Barbara Kruger
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NINA CHANEL ABNEY BIOGRAPHY Born In
NINA CHANEL ABNEY BIOGRAPHY Born in Chicago, Illinois, 1982. Education: Augustana College, Rock Island, Illinois, B.F.A., 2004. Parsons School of Design, NYC, NY, M.F.A., 2007. Lives and works in New York City. Selected Solo Shows: 2019 Neuberger Museum of Art, Purchase, New York. “Nina Chanel Abney: Royal Flush”. 2018 Institute of Contemporary Art, Los Angeles, California, and California African American Museum, Los Angeles, California. “Nina Chanel Abney: Royal Flush”. Chicago Cultural Center, Chicago, Illinois. “Nina Chanel Abney: Royal Flush”. 2017 Mary Boone Gallery, NYC, NY. “Safe House”. Jack Shainman Gallery, NYC, NY. “Seized the Imagination”. Nasher Museum of Art, Duke University, Durham, North Carolina. “Nina Chanel Abney: Royal Flush”. 2016 The Gateway Project, Newark, New Jersey. “If You Say So…”. 2015 Kravets/Wehby Gallery, NYC, NY. “Always a Winner”. Monique Meloche Gallery, Chicago, Illinois. “Run Run”. Galeria Rabieh, São Paulo, Brazil. “If You Say So…”. 2012 Anna Kustera Gallery, NYC, NY, and Kravets/Wehby Gallery, NYC, NY. “I Dread To Think”. 2010 Fred Gallery, London, England. “Go Berserker!”. 2009 Kravets/Wehby Gallery, NYC, NY. “Emma’s Basement”. 2008 Kravets/Wehby Gallery, NYC, NY. “Dirty Wash”. NINA CHANEL ABNEY BIOGRAPHY (continued) : Selected Group Shows: 2017 The Brant Foundation Art Study Center, Greenwich, Connecticut. “Animal Farm”. 2016 Vancouver Art Gallery, Vancouver, Canada. “Juxtapoz x Superflat”. Dio Horia Gallery, Mykonos, Greece. “Greek Gotham”. Nicole Ripka Gallery, Watermill, New York. “AfterModernism Hamptons”. Jack Shainman Gallery, NYC, NY. “For Freedom”. Whitney Museum of American Art, NYC, NY. “Flatlands”. Brand New Gallery, Milan, Italy. “Imagine”. 2015 Rubell Family Collection, Miami, Florida. “NO MAN’S LAND: Women Artists from the Rubell Family Collection”. -
Women in the City Micol Hebron Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art 1-2008 Women in the City Micol Hebron Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Part of the Art and Design Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Hebron, Micol. “Women in the City”.Flash Art, 41, pp 90, January-February, 2008. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Women in the City Comments This article was originally published in Flash Art International, volume 41, in January-February 2008. Copyright Flash Art International This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/45 group shows Women in the City S t\:'-: F RA:'-.CISCO in over 50 locations in the Los ments on um screens throughout Museum (which the Guerrilla Angeles region. Nobody walks in the city, presenting images of Girls have been quick to critique LA, but "Women in the City" desirable lu xury items and phrases for its disproportionate holdings of encourages the ear-flaneurs of Los that critique the politics of work by male artists). The four Angeles to put down their cell commodity culture. L{)uisc artists in "Women in the City," phones and lattcs and look for the Lawler's A movie will be shown renowned for their ground billboards, posters, LED screens without the pictures (1979) was re breaking exploration of gender and movie marquis that host the screened in it's original location stereotypes, the power of works in this eJ~;hibition. -
JIM SHAW 1952 Born in Midland, MI, US Lives and Works in Los Angeles, CA, US
JIM SHAW 1952 born in Midland, MI, US Lives and works in Los Angeles, CA, US EDUCATION 1974 BFA, University of Michigan at Ann Arbor, MI, US 1978 MFA, California Institute of the Arts, CA, US SOLO EXHIBITIONS 2019 Strange Beautiful, Praz-Delavallade, Paris, FR 2018 Jim Shaw : Drawings, Simon Lee Gallery, London, UK Jim Shaw, Simon Lee Gallery, Hong Kong, CN Michigan Stories: Mike Kelley and Jim Shaw, The Broad Art Museum at MSU, East Lansing, MI, US 2017 Jim Shaw: The Wig Museum, Marciano Art Foundation, Los Angeles, CA, US Jim Shaw, Metro Pictures, New York, NY, US Jim Shaw, Blum & Poe, Los Angeles, CA, US The Wig Museum, Marciano Art Foundation, Los Angeles, CA, US Jim Shaw, Massimo De Carlo, Milan, IT 2016 Rather Fear God, Praz-Delavallade, Paris, FR Rather Fear God, Praz-Delavallade & Vedovi, Brussels, BE 2015 The End Is