DOCSLIB.ORG

G a G O S I a N Glenn Brown Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
G a G O S I a N Glenn Brown Bibliography G A G O S I A N Glenn Brown Bibliography Monographs and Group Exhibition Catalogs: 2018 Kunzru, Hari and Xavier Bray. Glenn Brown: Come to Dust. New York: Gagosian. Callander, Miranda, Jill Hartz and Emily Shinn. Transmutations: Glenn Brown/ What’s Old is New Again. Eugene: Jordan Schnitzer Museum of Art, University of Oregon. 2017 Cunaccia, Cesare, Anotonella Nesi and Sergio Risaliti. Glenn Brown: Piaceri Sconosciuti. Florence: Forma Edizioni. de Witt, David, Hans den Hartog Jager, and Lidewij de Koekkoek. Glenn Brown: Rembrandt: After Life. Amsterdam: WBooks and Rembrandt House. ----------. Joy Division. Bracewell, Michael (text), Lavinia Greenlaw (poems) and Glenn Brown (artwork). London: Enitharmon Editions. 2016 Clifton, James, Jeff Fleming and Steven Matijcio. Glenn Brown. Des Moines: Des Moines Art Center. Curiger, Brice, and Judicaël Lavrador. Glenn Brown: Suffer Well. Arles: Fondation Vincent Van Gogh Arles. 2015 Salomon, Xavier F. Glenn Brown: 36 Drawings and a Sculpture. New York: Gagosian Gallery. Schalhorn, Andreas. Dessins. Berlin: Galerie Max Hetzler. Fuches, Rudi. Glenn Brown. New York: Gagosian Gallery. 2014 Chilver, John and Dominic Eichler. Glenn Brown and Rebecca Warren. Vancouver: Rennie Collection. 2011 Gallais, Jean-Marie. Glenn Brown. Berlin: Galerie Max Hetzler. 2009 Sillars, Lawrence and Michael Stubbs. Glenn Brown. Edited by Francesco Bonami and Christoph Grunenberg. London: Tate. Steiner, Rochelle, Michael Bracewell and David Freedberg. Glenn Brown: Three Exhibitions. London: Gagosian Gallery and Rizzoli. Stonard, John-Paul. Glenn Brown: Etchings (Portraits). London: Ridinghouse. 2008 Uszynska, Katarzyna. Glenn Brown. Edited by Wilfried Seipel. Vienna: Kunsthistorisches Museum. 2007 Bracewell, Michael. Glenn Brown. Edited by Stefan Ratibor and Ealan Wingate. New York: Gagosian Gallery. 2006 Morton, Tom. Glenn Brown. Berlin: Galerie Max Hetzler. 2004 Freedberg, David. Glenn Brown. New York: Gagosian Gallery. Gingeras, Alison and Rochelle Steiner. Glenn Brown. London: Serpentine Gallery. 2000 Myers, Terry R., Frédéric Paul and Stephen Hepworth. Glenn Brown. Bignan, France: Domaine de Kerguéhennec, Centre d’Art Contemporain. 1999 Hunt, Ian. Glenn Brown. London: Jerwood Gallery. 1996 King, Phil and Marcelo Spinelli. Glenn Brown. Hexham, England: Queen’s Hall Arts Centre; London: Karsten Schubert. Books and Catalogues: 2018 Seifert, Christian Tico, Peter Black, Stephane S. Dickey, Patrick Elliott, Donato Esposito, M.J. Ripps, and Jonathan Yarker. Rembrandt: Britain's Discovery of the Master. Edinburgh: Scottish National Gallery. W W W . G A G O S I A N . C O M G A G O S I A N Seifert, Christian Tico. Rembrandt and Britain. Edinburgh: Scottish National Gallery. Bell, Julian. What is Painting? London: Thames and Hudson. 2017 Abramson, Seth. Golden Age. Buffalo: BlazeVOX. Loewe, Catherine. I Lost My Heart to a Starship Trooper. London: Solopress/ Griffin Gallery. Bracewell, Michael, Matthew Higgs, Johan Kugelberg, and Jon Savage. True Faith. Manchester: Manchester Art Gallery. 