JESSICA STOCKHOLDER Born: 1959, Seattle, WA Located: Chicago, IL
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Marian Penner Bancroft Rca Studies 1965
MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY -
Jessica Stockholder Stuff Matters
Jessica Stockholder Stuff Matters 1 Jessica Stockholder Stuff Matters p.5 Voorwoord – Bart Rutten p.9 Chapter 1: Stuff Matters p.17 Reparation A Meditation on Jessica Stockholder’s Stuff Matters – Ann Lauterbach p.25 Chapter 2: Still Life / Still Alive p.49 Jessica Stockholder’s Assists or Autonomy in Infancy and Old Age – Monika Szewczyk p.61 Chapter 3: In the Face of Drifting Eye p.85 Assisted Living – Ana Teixeira Pinto p.93 Chapter 4: Flat Lands Behind p.111 Chapter 5: Extramural Coupling p.117 Stuff Matters; Enkele observaties over Jessica Stockholders werk en werkwijze – Laurie Cluitmans p.129 Chapter 6: Fish out of Water p.147 Chapter 7: Lay of the Land p.153 Vertalingen / Translations p.169 Chapter 8: Assist: Rider p.177 Objecten in de Tentoonstelling / Works in the Exhibition p.190 Biografie / Biography Jessica Stockholder p.193 Biografieën Auteurs / Biographies Authors p.194 Colofon / Colophon 3 Voorwoord In 1992 verwierf het Centraal Museum werk van de Amerikaans- Canadese kunstenaar Jessica Stockholder. De toenmalige directeur, Sjarel Ex, benaderde haar tegelijkertijd voor een presentatie in de kapel, destijds een ruimte voor actuele kunst. Wat toen om velerlei redenen niet mogelijk was, kan nu, meer dan vijfentwintig jaar later, wel plaatsvinden. Met de ambitieuze tentoonstelling Stuff Matters neemt Jessica Stockholder de gehele “stallen” van het museum in. Niet alleen worden er bijzondere bruiklenen en nieuwe beelden getoond, ook ging Stockholder in op ons verzoek om de collectie te ‘gebruiken’ op de voor haar zo karakteristieke werkwijze waarbij alles onderdeel kan worden van een installatie. Toen ik net in dienst was getreden als artistiek directeur van het Centraal Museum, nu bijna twee jaar geleden, ben ik naar Chicago gegaan om Jessica Stockholder uit te nodigen voor dit project. -
1976-77-Annual-Report.Pdf
TheCanada Council Members Michelle Tisseyre Elizabeth Yeigh Gertrude Laing John James MacDonaId Audrey Thomas Mavor Moore (Chairman) (resigned March 21, (until September 1976) (Member of the Michel Bélanger 1977) Gilles Tremblay Council) (Vice-Chairman) Eric McLean Anna Wyman Robert Rivard Nini Baird Mavor Moore (until September 1976) (Member of the David Owen Carrigan Roland Parenteau Rudy Wiebe Council) (from May 26,1977) Paul B. Park John Wood Dorothy Corrigan John C. Parkin Advisory Academic Pane1 Guita Falardeau Christopher Pratt Milan V. Dimic Claude Lévesque John W. Grace Robert Rivard (Chairman) Robert Law McDougall Marjorie Johnston Thomas Symons Richard Salisbury Romain Paquette Douglas T. Kenny Norman Ward (Vice-Chairman) James Russell Eva Kushner Ronald J. Burke Laurent Santerre Investment Committee Jean Burnet Edward F. Sheffield Frank E. Case Allan Hockin William H. R. Charles Mary J. Wright (Chairman) Gertrude Laing J. C. Courtney Douglas T. Kenny Michel Bélanger Raymond Primeau Louise Dechêne (Member of the Gérard Dion Council) Advisory Arts Pane1 Harry C. Eastman Eva Kushner Robert Creech John Hirsch John E. Flint (Member of the (Chairman) (until September 1976) Jack Graham Council) Albert Millaire Gary Karr Renée Legris (Vice-Chairman) Jean-Pierre Lefebvre Executive Committee for the Bruno Bobak Jacqueline Lemieux- Canadian Commission for Unesco (until September 1976) Lope2 John Boyle Phyllis Mailing L. H. Cragg Napoléon LeBlanc Jacques Brault Ray Michal (Chairman) Paul B. Park Roch Carrier John Neville Vianney Décarie Lucien Perras Joe Fafard Michael Ondaatje (Vice-Chairman) John Roberts Bruce Ferguson P. K. Page Jacques Asselin Céline Saint-Pierre Suzanne Garceau Richard Rutherford Paul Bélanger Charles Lussier (until August 1976) Michael Snow Bert E. -
Where's the Criticality, Tracey? a Performative Stance Towards
