, Politics, Poetics, and Practice (ex. cat.), Nasher Museum of Art 2001 Geoffrey Batchen, Each Wild Idea, Cambridge: MIT Press 1998 Ingrid Schaffner, Deep Storage, PS1, New York 1990 Isabelle Graw Ed. Nachschub, The Köln Show, Cologne, Germany 1989 Robert Nickas (essay) A Climate of Site (ex. cat), Amsterdam: Galerie Barbara Farber Robert Nickas (interviews) Works Concepts Processes Situations Information (ex. cat.) Dusseldorf: Galerie Hans Mayer 1988 Sten Erickson, Made in Camera, VAVD Editions, Stockholm 1986 Thomas Lawson, David Robbins, George W.S. Trow, Infotainment, J. Berg Press, NY Interviews 2018 “Scoping things on the cutting edge: A conversation between Jennifer Bolande and Marie de Brugerolle”. Mousse Magazine, issue 65 (October 2018) 2017 “It draws attention to the transition between here and there,” We Present Series (link) “Este Cartel Publicitario Es Arte. Verne,” Ediciones El País, Spain (link) “Riot Material Talks with Desert X Artists Jennifer Bolande, Glenn Kaino, Philip K. Smith III and Tavares Strachan,” Riot Material (link) 2012 “Interview with Jennifer Bolande” by J. Louise Makary, Incite Journal of Experimental Media (link) 2010 “A Conversation: Jennifer Bolande and David Robbins,” Milwaukee Journal-Sentinel (link) Writing 2010 “Jennifer Bolande Talks About Plywood Curtains,” introduction by Sharon Lockhart, 1000 Words, Artforum, Issue XLIX, no. 3 (November 2010): 210 2003 “Remembering Jack Goldstein,” Afterall, (Issue 7, 2003): 116-117 1985 “***1⁄2, Picture This, Films Chosen By Artists,” Buffalo: Hallwalls Contemporary “Art and Poetics,” ed. John Miller,
Recommended publications
  • The Bma to Open Solo Exhibitions of Works by Contemporary Artists Sharon Lockhart, Tschabalala Self, and Lisa Yuskavage in March 2021
    THE BMA TO OPEN SOLO EXHIBITIONS OF WORKS BY CONTEMPORARY ARTISTS SHARON LOCKHART, TSCHABALALA SELF, AND LISA YUSKAVAGE IN MARCH 2021 Museum Also Announces Update to Tour Schedule for Joan Mitchell Retrospective BALTIMORE, MD (February 1, 2021)—The Baltimore Museum of Art (BMA) today announced details for three solo exhibitions opening in its Contemporary Wing on March 28, 2021. Sharon Lockhart: Perilous Life; Tschabalala Self: By My Self; and Lisa Yuskavage: Wilderness present key works by each artist that explore central and recurrent themes in their art. The exhibitions are part of the BMA’s 2020 Vision, an initiative to provide greater recognition for female- identifying artists and leaders that has been extended into 2021 following pandemic-related closures last year. The presentations are slated to remain on view through September 19, 2021. Katharina Grosse’s immersive site-related environment, Is It You? (2020), which opened in March 2020, will remain on view in the central gallery of the Contemporary Wing through that date as well. The museum also announced today a change in the tour schedule for the much-anticipated Joan Mitchell retrospective. The exhibition, which was slated to open at the BMA in March 2021, will now premiere at the San Francisco Museum of Modern Art (SFMOMA) on September 4, 2021 and remain on view there until January 17, 2022. It will then travel to the BMA, where it will be on view from March 6 through August 14, 2022. The 2020 Vision Contemporary Wing exhibitions are generously sponsored by BGE, Constellation, and Exelon. Admission is free for each of the exhibitions.
