Exploring Contemporary Art SAQA Special Interest Group
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Insite Art Practices in the Public Domain San Diego Lijuana
inSite Art Practices in the Public Domain San Diego lijuana N~ws Release FOR IMMEDIATE RELEASE July 2005 Contact: Papus von Saenger, Public Relations, inSite_05 (619) 230-0005 x 17; [email protected] Barbara Metz, Metz Public Relations (858) 677-0720; [email protected] in~ite_05 Announces Public Programming Beginning Aug. 26 SAN DIEGO/TIJUANA - inSite_05, the binational network of contemporary arts events and actions set in the San Diego/Tijuana region, will open its public phase Aug. 26, with public art projects and events ranging from a human cannonball being shot over the fence separating the US and Mexico, to the opening of artists' urban interventions sited on both sides of the border, to a major museum exhibition of contemporary art. Through Nov. 13, inSite_05/ Art Practices in the Public Domain presents a wide-ranging program that also includes on-line projects, dialogues, film and video installations, and performances. Four major weekends of intense activity will take place during inSite_05. Each of these focused weekends is constructed around the four components of inSite_05: 1) Interventions - commissioned artists' projects developed in a creative process of co-participation with communities on both sides of the border. These include projects that take place in physical space - such as Mark Bradford's Maleteros which requires visitors to walk through the San Ysidro border crossing, or Thomas Glassford and Jose Parral's urban park Garden Playas de Tijuana which reconfigures the extraordinary juncture of the US and Mexico where the border fence plunges into the Pacific Ocean. Other Interventions projects will take the form of performance or spectacle. -
Press Release Corita Kent and the Language of Pop Opens
Press Release Corita Kent and the Language of Pop Opens September 3, 2015, at the Harvard Art Museums Corita Kent, the juiciest tomato of all, 1964. Screenprint. Collection of Jason Simon, New York. © Corita Art Center, Immaculate Heart Community, Los Angeles. Cambridge, MA June 18, 2015 (updated August 14, 2015) The Harvard Art Museums present Corita Kent and the Language of Pop, a special exhibition on display September 3, 2015 to January 3, 2016 at Harvard before travelling to the San Antonio Museum of Art, where it will be on view February 13 to May 8, 2016. The exhibition is curated by Susan Dackerman, the former Carl A. Weyerhaeuser Curator of Prints at the Harvard Art Museums (2005– 2014) and current consultative curator of prints. Corita Kent was an activist nun who juxtaposed spiritual, pop cultural, literary, and political writings alongside symbols of consumer culture and modern life in order to create bold images and prints during the 1960s. Also known as Sister Mary Corita, Kent is often seen as a curiosity or an “anomaly” in the pop art movement. Corita Kent and the Language of Pop positions Kent and her work within the pop art idiom, showing how she is an innovative contemporary of Andy Warhol, Ed Ruscha, and other pop art icons. The exhibition also expands the current scholarship on Kent’s art, elevating the role of her artwork by identifying its place in the artistic and cultural movements of her time. Corita Kent (American, 1918–1986) was a Roman Catholic nun, an artist, and an educator. From 1936 to 1968 she lived, studied, and taught at the Immaculate Heart of Mary in Los Angeles, and she headed the art department at the college there from 1964 to 1968. -
Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2013 Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Jonathan Vimr University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Vimr, Jonathan, "Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites" (2013). Theses (Historic Preservation). 211. https://repository.upenn.edu/hp_theses/211 Suggested Citation: Vimr, Jonathan (2013). Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/211 For more information, please contact [email protected]. Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Abstract Just as architectural history traditionally takes the form of a march of styles, so too do preservationists repeatedly campaign to save seminal works of an architectural manner several decades after its period of prominence. This is currently happening with New Brutalism and given its age and current unpopularity will likely soon befall postmodern historicism. In hopes of preventing the loss of any of the manner’s preeminent works, this study provides professionals with a framework for evaluating the significance of postmodern historicist designs in relation to one another. Through this, the limited resources required for large-scale preservation campaigns can be correctly dedicated to the most emblematic sites. Three case studies demonstrate the application of these criteria and an extended look at recent preservation campaigns provides lessons in how to best proactively preserve unpopular sites. -
Ebook Download Corita Kent and the Language of Pop Pdf Free Download
CORITA KENT AND THE LANGUAGE OF POP PDF, EPUB, EBOOK Susan Dackerman | 340 pages | 22 Sep 2015 | Yale University Press | 9780300214710 | English | United States Corita Kent and the Language of Pop PDF Book Flower Power: A Subversive Botanical More Details From to she lived, studied, and taught at the Immaculate Heart of Mary in Los Angeles, and she headed the art department at the college there from to , developing many aspects of her signature style while working alongside her students. Corita Kent Bequest. Be the first to ask a question about Corita Kent and the Language of Pop. This project is supported in part by an award from the National Endowment for the Arts and major corporate support from National Grid. Tensta Konsthall Stockholm, Sweden. Retrospective show of prints by Sister Mary Corita American Institute of Graphic Arts. Error rating book. But, at the end of the decade and at the height of her fame and prodigious work rate, she left the convent where she had spent her adult life. Artist, activist, teacher, and devout Catholic Corita Kent eloquently combined her passions for faith and politics during her rich and varied career. Average rating 4. Kauffman Galleries Houston, Texas. Museum on Main Pleasanton, California. Details if other :. Marjorie Kauffman Graphics Houston, Texas. Are you one of the following? With new material by art world heavyweights Susan Friel and Barbara Loste, Learning by Heart brings creative inspiration into the 21st century! Bay Printmakers Society Oakland, California. This is Now Exhibitors are required to cover costs of transportation both ways, framing, installation, and insurance. -
The Baltimore Museum of Art Presents Mark Bradford's
THE BALTIMORE MUSEUM OF ART PRESENTS MARK BRADFORD’S TOMORROW IS ANOTHER DAY, FEATURED IN 2017 VENICE BIENNALE BALTIMORE, MD (August 9, 2018)—The Baltimore Museum of Art (BMA) announces the U.S. debut of Mark Bradford: Tomorrow Is Another Day from September 23, 2018, through March 3, 2019. First presented at the U.S. Pavilion as part of the 2017 Venice Biennale, the exhibition is co-curated by Christopher Bedford, BMA Dorothy Wagner Wallis Director and Commissioner of the U.S. Pavilion, and Katy Siegel, BMA Senior Programming and Research Curator and Thaw Chair of Modern American Art at Stony Brook University. Tomorrow Is Another Day is a complex, multi-layered narrative by Bradford using a variety of media—painting, sculpture, and video. Together, these works reflect the artist’s longstanding interest in how communities—particularly those which have been traditionally marginalized— address issues of social and economic justice, as well as his belief in art’s ability to expose contradictory histories and inspire action in the present day. An integral aspect of Bradford’s engagement in Baltimore is his partnership with Greenmount West Community Center (GWCC), a community art space for children and families two miles south of the museum. The community center provides a safe and positive environment for underserved local youth to create, learn, and share through a program of structured activities and open dialogue. Bradford provided the skills-based training and equipment needed for a silk-screening program at the GWCC with assistance from Noisy Tenants, an entrepreneurial organization that helps communities solve problems they care about by tapping into their inherent creativity, relationships, and resources. -