2016 Fleming, Jeff and Matijicio, Steven. Glenn Brown. Des Moines: Des Moines Art Center. A to Z of Contemporary Art. London: Frieze / Phaidon. Buchli, Victor. An Archeology of the Immaterial. London: Routledge. Fullerton, Elizabeth. Artagel: The Inside Story of the BritArt Revolution. London: Thames & Hudson. Jerwood Drawing Prize 2016. London: Jerwood Charitable Foundation. Nude: From Modigliani to Curin. New York: Gagaosian Gallery. Renaissances: Un Hommage contemporain a Florence. Paris: Leinart. Talking Art 2: Interviews with artists since 2006. London: Riding House. Woodley, Frances. Models and Materialities: Confabulation and the Contemporary Still Life. Llandysul: Gomer Press. 2015 Chiver, John, and Eichler, Dominic. Glenn Brown / Rebecca Warren: Rennie Collection. Vancouver: Rennie Collection. Art Fiction - De la ville aux étoiles. Paris: RMN. Body of Art. London: Phaidon. Centre Pompidou Provisoire, Centre Pompidou Malaga. Madrid: TF Editores. Grovier Kelly. Art Since 1989. London: Thames & Hudson. Constantine, Jill, Jennifer Higgie, Lynette Yiadom-Boakye, Glenn Brown, Milena Dragicevic, David Noonan, Paula Rego, and Rose Wylie. One Day, Something Happens: Paintings of People: A Selection by Jennifer Higgie from the Arts Council Collection. London: Hayward Publishing. 2014 Kimmelman, Michael. Artists Talk. Nuremberg: Verlag für moderne Kunst Nürnberg. (Edited by Gerald A. Matt) Deblonde, Gaultier and Jim Lewis. Atelier. Gottingen: Steidl. Face to Face: British Prints from the Clifford Chance Art Collection. London: Sir John Soane’s Museum. Lacroix, Christian, and Anne Hidalgo. Lumières: carte blanche à Christian Lacroix. Paris: Paris Musées. Livingstone, Marco, Chang Tsong-Zung and Andrey Erofeev. Post Pop: East Meets West. London: Cenrelnvest UK Limited. Quattrone, Raffaele. IN ITINERE: arte contemporanea in trasformazione. San Cesareo (RM): EQUIPèCO. Gallais, Jean-Marie. REMEMBER EVERYTHING: 40 Years Galerie Max Hetzler. Berlin: Galerie Max Hetzler. Berg, Stephan, Michael Bracewell, Lutz Eitel, Ulrike Groos, Hans Dieter Huber, and Peter Pakesch. Sammlung Im Wandel: Die Sammlung Rudolf und Ute Scharpff. Berlin: Holzwarth Publications. SHE: Picturing women at the turn of the 21st century. Rhode Island: Brown University Press. Somos Libres II: Works from the Mario Testino Collection. Verona: Rizzoli. Taylor, Brandon. After Constructivism. London and New Haven: Yale University Press. Chiari, Alexis, Sylvie Courtine-Denamy, Christine Poullain, and Guillaume Theuliére. Visages: Picasso, Magritte, Warhol…, Paris: Réunion des musée nationaux - Grand Palais. 2013 Holzwarth, Hans Werner. Art Now, Volume 4. Cologne: Taschen. W W W . G A G O S I A N . C O M G A G O S I A N Grovier, Kelly. 100 Works of Art That will Define Our Age. London: Thames & Hudson Ltd. Curiger, Bice. Riotous Baroque: From Cattelan to Zurburan: Tributes to Precarious Vitality. Bilbao: Museo Guggenheim Bilbao. 2012 Castenfors, Mårten, Douglas Feuk, and Barbro Stribolt. Helvete/Hell. Stockholm: Liljevalchs Kunsthalle. Desserre, Jean-Francois. L’Image peinte. Enjeux et perspectives de la peinture figurative des années 90 à nos jours. Chatou, France: Les Éditions de la Transparence. Lomas, David and Jeremy Stubbs. Simulating the Marvellous. Manchester: Manchester University Press. Slavická, Milena. And Petr Nedoma. Beyond Reality: British Painting Today. Prague: Galerie Rudolfinum. Slyce, John. Contemporary Art in the United Kingdom. Edited by Phoebe Adler, London: Black Dog Publishing. Taylor, Michael. The Mechanical Hand: Artists’ Projects at Pauper Press. London: Black Dog Publishing. 