    [Show full text]
  • The Institute of Contemporary Art, Los Angeles (Ica La) Appoints Jamillah James As Curator
    FOR IMMEDIATE RELEASE THE INSTITUTE OF CONTEMPORARY ART, LOS ANGELES (ICA LA) APPOINTS JAMILLAH JAMES AS CURATOR Los Angeles (August 2, 2016)—The Institute of Contemporary Art, Los Angeles (ICA LA) announces Jamillah James as its new curator. James joins ICA LA after serving as Assistant Curator at the Hammer Museum in Los Angeles, where she organized exhibitions and programs at Art + Practice, an arts and social services foundation in Leimert Park established by artist Mark Bradford. James’s appointment marks the first hire after ICA LA announced in May its identity change (formerly the Santa Monica Museum of Art) and relocation to the Arts District in Downtown Los Angeles. James began her position with ICA LA on August 1. “We are forming the ICA LA team by seeking strong and diverse perspectives that unite around common ideas. Jamillah brings incredible diligence, depth, and acuity to her exhibitions,” says Elsa Longhauser, ICA LA Executive Director. “She champions the values that ICA LA holds in highest regard—critique of the familiar and empathy with the different.” Since 2014, James has organized the Los Angeles solo institutional debuts of painter Njideka Akunyili Crosby, conceptual artist Alex Da Corte, and multidisciplinary artist Simone Leigh (opening September 17, 2016 at the Hammer Museum). She also garnered critical praise for A Shape That Stands Up—an ambitious group show that featured work by Kevin Beasley, Robert Colescott, Carroll Dunham, Jamian Juliano- Villani, and Amy Sillman, as well as Selections from the Brockman Gallery Archives, an exhibition that explored Leimert Park’s legendary Brockman Gallery and its work with such seminal black artists as David Hammons, Senga Nengudi, and Noah Purifoy.
    [Show full text]
  • 2021 Exhibition Program
    2021 Exhibition Program Until 4 April 2021 Facade Marcello Maloberti | Martellate 18 April – 8 August 2021 Exhibitions Camille Henrot | Mother Tongue Susan Hiller | Lost and Found Facade Sharon Lockhart | The Future Should Always Be Better Project space Moyra Davey | My Saints 100 Years of Joseph Beuys Susan Hiller | First Aid: Homage to Joseph Beuys Soundinstallation@Nikolaikapelle Diamanda Galás | Broken Gargoyles 4 August – 1 September 2021 External location Kestner Show in the Marktkirche: A Joint Project with Students from the Braunschweig University of Art 11 September – 26 December 2021 Exhibitions Nicolas Party | Stage Fright Ericka Beckman | Fair Game Facade Tim Etchells | Let It Come, Let It Come: The Time We Can Love Outdoor opening performance Marcello Maloberti | Circus Project space TBA Please note that these dates are subject to change. Our extensive program of events will soon be available on our website: www.kestnergesellschaft.de. Exhibition Camille Henrot | Mother Tongue 18 April – 8 August 2021 How can we find a way to bring order to the chaos of our lives? How do we deal with our simultaneous need for attachment and self-assertion? And how do we position ourselves with regard to social and personal expectations? The exhibition Mother Tongue by the French artist Camille Henrot (*1978 in Paris) revolves around existential emotions. The works in the exhibition reflect being drawn between the desire to retreat and the desire to engage – on both a personal and political level. Henrot’s works navigate through a present caught between rational systems and intuitive knowledge. Kestner Gesellschaft is pleased to present the artist’s first wide-ranging institutional solo exhibition of new works in drawing, painting and sculpture in Germany, accompanied by the large-scale fresco series Monday, and film installation Saturday.
    [Show full text]
  • Words Without Pictures
    WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine
    [Show full text]
  • Sharon Lockhart
    apparent. Questions, rather than assertions, come to is not granted the sense of a particular person. This Flash: Sharon Lockhart mind: Who is this person? What is the temperature strategy opens the possibility for the viewer to identify March 28–June 20, 2015 of the water? Is the subject intentionally reaching into as the subject, or with the subject, or potentially both. the water, or catching a fall, having lost her balance on the slippery floor of the tide pool? Are we witnessing Much of Lockhart’s work begs existential questions leisure, or is it work? about being. Untitled is a singular photograph, not part of any series, and is presented alone in this gallery. The rock is covered in barnacles: primordial this untitled photograph by Sharon Lockhart conjures The photograph harkens back to Lockhart’s film Therefore we might also interpret it as allegory: the abstraction. All surface, all texture. Meanwhile the the visible and the invisible. The visible, or the tangible, Double Tide (2009), set in Maine. The film portrays a person in the photograph is not just looking for bottom half of the image is overtaken by a woman, is quite straightforward. There is a buzzing contrast woman digging for clams as the sun rises, then again abalone. She is looking for meaning. knee-deep in water and absorbed in momentary between the vulnerability of this contemporary as it sets. Wearing high boots, she trudges through activity. Subtle concentric ripples spread from her arm’s person’s body, skin, and pink shorts, and the otherwise muddy waters, repeatedly plunging one arm beneath —Amir Zaki point of entry into the water.