The Hammer Museum and Art + Practice Present Two Concurrent Exhibitions of Njideka Akunyili Crosby (B
The Hammer Museum and Art + Practice present two concurrent exhibitions of Njideka Akunyili Crosby (b. 1983, Enugu, Nigeria), the first solo exhibitions of the artist’s work in Los Angeles. Her large scale works on paper combine collage, drawing, painting, and printmaking, fusing African and American influences and creative traditions. Reflecting on her Nigerian heritage, contemporary postcolonial African cosmopolitanism, and her experiences as an expatriate in the United States where she has lived since 1999, Akunyili Crosby’s paintings provide an important counter-narrative to the often-troubled representation of Africa’s complex political and social conditions. Curated by Hammer assistant curator Jamillah James, Njideka Akunyili Crosby: The Beautyful Ones will be on view September 12 – November 21, 2015 at Art + Practice in Leimert Park. Hammer Projects: Njideka Akunyili Crosby will be on view October 3, 2015 – January 10, 2016 at the Hammer Museum. Also on view concurrently with The Beautyful Ones is a presentation of two films by Akosua Adoma Owusu in the project room at Art + Practice. The program will include the award-winning film, Kwaku Ananse (2013), about a young American woman’s travels to Ghana for a family emergency, and the experimental short Intermittent Delight (2007), which combines upbeat Ghanaian dance music with imagery of labor, domesticity, and leisure. “Inspired by the success of our concurrent Charles Gaines exhibitions this past spring, we wanted to continue with a joint presentation of exhibitions at the Hammer and Art + Practice,” said Hammer Museum Director Ann Philbin. “This selection of early and more recent paintings of Njideka Akunyili Crosby will resonate in both communities.” Co-founder of Art + Practice Mark Bradford added, “Leimert Park is a rich cultural community that will welcome the opportunity to see the work of a young African contemporary artist.” Hammer Projects: Njideka Akunyili Crosby is comprised of a selection of the artist’s early works that primarily focus on the figure. -
42 Artists Donate Works to Sotheby's Auction Benefitting the Studio Museum in Harlem
42 Artists Donate Works to Sotheby’s Auction Benefitting the Studio Museum in Harlem artnews.com/2018/05/03/42-artists-donate-works-sothebys-auction-benefitting-studio-museum-harlem Grace Halio May 3, 2018 Mark Bradford’s Speak, Birdman (2018) will be auctioned at Sotheby’s in a sale benefitting the Studio Museum in Harlem. COURTESY THE ARTIST AND HAUSER & WIRTH Sotheby’s has revealed the 42 artists whose works will be on offer at its sale “Creating Space: Artists for The Studio Museum in Harlem: An Auction to Benefit the Museum’s New Building.” Among the pieces at auction will be paintings by Mark Bradford, Julie Mehretu, Lynette Yiadom-Boakye, Glenn Ligon, and Njideka Akunyili Crosby, all of which will hit the block during Sotheby’s contemporary art evening sale and day sales in New York, on May 16 and 17, respectively. The sale’s proceeds will support the construction of the Studio Museum’s new building on 125th Street, the first space specifically developed to meet the institution’s needs. Designed by David Adjaye, of the firm Adjaye Associates, and Cooper Robertson, the new building will provide both indoor and outdoor exhibition space, an education center geared toward deeper community engagement, a public hall, and a roof terrace. “Artists are at the heart of everything the Studio Museum has done for the past fifty years— from our foundational Artist-in-Residence program to creating impactful exhibitions of artists of African descent at every stage in their careers,” Thelma Golden, the museum’s director and chief curator, said in a statement. -
The Artist America Built: Daniel Joseph Martinez Visits Other Places and Other Histories in His Ongoing Critique of These United States