2011 Cotter, Suzanne, Bice Curiger, Connie Butler, Bob Nicklas, Daniel Brinbaum, Massimiliano Gioni, Okwui Enwezor and Hans Ulrich Obrist. Defining Contemporary Art - 25 Years in 200 pivotal artworks. London: Phaidon. Bracewell, Michael. The Space Between: Collected Writings. Edited by Doro Globus. London: Ridinghouse. Fetz, Wolfgang, Belinda Grace Gardener, Synne Genzmer, David Lomas, Gerald A. Matt and Catherine Millet. Le Surréalisme, c’est moi!: Homage to Dalí. Vienna: Kunstalle Wien. Gingeras, Alison. Grisaille. New York: Luxembourg & Dayan. Grenier, Catherine. Dali, l'invention de soi. Paris: Flammarion. Gugnon, Annabelle, Rainer Metzger, Damien Sausset and Virginie Spenlé. Mémoires du futur: la collection Olbricht. Paris: Fage and La maison rouge. Lampert, Catherine and Tom Hunt. The Mystery of Appearance: Conversations Between Ten British Post-War Painters. London: Haunch of Venison. Mettais, Valerie. Portraits. France: Groupe Qualibris/Palette. Myers, Terry R. Painting: Documents of Contemporary Art. London: Whitechapel Gallery. Myrone, Martin, Michael Campbell, Lars Kokkonen, David Bindman and Julie Milne. John Martin: Apocalypse. London: Tate. 2010 Ades, Dawn, Will Self, and J. G. Ballard. Crash. London: Gagosian Gallery. Ando, Tadao and Philip Jodidio. Tadao Ando: Venice, The Pinault Collection at the Palazzo Grassi and the Punta della Dogana. New York: Rizzoli. Boehm, Gottfried, Angela Breidbach, Hubertus Butin, Philippe Cordez, Bice Curiger, et al. Täuschend echt. Illusion und Wirklichkeit in der Kunst. Edited by Bärbel Hedinger. Hamburg: Das Bucerius Kunst Forum. Cork, Richard. Royal Academy Illustrated 2010. Edited by Stephen Chambers. London: Royal Academy of Arts. Craig-Martin, Craig. Art: curated by Michael Craig-Martin. Berlin: Medialis, Galerie Haas & Fuchs. Curinger, Bice. Täuschend echt. Die Kunst des Trompe-l’oeil, Munich: Albert Hirmer Verlag. Ditner, Judy and Massimiliano Gioni, eds. 10,000 Lives: Gwangju Biennale 2010. Gwangju: Gwangju Biennale Foundation. Tapié, Alain, Pierre Bergé, Régis Cotentin, and Isabelle Degut. Vanité: Mort, Que Me Veux-tu?, Paris: Fondation Pierre Bergé – Yves Saint Laurent. 2009 Adriana, Götz, Boris Groys, Gregor Jansen, Heinrich Klotz, Peter Sloterdijk, Wolfgang Ullrich, and Peter Weibel. Just what is it…. Karsruhe: ZKM/Center for Art and Media. W W W . G A G O S I A N . C O M G A G O S I A N Bonami, Francesco and Alison M. Gingeras, eds. Mapping the Studio: Artists from the François Pinault Collection. Milan: Electa. Godfrey, Tony, ed. Painting Today. London: Phaidon Press. Ottinger, Didier ed. Arcadie: Dans les collections du Centre Pompidou. Taipei: Taipei Fine Arts Museum. Werner Holzwarth, Hans, ed. 100 Contemporary Artists. Cologne: Taschen. 2008 Exhibition of Musée National de l’Arte Moderne du Centre Pompidou. Korea: GNC Media, Seoul Museum of Art in Korea. Heiser, Jorg. All of a Sudden: Things that Matter in Contemporary
Load more

Recommended publications
  • TURNER PRIZE: Most Prestigious— Yet Also Controversial
    TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J.