    [Show full text]
  • SHARON LOCKHART Catalogues and Brochures
    SHARON LOCKHART Catalogues and Brochures 2016 Mileaf, Janine. Sharon Lockhart: Rudzienko. Chicago: The Arts Club of Chicago, 2016. Mexico: Essays on a Myth. Bilbao: Iberdrola, 2016. 2015 Sharon Lockhart: Milena Milena. Milan: Silvana Editoriale, 2015. Whitney Museum of American Art: Handbook of the Collection. New York: Whitney Museum of American Art, 2015. Schwartz, Alexandra. Come As You Are: Art of the 1990s. Montclair: Montclair Art Museum, 2015. “The heroine Paint” After Frankenthaler. New York: Gagosian Gallery, 2015. Heyler, Joanne, ed. The Broad Collection. Los Angeles/Munich: The Broad/Prestel Verlag, 2015. 2014 In Context: The Portrait in Contemporary Photographic Practice. New York: Ruth and Elmer Wellin Museum of Art Hamilton College, 2014. 2013 Tormey, Jane. Photographic Realism: Late twentieth-century aesthetics. Manchester: Manchester University Press, 2013. 2012 Baron, Stephanie and Britt Salvesen, ed. Sharon Lockhart | Noa Eshkol, Los Angeles County Museum of Art, Israel Museum of Art, Jerusalem: DelMonico & Prestel, 2012. Little, David E. The Sports Show: Athletics as Image and Spectacle. Minneapolis: Minneapolis Museum of Art, 2012. Armstrong, Elizabeth. MO/RE/RE/AL? Art in the Age of Truthiness. Munich and Minneapolis: Prestel and Minneapolis Institute of Arts, 2012. Regarding Warhol: Sixty Artists Fifty Years. New York: Metropolitan Museum of Art, 2012. 2011 Lunch Break II, Secession and Mildred Lane Kemper Museum, 2011. More American Photographs, CCA Wattis Institute for Contemporary Arts, California College of the Arts, 2011. 2010 Lockhart, Sharon, Jane E. Neidhardt, and Sabine Eckmann. Sharon Lockhart: Lunch Break. St. Louis: Mildred Lane Kemper Art Museum, 2010. 2009 Living Flowers: Ikebana and Contemporary Art. Los Angeles: Japanese American National Museum, 2009.
    [Show full text]
  • Walead Beshty Biography
    WALEAD BESHTY BIOGRAPHY Born in 1976, London, UK. Lives and works in Los Angeles, CA. Education: M.F.A., Yale University School of Art, New Haven, CT, 2002 B.A., Bard College, Annandale-on-Hudson, NY, 1999 Selected Solo Exhibitions: 2021 “Walead Beshty: Foreign Correspondence (October 1, 2012 – January 14, 2021),” Galerie Eva Presenhuber, Zurich, Switzerland, March 27 – April 24, 2021 2020 “Walead Beshty: Industrial Uniforms,” MAST Foundation, Bologna, Italy, January 25 – September 20, 2020 “Standard Deviations,” Kunst Museum Winterthur, Winterthur, Switzerland, January 25 – August 9, 2020 2019 “Walead Beshty: Abstract of A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench,” Petzel Gallery, New York, NY, October 24 – December 14, 2019 "Walead Beshty: 3 Pictures," Rodolphe Janssen, Brussels, Belgium, September 5 – October 14, 2019 “Walead Beshty,” Musée d’art moderne et contemporain, Geneva, Switzerland, May 29 – September 8, 2019 2018 “Walead Beshty: Aggregato,” Thomas Dane Gallery, Naples, Italy, September 25 – December 22, 2018 “Equivalents,” Regen Projects, Los Angeles, CA, March 2 – April 7, 2018 2017 “Open Source,” Petzel Gallery, New York, NY, April 20 – June 17, 2017; catalogue “Walead Beshty: Transparencies,” Rat Hole Gallery, Tokyo, Japan, March 24 – June 25, 2017 2016 “Automat,” Galerie Eva Presenhuber, Zürich, Switzerland, June 12 – August 27, 2016 2015 “Walead Beshty,” Great Hall Exhibition, Institute
    [Show full text]
  • Sharon Lockhart