The Artist America Built: Daniel Joseph Martinez Visits Other Places and Other Histories in His Ongoing Critique of These United States By Maximilíano Durón Posted 12/11/18 10:58 AM Daniel Joseph Martinez photographed outside his studio in Los Angeles on September 23, 2018. KATHERINE MCMAHON/ARTNEWS artnews.com/2018/12/11/artist-america-built-daniel-joseph-martinez-visits-places-histories-ongoing-critique-united-states/ It’s a sight that no one who attended the 1993 Whitney Biennial is likely to forget, one that came to stand for the Biennial itself, with its provocative emphasis on politics: ordinary people of all colors walking around wearing pins that collectively read, “I can’t. Imagine. Ever Wanting. To Be. White.” If you wanted to see the show, you couldn’t not wear them; they were the museum’s admission badges, designed for the Biennial as a project by the artist Daniel Joseph Martinez. Coming at the height of the culture wars, the exhibition was widely reviled and vilified. New York Times chief art critic Michael Kimmelman leveled a portion of his fury at Martinez’s commission, titled Museum Tags: Second Movement (Overture); or, Overture con Claque (Overture with Hired Audience Members). “[A]s if the people who go to the Whitney are so witless and backward that they need to be told that sexual abuse and racism and violence are bad. .,” he wrote. “Or as if a Neanderthal would change his mind after being forced, like a penitent, to don one of the infamous admission badges.” (Kimmelman didn’t mention Martinez by name.) “People went hyperbolic on it,” said David Ross, who was director of the Whitney at the time. -
POWER UP, REASSEMBLED by JULIE AULT This Essay in Its Entirety Originally Appeared in the Brochure for the 2000 Exhibition Powe
POWER UP, REASSEMBLED BY JULIE AULT This essay in its entirety originally appeared in the brochure for the 2000 exhibition Power Up: Sister Corita and Donald Moffett, Interlocking at the Hammer Museum. Power Up: Sister Corita and Donald Moffett, Interlocking Frances Elizabeth Kent was born in Iowa in 1918 to an Irish Catholic family who five years later moved to Los Angeles. Upon completing her Catholic education, Frances entered the Immaculate Heart of Mary Religious Community and took the name Sister Mary Corita. Between 1938 and 1968 Sister Corita lived and worked in the cloistered, communal environment of the Immaculate Heart Community. In 1962, Pope John XXIII's Vatican II decree on the "Adaptation and Renewal of Religious Life" called for movement toward modern values, including fewer restrictions on nuns' daily lives, and a new focusing on social action and service. The IHC, like many Catholic institutions, was thrown into conflict over how previously accepted traditions were to be revised in practice. The nuns largely favored a progressive reading of Vatican II. Dramatic conflicts—amply covered in the media—ensued between the nuns and the relatively conservative, local archdiocese over the decree's interpretation. By 1969 the conflict resulted in an ultimatum from Archbishop James McIntyre to the community: either conform to his authority or seek dispensation from vows. By 1970, the IHC members had chosen the second option and formed an independent entity which exists to this day. They retained their name and structure of the organization, but removed themselves from Catholic Church supervision. The Immaculate Heart Community had become (in)famous for its liberal orientation during the 1960s, as had the IHC College's Art Department for its progressive creative environment. -
Sister Corita's Summer of Love
Sister Corita’s Summer of Love Sister Corita’s Summer of Love Sister Corita teaching at Immaculate Heart College, Los Angeles, ca. 1967. Sister Corita Kent is an artists’ artist. In 2008, Corita’s sensibilities were fostered by Corita’s work is finally getting its due in contemporaries Colin McCahon and Ed Ruscha, while travelling through the United States doing and advanced the concerns of the Second the United States, with numerous recent shows, and by the Wellington Media Collective and research, I kept encountering her work on the Vatican Council (1962–5), commonly known but she remains under-recognised outside the Australian artist Marco Fusinato. Similarly, for walls of artists I was visiting and fell in love with as ‘Vatican II’, which moved to modernise the US. Despite our having the English language the City Gallery Wellington show, their Chief it. Happily, one of those artists steered me toward Catholic Church and make it more relevant to in common—and despite its resonance with Curator Robert Leonard has developed his own the Corita Art Center, in Los Angeles, where I contemporary society. Among other things, it Colin McCahon’s—her work is little known in sidebar exhibition, including works by McCahon could learn more. Our show Sister Corita’s Summer advocated changes to traditional liturgy, including New Zealand. So, having already included her in and Ruscha again, New Zealanders Jim Speers, of Love resulted from that visit and offers a journey conducting Mass in the vernacular instead several exhibitions in Europe, when I began my Michael Parekowhai, and Michael Stevenson, through her life and work. -