    [Show full text]
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
    [Show full text]
  • Anya Gallaccio
    ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition,
    [Show full text]
  • Gagosian Gallery
    Artsy April 2, 2019 GAGOSIAN How Takashi Murakami Got His Start as an Artist Scott Indrisek “At the studio I rented for $80 a month on Lorimer Street in Brooklyn, uncertain whether I would have anything to eat the next day.” © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy of Gagosian. In the second installment of a new series, we continue to shine a light on the tumultuous early days of artists who have since become household names. Takashi Murakami, 57, may now be an international art star and a cultural icon, but he was once a disgruntled student, bored with his conservative schooling and dreaming of better things. Indeed, when he was just starting out, Murakami claimed no special status as an artist. “I was never particularly talented at drawing or painting,” he said; hard work, practice, and determination would sharpen those skills. He had his first solo show in 1989, at Tokyo’s Ginza Surugadai Gallery, and began traveling from his native Japan to New York City around that time. Murakami always thought of New York as one of the art world’s vital centers, and he was willing to struggle in order to absorb what it had to offer. He recalled once renting a studio on Lorimer Street in Brooklyn for a mere $80 a month (“uncertain whether I would have anything to eat the next day,” he added). In 1994, he landed a residency in the prestigious PS1 International Studio Program. These early experiences helped shape Murakami’s unique artistic vision. The hyperconfident artist would eventually become a global brand, his manga-inspired creations taking over the world—one wild sculpture and painting at a time.
    [Show full text]
  • Where Do Ideas Come From?
    Where do ideas come from? Where do ideas come from? 1 Where do ideas come from? At Deutsche Bank we surround ourselves with art. International contemporary art plays its part in helping us to navigate a changing world. As a global bank we want to understand, and engage with, different regions and cultures, which is why the Deutsche Bank Collection features contemporary artists from all over the globe. These artists connect us to their worlds. Art is displayed throughout our offices globally, challenging us to think differently, inviting us to look at the world through new eyes. Artists are innovators and they encourage us to innovate. Deutsche Bank has been involved in contemporary art since 1979 and the ‘ArtWorks’ concept is an integral part of our Corporate Citizenship programme. We offer employees, clients and the general public access to the collection and partner with museums, art fairs and other institutions to encourage emerging talent. Where do ideas come from? 2 Deutsche Bank reception area with artworks by Tony Cragg and Keith Tyson Art in London The art in our London offices reflects both our local and global presence. Art enriches and opens up new perspectives for people, helping to break down boundaries. The work of artists such as Cao Fei from China, Gabriel Orozco from Mexico, Wangechi Mutu from Kenya, Miwa Yanagi from Japan and Imran Qureshi from Pakistan, can be found alongside artists from the UK such as Anish Kapoor, Damien Hirst, Bridget Riley and Keith Tyson. We have named conference rooms and floors after these artists and many others.
    [Show full text]
  • Organizations
    Long Distance Friends Is Fundraising in the United States the Right Move? - A Five-Point Checklist By Gisela Keller Translation of a German article that appeared in Stiftung und Sponsoring in October 2006 The candles on the elegant Park Avenue dinner table cast a soft glow on the influential guests engaged in conversation as Ortrud Westheider, the Art Director of the Hamburg-based Bucerius Kunst Forum, hosts a recent “Friendraising Dinner” in New York. She seeks to raise visibility and financial support from individuals, collectors, foundations and companies for her American Art from 1800 – 1950 project. Three years ago when the Museum embarked on finding U.S. donors for their exhibition trilogy that will open in Hamburg, Vienna und Zurich starting in 2008 the term “Friendraising Dinner” was pretty novel. That’s different today. In light of diminishing state support overseas for arts, culture, science and education the strong U.S. culture of philanthropy increasingly attracts international nonprofit leaders’ attention. “When talking with German clients I notice that interest in international fundraising is rising. Yet, nonprofit management tends to be oblivious to the fact that it is relatively simple to create the technical and legal framework that will allow them to qualify for US donations - and to attain tax exemption for U.S. donations,” comments Steffen Lang, Relationship Manager at Deutsche Bank Private Wealth Management in New York. Tax exemption is a prerequisite for fundraising in the United States. International organizations have a couple of options: It can be advisable to set up a Donor-Advised Fund via an organization such as the King Baudouin Foundation United States or Charities Aid.