    ൽ ൴ ඃ ൶ Ꭾ ൴ ൴ sharon lockhart ඀൸൴ർඁᎯ൷ൽ൴൸൳൴඀ ൻ Milena ൸ ൽ ൻ൸ൽ൸൴ൽඁං඀Ꭽඁඁ൴ 155 november 14, 2015 - january 23, 2016 10115 Ꭾ൴඀ൻ൸ൽ T 49 30 28877277 F28877278 exhibition opening ං november 13, 6-9 pm ൵ We are pleased to announce our eighth solo exhibition with Sharon Lockhart (b. 1964), which will open on November 14 and remain on view until January 23. For over 20 years, Lockhart has immersed herself in the daily lives of her subjects to make films and photographs that capture human vulnerability and authenticity through studied, choreographed com- positions. During the production of her celebrated 2009 film Podwórka in Poland, Lockhart was struck by nine-year-old Milena’s strong presence and involvement as a sort of impromptu director. This exhibition emerges from the collaboration and friendship that has grown between them. At the center of the exhibition is the photographic triptych Milena, Jarosław, 2013 (2014), which shows Milena, now a young woman, seated at a domestic table in three apparently successive moments. In this portrait, Milena partially obscures her face and controls her own visibility. In a parallel gesture, the photographs are placed on specially conceived architectural volumes that choreograph the visitor’s movement through the gallery’s main exhibition space. As an installation, the work paces a gradual reveal of Milena as well as the interaction between her, the camera and the viewer, exposing the multifarious act of looking that is embedded within the practice of photography. Lockhart’s concern with what and how the viewer perceives is at the crux of her Untitled Study (Rephotographed Snapshot) series.
    [Show full text]
  • Sharon Lockhart Movements and Variations in Two Parts September 7 – October 20, 2018 Opening September 6, 6-8Pm
    Sharon Lockhart Movements and Variations in Two Parts September 7 – October 20, 2018 Opening September 6, 6-8pm Gladstone Gallery Jan Mot 12 Rue du Grand Cerf Place du Petit Sablon 10 Gladstone Gallery Brussels is pleased to present Movements and Variations in Two Parts, an exhibition of new works by Sharon Lockhart spanning two neighboring locations: Gladstone Gallery and Jan Mot. The exhibition features a series of photographic and sculptural works that stem from Lockhart’s ongoing interest in portraiture, choreography, and the empowerment of women. Lockhart’s longstanding investment in place is evident both in the work presented and in the installation. The artist has spent years visiting the Sierra Nevada Mountains, often returning with manzanita, buckeye, and black walnut sticks which she presented as gifts to friends. These physical traces of the landscape gained symbolic form in her relationship with the girls of Rudzienko, with whom Lockhart collaborated for her presentation Little Review in the Polish Pavilion at the 57th Biennale di Venezia. Through the sticks, Lockhart could share a part of her home with the girls and they became a unifying force for the group. For Movements and Variations Lockhart has cast a selection of the sticks in bronze. The exhibition presents them in two forms: a series of bronze sculptures and nine photographic portraits. This doubling is further complicated by the installation’s fracture into two exhibition spaces. Arranged in collaboration with Ravi GuneWardena from the Sogetsu School of Ikebana, the bronze sticks balance form and weight in six different arrangements. The series A Bundle and Five Variations (2018) features an inherent property of casting, the ability to multiply and play.