Artist Resources – Mark Bradford (American, B. 1961) Bradford at Hauser & Wirth Gallery, Los Angeles
Artist Resources – Mark Bradford (American, b. 1961) Bradford at Hauser & Wirth Gallery, Los Angeles In 2007, Art21 followed Bradford as he gathered materials and installed work in his South LA studio.. Bradford explains his inspiration and process in a 2011 interview with Art21. “My practice is décollage and collage at the same time. Décollage: I take it away; collage: I immediately add it right back. It’s almost like a rhythm. I’m a builder and a demolisher. I put up so I can tear down…In archaeological terms, I excavate and I build at the same time.” Bradford’s discusses recent work and community engagement at his 2009 artist talk at Walker Art Center. In 2015 New Yorker profile conducted at Bradford’s studio and home in South LA, not far from where he grew up, he spoke Bradford, 2019. Photo: Sim Canetty-Clarke about his attraction to paper, maps, and social history; his time at CalArts and interest in painting; and his foundation with Allan DiCastro, Art+Practice, which creates spaces for artists and community activism. In 2017, Bradford installed his first solo exhibition in Washington D.C., at the Hirshorn Museum. The star of the Bradford talked with Thelma Golden about his relationship with the medium of painting and experiences of being “othered” show, Pickett’s Charge (on view through 2021) is Bradford’s in a 2015 video interview in conjunction with his first show at Hauser & Wirth Gallery, New York. “Abstraction gave me the most recognized work, measuring 45 feet in length and freedom to play… I want a space where I can play and be vulnerable and not know. -
Vancouver Biennale Announces Fourth Edition
VANCOUVER BIENNALE ANNOUNCES FOURTH EDITION “re-IMAGE-n” WITH PROJECTS LAUNCHING JUNE 2018 Ajlan Gharem, Paradise Has Many Gates, 2015-2018 Alfredo Jaar, A Logo for America, 1987-2014 ExpanDeD Curatorial Team Installations By RenowneD International Contemporary Artists May 29, 2018 Vancouver, Canada – The Vancouver Biennale announces its fourth edition, titled “re-IMAGE-n,” launching June 2018, with projects unfolding over the exhibition’s two-year duration. Under the artistic direction of Barrie Mowatt and curatorial leadership of Marcello Dantas and Jeffrey Uslip, the Biennale invites international artists to respond to the prevailing issues of our time, including the widespread refugee and migrant crisis, a global shift towards nationalism and isolationism, and an intensifying drain on our shared natural resources. Projects will “re-IMAGE-n” (reimagine) a progressive social framework that supports free speech, Reconciliation and the rights of First Nations, LGBTQ rights, artistic freedom, gender, racial and sexual equality, ecological awareness, religious freedom, and the ethics of biotechnology. The Biennale’s artworks will evolve in freely accessible and often unexpected public locations throughout Vancouver. Mowatt will produce interventions with Jessica Angel (Columbia/USA), Ajlan Gharem (SauDi Arabia), Yoko Ono (USA/Japan), Douglas CouplanD (CanaDa), Inuk Silis Høegh (GreenlanD), Marc Johnson (Benin/France), Maskull Lasserre (Squamish/CanaDa), Sahej Rahal (InDia), and Lawrence Paul Yuxweluptun (Coast Salish/Okanagan). Dantas will organize site-specific sculptures with Makoto Azuma (Japan), Ibrahim Mahama (Ghana), Patricia Piccinini (Australia), and Ishmael RanDall Weeks (Peru), among others. Uslip will curate an expansive series of projects under the curatorial aegis “This Is Not America” that thinks through various cultural, social and political pressures placed on individuals, the environment and aesthetics in our current cultural climate.