    [Show full text]
  • Charles Saatchi's 'Newspeak'
    Charles Saatchi’s ‘Newspeak’ By Jackie Wullschlager Published: June 4 2010 22:15 | Last updated: June 4 2010 22:15 Is Charles Saatchi having fun? On the plus side, he is the biggest private collector in Britain. His Chelsea gallery is among the most beautiful and well-appointed in the world. It is relaxed, impious, free, and full, which matters because, as Saatchi often admits, “I primarily buy art to show it off.” He buys whatever he likes, often on a whim: “the key is to have very wobbly taste.” Yet for all the flamboyance with which he presents his purchases, it is not clear that he is convinced by them. “By and large talent is in such short supply mediocrity can be taken for brilliance rather more than genius can go undiscovered,” he says, adding that when history edits the late 20th century, “every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.” These quotations come from a question-and-answer volume, My Name is Charles Saatchi and I am an Artoholic, published last autumn, and their tone of breezy disenchantment, combined with the insouciance with which his new show, Newspeak, is selected and curated, suggests that at 67 Saatchi is downgrading his game. After recent exhibitions concentrated on China, the Middle East, America and India, Newspeak It Happened In The Corner’ (2007) by Glasgow-based duo littlewhitehead returns to the territory with which he made his name as a collector in Sensation in 1997: young British artists. But whereas Sensation, tightly selected around curator Norman Rosenthal’s theme of a “new and radical attitude to realism” by artists including Hirst, Jake and Dinos Chapman, Rachel Whiteread, Marc Quinn, had a precise, powerful theme, Newspeak has a scatter-gun, unfocused approach.
    [Show full text]
  • Janet Cardiff & George Bures Miller
    JANET CARDIFF & G. B. MILLER page 61 JANET CARDIFF & GEORGE BURES MILLER Live & work in Grindrod, Canada Janet Cardiff Born in 1957, Brussels, Canada George Bures Miller Born in 1960, Vegreville, Canada AWARDS 2021 Honorary degrees, NSCAD (Nova ScoOa College of Art & Design) University, Halifax, Canada 2011 Käthe Kollwitz Prize, Akademie der Künste, Berlin, Germany 2004 Kunstpreis der Stadt Jena 2003 Gershon Iskowitz Prize 2001 Benesse Prize, 49th Venice Biennale, Venice, Italy Biennale di Venezia Special Award, 49th Venice Biennale, Venice, Italy 2000 DAAD Grant & Residency, Berlin, Germany SELECTED INDIVIDUAL EXHIBITIONS 2019 Janet Cardiff & George Bures Miller, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico 2018-2019 Janet Cardiff & Geroge Bures Miller: The Instrument of Troubled Dreams, Oude Kerk, Amsterdam, The Netherlands 2018 Janet Cardiff & George Bures Miller: The Poetry Machine and other works, Fraenkel Gallery, FRAENKELGALLERY.COM [email protected] JANET CARDIFF & G. B. MILLER page 62 San Francisco, CA FOREST… for a thousand years, UC Santa Cruz Arboretum and Botanic Garden, Santa Cruz, CA Janet Cardiff & George Bures Miller: Two Works, SCAD Art Museum, Savannah, GA 2017-18 Janet Cardiff & George Bures Miller, 21st Century Museum of Contemporary Art, Kanazawa, Japan 2017 Janet Cardiff: The Forty Part Motet, Switch House at Tate Modern, London, England; Nelson Atkins Museum of Art, Kansas City, MO; Mobile Museum of Art, Mobile, AL; Auckland Castle, Durham, England; TRAFO Center for Contemporary Art, Szczecin, Poland
    [Show full text]
  • The Art of Quotation. Forms and Themes of the Art Quote, 1990–2010
    The Art of Quotation. Forms and Themes of the Art Quote, 1990–2010. An Essay Nina Heydemann, Abu Dhabi I. Introduction A “Japanese” Mona Lisa? An “improved” Goya? A “murdered” Warhol? In 1998, the Japanese artist Yasumasa Morimura staged himself as Mona Lisa.1 Five years later, the British sibling duo Jake and Dinos Chapman ‘rectified’ Francisco de Goya’s etching series „The Disas- ters of War“ by overpainting the figures with comic faces.2 In 2007, Richard Prince spoke about his intention in the 1990s of having wanted to murder Andy Warhol.3 What is it in artists and artworks from the past that prompts so many diverse reactions in contempo- rary art today? In which forms do contemporary artists refer to older works of art? And what themes do they address with them? This paper is an extract of a dissertation that deals with exactly these questions and analyses forms and themes of art quotes.4 Many 1 In the series „Mona Lisa – In Its Origin, In Pregnancy, In The Third Place“ Yasumasa Morimura raised questions of his Japanese identity and hybrid sexuality based on Leonardo da Vinci’s masterwork. 2 Jake Chapman quoted in the Guardian: "We always had the intention of rectifying it, to take that nice word from The Shining, when the butler's trying to encourage Jack Nicholson to kill his family – to rectify the situation". Jones 2007, 11 or online at <http://www.theguardian.com/culture/2003/mar/31/artsfeatures.turnerprize2003> (15.12.2014). 3 Interview with Richard Prince in Thon – Bodin 2007, 31.