Here, New Museum, New York, NY, US Simon Lee Gallery, London, UK Entertaining Doubts, Mass MOCA - Museum of Contemporary Art, North Adams, MA, US 2014 Jim Shaw. Oeuvres choisies : dessins, peintures, sculptures, vidéo, Galerie Guy Bärtschi, Geneva, CH The Hidden World. Jim Shaw / Didactic Art Collection, Centre Dürrenmatt, Neuchâtel, CH I Only Wanted You To Love Me, Metro Pictures, New York, NY, US 2013 The Hidden World. Jim Shaw / Didactic Art Collection, Chalet Society, Paris, FR Simon Lee Gallery, Hong Kong, CN Blum & Poe, Los Angeles, CA, US Peter Saul, Jim Shaw: Drawings, Mary Boone Gallery, New York, NY, US Simon Lee Gallery, London, UK 2012 The Rinse Cycle, Baltic Centre for Contemporary Art, Gateshead, UK Dreams, -
Mary Boone's Business Partner Is Suing the Jailed Dealer Over $15
AiA News-Service Art and Law Mary Boone’s Business Partner Is Suing the Jailed Dealer Over $15 Million in Art That She Allegedly Took From the Gallery for Herself The lawsuit alleges that Boone sold gallery-owned artworks and pocketed the money. Sarah Cascone, February 26, 2020 Mary Boone in 2013. Photo by Neil Rasmus, courtesy of BFA. The legal woes continue for imprisoned art dealer Mary Boone. A gallery partner and former employee, James Oliver, has filed a lawsuit against Boone seeking $44,325 in unpaid wages and to protect his 10 percent equity share in the gallery, accusing the dealer of transferring millions in gallery funds to her personal bank account. In 2019, Boone pleaded guilty to filing false tax returns. She was subsequently sentenced to 30 months in jail, despite appeals for leniency from many prominent members of the art world. As a result, Boone closed the gallery she had run since 1977. Oliver, who first began working for Boone in 1995, was among those who spoke up in Boone’s defense. He praised his boss, noting that Boone had “successfully trained dozens of aspiring gallerists who have gone on to very successful careers as gallery owners themselves or directors of other major galleries. Along the way she has given endless hours of her time instilling the positive attitude and the exacting work ethic that her employees have needed to succeed in a very difficult business.” But their relationship has soured since Oliver resigned in March 2019. “Mr. Oliver attempted on numerous occasions to amicably resolve this dispute before filing a complaint,” wrote his attorney, Brett Gallaway, in an email to Artnet News. -
Astria Suparak Is an Independent Curator and Artist Based in Oakland, California. Her Cross
Astria Suparak is an independent curator and artist based in Oakland, California. Her cross- disciplinary projects often address urgent political issues and have been widely acclaimed for their high-level concepts made accessible through a popular culture lens. Suparak has curated exhibitions, screenings, performances, and live music events for art institutions and festivals across ten countries, including The Liverpool Biennial, MoMA PS1, Museo Rufino Tamayo, Eyebeam, The Kitchen, Carnegie Mellon, Internationale Kurzfilmtage Oberhausen, and Expo Chicago, as well as for unconventional spaces such as roller-skating rinks, ferry boats, sports bars, and rock clubs. Her current research interests include sci-fi, diasporas, food histories, and linguistics. PROFESSIONAL EXPERIENCE (selected) . Independent Curator, 1999 – 2006, 2014 – Present Suparak has curated exhibitions, screenings, performances, and live music events for art, film, music, and academic institutions and festivals across 10 countries, as well as for unconventional spaces like roller-skating rinks, ferry boats, elementary schools, sports bars, and rock clubs. • ART SPACES, BIENNIALS, FAIRS (selected): The Kitchen, MoMA PS1, Eyebeam, Participant Inc., Smack Mellon, New York; The Liverpool Biennial 2004, FACT (Foundation for Art and Creative Technology), England; Museo Rufino Tamayo Arte Contemporaneo, Mexico City; Yerba Buena Center for the Arts, San Francisco; Museum of Photographic Arts, San Diego; FotoFest Biennial 2004, Houston; Space 1026, Vox Populi, Philadelphia; National -
Jenny Holzer, Attempting to Evoke Thought in Society