    [Show full text]
  • Walead Beshty
    [email protected] — WWW.RODOLPHEJANSSEN.COM 1/28 Walead Beshty Biography Born 1976, London, United Kingdom Lives and works in Los Angeles, CA USA Education 2002 MFA, Yale University School of Art, New Haven, CT USA 1999 BA, Bard College, Annandale-on-Hudson, NY USA Solo Exhibitions 2020 - Standard Deviations, Kunst Museum Winterthur, Winterthur, Switzerland - Walead Beshty: Industrial Uniforms, MAST Foundation, Bologna, Italy 2019 - Abstract of A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, Petzel Gallery, New York, NY USA - THREE PICTURES, rodolphe janssen, Brussels, Belgium - Walead Beshty, MAMCO, Musée d’art modern et contemporain, Geneva, Switzerland 2018 - Aggregato, Thomas Dane Gallery, Naples, Italy - Equivalents, Regen Projects, Los Angeles, CA USA 2017 - Open Source, Petzel Gallery, New York, NY USA - Transparencies, Rat Hole Gallery, Tokyo, Japan 2016 - Automat, Galerie Eva Presenhuber, Zurich, Switzerland 2015 - Disponibles, Travesia Cuatro, Guadalajara, Mexico - Walead Beshty, Great Hall Exhibition, Insitute fo Fine Arts, New York University, New York, NY USA - Walid AlBeshti, Regen Projects, Los Angeles, CA USA [email protected] — WWW.RODOLPHEJANSSEN.COM 2/28 2014 - Marginalia, Thomas Dane Gallery, London, UK - Gastarbeiten, Capitain Petzel, Berlin, Germany - A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels
    [Show full text]
  • Walead Beshty
    WALEAD BESHTY Born 1976, London, UK Lives and works in Los Angeles, CA EDUCATION 2002 MFA, Yale University School of Art, New Haven, CT, USA 1999 BA, Bard College, Annandale-on-Hudson, NY, USA SOLO EXHIBITIONS 2021 Foreign Correspondence, Galeria Eva Presenhuber, Zurich, Switzerland 2020 Walead Beshty: Industrial Portraits, Fondazione MAST, Bologna, Italy Standard Deviations, Kunst Museum Winterhur, Switzerland 2019 Abstract of A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, Petzel, New York Three Pictures, Galerie Rodolphe Janssen, Brussels, Belgium Walead Beshty, Musée d'art moderne et contemporain, Geneva, Switzerland 2018 Picture Industry: a provisional history of the Technical Image 1844-2018, LUMA, Arles, France Aggregato, Thomas Dane Gallery, Naples, Italy Equivalents, Regen Projects, Los Angeles, CA, USA 2017 Open Source, Petzel Gallery, New York, NY, USA Transparencies, Rat Hole Gallery, Tokyo, Japan 2016 Automat, Galerie Eva Presenhuber, Zurich, Switzerland 2015 Walead Beshty, Great Hall Exhibition, Institute of Fine Arts, New York University, New York, NY, USA Travesía Cuatro, Guadalajara, Mexico Walid AlBeshti, Regen Projects, Los Angeles, CA 2014 Gastarbeiten, Capitain Petzel, Berlin, Germany Performances under Working Conditions, Petzel, New York, NY, USA Marginalia, Thomas Dane Gallery, London, UK A Partial Disassembling of an Invention without a Future: Helter-Skelter and Random Notes in which the Pulleys and Cogwheels are Lying around at Random All over the Workbench, Curve Gallery, Barbican Centre, London, UK Selected Bodies of Work, Regen Projects, Los Angeles, CA 2013 Walead Beshty, 8 rue Saint-Bon, Paris, France Fair Use, Power Station, Dallas, TX (Ex.
    [Show full text]
  • Roe Ethridge Shelter Island 12 Rue Du Grand Cerf, Brussels January 22–March 5, 2016 Opening January 21, 6–8 Pm
    Roe Ethridge Shelter Island 12 Rue du Grand Cerf, Brussels January 22–March 5, 2016 Opening January 21, 6–8 pm Gladstone Gallery is pleased to present Shelter Island, an exhibition of new photography by Roe Ethridge. The exhibition presents a body of work made during a summer stay at the eastern end of Long Island, New York. Effortlessly employing an array of classic photographic genres–from portraiture to still life to landscape–Ethridge captures his subjects and surrounding environment in vivid, intimate detail. The artist combines the glossy, prefabricated effect of commercial photography with the perspective of fine art photography to create works at once familiar and uncanny, nostalgic and distinctly contemporary. On Shelter Island, Ethridge turned to his family and the American Kit house they rented for the summer. In the home’s garage, Ethridge discovered a range of discarded and stored away possessions from the homeowner and their children, who have grown up and moved out. Evocative and intimate, the objects as props bespeak a lifetime of childhood summers spent in a distinctly American tradition–in the images we see stacked Coca-Cola bottles, a boy playing with a baseball bat, a colorful kite. The register of Ethridge’s Shelter Island document, however, is less of an idealization of these symbols than a melancholic expression of the end of summer malaise. The sun shines brightly in these images, yet a bouquet of flowers is seen well past its prime, the Coca-Cola bottles appear neglected and gathering dust, and the kite is seen plunged into water and inert, rather than flying buoyantly.
    [Show full text]