    [Show full text]
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • TESS JARAY Present Lives and Works in London, UK 1957-60 Slade
    TESS JARAY Present Lives and works in London, UK 1957-60 Slade School of Fine Art, University College, London, UK 1954-57 Saint Martins School of Art and Design, London, UK 1938 Moved to UK 1937 Born in Vienna, Austria Public Collections Abbot Hall Art Gallery, Kendal, UK Arts Council Collection, London, UK Contemporary Art Society, London, UK Graves Art Gallery, Sheffield, UK Museum of Contemporary Art, Belgrade, Serbia Museum des 20 Jahrhunderts, Vienna, Austria Städtisches Museum, Leverkusen, Germany Sundsvall Museum, Sundsvall, Sweden Szépmüvészeti Múzeum, Budapest, Croatia The British Council, London, UK The British Museum, London, UK The Fogg Art Museum, Harvard University, MA, US The Sainsbury Centre, Norwich, UK The Tate Collection, London, UK The Victoria and Albert Museum, London, UK University College London, London, UK Walker Art Gallery, Liverpool, UK Western Australia Art Gallery, Perth, Australia Whitworth Art Gallery, Manchester, UK Worcester City Art Gallery and Museum, Worcester, UK Select Solo Exhibitions 2018 Tess Jaray: Aleppo, Exile Gallery, Berlin, Germany 2017 Tess Jaray, Early Paintings, Sotheby’s S|2, London, UK Tess Jaray, Djanogly Art Gallery, Nottingham, UK Tess Jaray: Into Light, Marlborough Fine Art, London UK Tess Jaray: The Light Surrounded, Albertz Benda, New York, NY 2016 Tess Jaray: Dark & Light, Megan Piper, London, UK 2015 Extra Terrestrial, East Gallery NUA, Norwich University of the Arts, Norwich, UK 2014 The Landscape of Space, Djanogly Art Gallery, Nottingham, UK 2013 Drawings, Karsten Schubert,
    [Show full text]
  • A Guide for Holders of the International Association of Art Card Prepared with Contributions from the Slovak Union of Visual Arts (Slovenská Výtvarná Únia) 2017
    A guide for holders of the International Association of Art card Prepared with contributions from the Slovak Union of Visual Arts (Slovenská výtvarná únia) 2017 The International Association of Art (IAA/AIAP) is a non-governmental organization working in official partnership with UNESCO. Its objectives are to stimulate international cooperation among visual artists of all countries, nations or peoples, to improve the socio-economic position of artists nationally and internationally, and to defend their material and moral rights. The IAA issues identity cards to professional visual artists. This card allows free or discounted admission to many galleries and museums in countries around the world. The card is a tool for the lifelong education of artists in their professional artistic research. These institutions, large or small, recognize the benefit they gain from enabling the artists, like art critics and journalists, to visit exhibitions, art events and collections of art, to carry on research, and to gain inspiration. As a member within the IAA network, CARFAC National issues IAA cards exclusively to Canadian professional artists that are members of CARFAC upon request. Only National Committees of the IAA may issue the card. Where to use the IAA card This document includes a chart detailing selected institutions that offer free or discounted admission prices, or other perks to IAA card holders while travelling abroad. This information was obtained from surveying recent users of the card and IAA National Committees worldwide, and is updated regularly – most recently in 2017 by the Slovak Union of Visual Arts (SUVA). Users will find that different areas in Europe are more receptive to the card than others.
    [Show full text]