Simple Truths By Elena, Raphaelle, Tamara and Zofia Introduction • A world without art would not only be dull, ideas and thoughts wouldn’t travel through society or provoke certain reactions on current events and public or private opinions. The intersection of arts and political activism are two fields defined by a shared focus of creating engagement that shifts boundaries, changes relationships and creates new paradigms. Many different artists denounce political issues in their artworks and aim to make large audiences more conscious of different political aspects. One particular artist that focuses on political art is Jenny Holzer, attempting to evoke thought in society. • Jenny Holzer is an American artist who focuses on differing perspectives on difficult political topics. Her work is primarily text-based, using mediums such as paper, billboards, and lights to display it in public spaces. • In order to make her art as accessible to the public, she intertwines aesthetic art with text to portray her political opinions from various points of view. The text strongly reinforces her message, while also leaving enough room for the work to be open to interpretation. Truisms, (1977– 79), among her best-known public works, is a series inspired by Holzer’s experience at Whitney Museum’s Independent Study Program. These form a series of statements, each one representing one individual’s ideology behind a political issue. When presented all together, the public is able to see multiple perspectives on multiple issues. Holzer’s goal in this was to create a less polarized and more tolerant view of our differing viewpoints, normally something that separates us and confines us to one way of thinking. -
Robert Rauschenberg Bibliography
Robert Rauschenberg Bibliography Books and Catalogues. 2007 Sachs, Tom. Tom Sachs: The Island: Guide. New York: Allied Cultural Prosthetics. Sachs, Tom. Tom Sachs: Islandia. Paris: Galerie Thaddaeus Ropac. Sachs, Tom. Logjam. Montréal, Canada: Transcontinental. 2006 Celant, Germano & Malcome Gladwell. Tom Sachs. Milan: Fondazione Prada. ----------. This is America! Contemporary Art and American Photorealism. Utrecht, Netherlands: Centraal Museum. ----------. Tom Sachs: Survey, America—Modernism—Fashion. Oslo, Norway: Astrup Fearnley Museet for Moderne Kunst. 2005 ----------. Die Dritte Dimension. Berlin: Galerie Haas & Fuchs; Galerie Michael Haas. 2004 Healy, Tom. Sculptural Sphere, Munich, Germany: Sammlung Goetz. Villasenor, Maria-Christina. Tom Sachs: Nutsy’s. New York: Solomon R. Guggenheim Foudation. 2001 Russ, Lawrence. Art at the Edge of the Law.Ridgefield, CT: Aldrich Museum of Contemporary Art. 1999 Sachs, Tom. SONY Outsider. Santa Fe, NM: SITE Santa Fe. ----------. Thinking Aloud. Cambridge, England: Camden Arts Center. Selected Articles and Reviews: 2009 Schneier, Matthew. “Sachs Appeal.” GQ online, March 5. 2008 ----------. “Tom Sachs Interview.” Wallpaper online, May 17. ----------.”The Cat’s Meow.” WWD online, May 9. McMullan, Patrick. “Tom Sachs: Grand Theft Auto ‘The Most Important Artwork of Our Time.’” New York Magazine, May 9. Sheets, Hilarie. “This is his life: A Blue Whale and Hello Kitty.” The New York Times online, May 4. Collins, Lauren. Review: Tom Sachs at Lever House. The New Yorker, April. Jay, Rick. “The Wizard makes the Artist Tom Sachs: Talk like a Philosopher.” Interview, May, pp. 102-107. Collins, Lauren. “Sachs & Co.” The New Yorker, April 14. 2007 Dambrot, Shana Nys. Review: Tom Sachs at the Gagosian Gallery. Modern Painter, Nov., p. 95. -
Ross Bleckner
ROSS BLECKNER Ross Bleckner is an American painter. Bleckner was born May 12, 1949 in New York City and is an influential contemporary artist. Perhaps best known for his paintings dealing with loss and memory, Bleckner notably tackled the emotional toll brought by the AIDS crisis in the 1980s. “Life is short. Life goes fast,” he has said. “And what I really want to do in my life is to bring something new, something beautiful and something filled with light into the world.” His poetic works often employ recurring symbolic imagery, such as candelabras, doves, and flowers, rendered with a blurred, glowing sense of light. Bleckner began exhibiting with Mary Boone gallery in 1979, and was the subject of a retrospective at the Guggenheim Museum in New York in 1995. His work can be found in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Carnegie Museum of Art in Pittsburgh, and the Walker Art Center in Minneapolis, among others. Bleckner lives and works in New York, NY. Not only has Mr. Bleckner had a profound impact of shaping the New York art world, his philanthropic efforts have enabled many community organizations to perform their vital work. For ten years, Mr. Bleckner served as president of AIDS Community Research Initiative of America (ACRIA), a non-profit community-based AIDS research and treatment education center. More recently, he has been working with the United Nations Office on Drugs and Crime in Northern Uganda to help rehabilitate and raise money for ex-child soldiers. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
Wedel Art Collective Launch Face Masks Designed by Leading Artists
Wedel Art Collective launch face masks designed by leading artists: Jenny Holzer, Rashid Johnson, Barbara Kruger, Raymond Pettibon, Lorna Simpson and Rosemarie Trockel Left to right, face masks designed by: Rosemarie Trockel; Jenny Holzer; Lorna Simpson; Barbara Kruger; Raymond Pettibon and Rashid Johnson. Courtesy Wedel Art Collective. Wedel Art Collective have collaborated with six international leading artists to produce a set of unique artist-designed face masks, all proceeds from which will be donated to international relief efforts and artist support for those affected by COVID-19. Launching exclusively on MATCHESFASHION from 24 August the project draws upon the power of contemporary art to encourage more people to wear face masks to protect, and support. Each of the participating artists are internationally celebrated for their work addressing some of the most important social and political issues of our times. Through the inspiration of these artists’ work, the limited-edition face masks reflect the artists’ passionate and urgent response to the pandemic, highlighting the need for community action. Artists include: Jenny Holzer (b. 1950, Ohio, USA); Rashid Johnson (b. 1977, Chicago, USA); Barbara Kruger (b. 1975, New Jersey, USA); Raymond Pettibon (b. 1957, Arizona, USA); Lorna Simpson (b. 1960, New York, USA); and Rosemarie Trockel (b. 1952, Schwerte, Germany). Jenny Holzer's face mask taps into the necessity of mask-wearing, reading “You – Me”. “I like to think of my work as useful,” Holzer says “That is a recurrent impulse, when something happens in the world, if I have an idea that be properly responsive… Not necessarily a cure or a solution but at least an offering.” Raymond Pettibon's mask design features Vavoom, a figure inspired by Felix the Cat that he has drawn since the mid-1980s. -
Visual Narratives of Heterosexual Female Sexuality.Docx
Running Head: Visual Narratives of Heterosexual Female Sexuality Visual Narratives of Heterosexual Female Sexuality By Angie Wallace Masters in Interdisciplinary Studies Southern Oregon University 2018 Visual Narratives of Heterosexual Female Sexuality 2 Table of Contents Abstract Page 3 Introduction Page 4 Research Questions Page 6 Literature Review Page 7 Methods Page 22 IRB Page 25 Results Page 25 Figures 1, 2, and 3 Page 30 - 31 Discussion Page 31 Research based Art Piece Page 37 Figures 4, 5, 6, and 7 Page 41 - 42 References Page 43 Visual Narratives of Heterosexual Female Sexuality 3 Abstract This paper explores the social construction of heterosexual female sexuality through visual social narratives in the form of advertisements and artistic photographs. The purpose of this study it to produce an art piece based on my findings. The problems I encountered during my research include my own bias and limited subjects. Since, I am a woman who identifies as heterosexual I have my own preconceived ideas along with personal experiences. In addition, the limited data set provides its own drawbacks. If I were to broaden my scope, the data may or may not have revealed other themes. That being said, for my purposes the themes that have emerged include the following; (1) the male gaze, (2) gender performance, (3) body as a commodity, and (4) sexual harassment. Through the process of visual ethnography and methodology, my design study is to analyze these images as a heterosexual female and combine this analysis with the literature. During this process, I have concluded that heterosexual female sexuality is contingent on how we recognize and interpret visual culture.