Where’s the Criticality, Tracey? A Performative Stance Towards Contemporary Art Practice Sarah Loggie 2018 Colab Faculty of Design and Creative Technologies An exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Creative Technologies Karakia Timatanga Tukua te wairua kia rere ki ngā taumata Hai ārahi i ā tātou mahi Me tā tātou whai i ngā tikanga a rātou ma Kia mau kia ita Kia kore ai e ngaro Kia pupuri Kia whakamaua Kia tina! TINA! Hui e! TAIKI E! Allow one’s spirit to exercise its potential To guide us in our work as well as in our pursuit of our ancestral traditions Take hold and preserve it Ensure it is never lost Hold fast. Secure it. Draw together! Affirm! 2 This content has been removed by the author due to copyright issues Figure A-1 My Bed, Tracey Emin, 1998, Photo: © Tracey Emin/Tate, London 2018 R 3 Figure B-1, 18-06-14, Sarah Loggie, 2014, Photo: © Sarah Loggie, 2018 4 Abstract Tracey Emin’s bed is in the Tate Museum. Flanked by two portraits by Francis Bacon, My Bed (1998) is almost inviting. Displayed on an angle, it gestures for us to climb under the covers, amongst stained sheets, used condoms and empty vodka bottles - detritus of Emin’s life. This is not the first time My Bed has been shown in the Tate. The 2015-17 exhibitions of this work are, in a sense, a homecoming, reminiscent of the work’s introduction to the British public. -
CONGRESSIONAL RECORD-SENATE. Tj"ULY 16
} ,.,...-/ 9104 CONGRESSIONAL RECORD-SENATE. tJ"ULY 16, By l\fr. GOULD: A. bill (H. R. 25771) for th-e· relief of James spective of the nationality of her husband; to the Committee M. McKenney; to the Committee on, Military Affairs. l on the Judiciary. By 1\!r. KORBLY: A bfll (H R. 25172) for the relief. Qf the ! By Mr. REILLY: Petition of the National Association of heirs of Bernhard Strauss; to the Committee on Wa.r Claims. Piaru:r Merchants of Amel'ica, protesting against any legislation By Mr.. l\IcCALL: A bill (H. R. 25773') granting a pension affeeting pl"iee maintenance, to the Committee on Patents~ to Charles McRugh ; to the Committee on Invalid Pensions. B1. Mr. S-.A.BA.TH: Memorial of Holy Mother of La:zajs B .. By l\Ir~ OLMSTED: A bill (H. R. 25774) granting an honor Society, No. 179,. of Chicago, Ill. .,. against paEsage of bills re l:!:ble discharge to Francis Tomlinson; to the Committee on Mili stricting immigration; to the Committee on Immigration and tary Affairs. Naturalization. By Mr. POST: A bill (H: R. 2D--Z'Z5) granting an increase of pension. to William A. Barnes; to th_e Committee on In.valid Pension& SENATE. By Mr. POWERS: A bill (H. R. ~6) for the- relief of TtJESDAY, Ju,ly 16, 1912 Sarah Ann Sun·en; to the Committee on: Wax Claim-s. 1 Also, a bill (H. R. 25777) for the relief of the· heirs. of .rhe Senate met :it l:t o'el-0ck a. m.. Samuel Griffis, deceased; to the Committee on War Cla:ims. -
Mike Nelson Full
MIKE NELSON BORN 1967 Loughborough, United Kingdom Lives and works in London EDUCATION 1992-93 Chelsea College of Art & Design, MA Sculpture 1986-90 Reading University, BA (Hons) Fine Art - first class SOLO EXHIBITIONS 2019 ‘PROJEKTÖR (Gürün Han)’, Protocinema, Istanbul, Turkey ‘Tate Britain Commission’, Tate Britain, London, United Kingdom 2018 Officine Grandi Riparazioni, Turin, Italy ‘Lionheart’, The New Art Gallery Walsall, Walsall, England 2017 ‘A52’, Capri, Düsseldorf, Germany ‘Procession, process. Progress, progression. Regression, recession. Recess, regress’, Galleria Franco Moero, Torino, Italy 2016 ‘Cloak’, Nouveau Musée National de Monaco, Monaco ‘Sensory Spaces 8’, Museum Boijmans Van Beuningen, Rotterdam ‘Imperfect Geometry for a Concrete Quarry’, Kalkbrottet, Limhamn, Malmö ‘Tools That See’, Neugerriemschneider, Berlin, Germany 2015 303 Gallery, New York, NY Artangel, London, United Kingdom 2014 ‘Studio apparatus for Kunsthalle Münster’, Kunsthalle Münster, Germany ’80 Circles through Canada’ Tramway, Glasgow ‘Amnesiac Hide’ The Power Plant, Toronto, Canada 2013 ‘Mike Nelson’ Contemporary Art Gallery, Vancouver, Canada 'More things (To the memory of Honoré de Balzac)', Matt's Gallery, London 'M6', Eastside Projects, Birmingham, United Kingdom 2012 Malmo Konsthall, Malmo, Sweden 2011 54th Venice Biennale, British Pavilion, Venice, Italy 2010 303 Gallery, New York, NY 2009 'Triptych', Douglas Hyde Gallery, Dublin, Ireland ‘The caves of misplaced geometry’, Galleria Franco Noero, Torino, Italy ‘Kristus och Judas: a structural -
The Affect of Painting As a Physical Space
The Affect of Painting as a Physical Space Joanne Gail McGonigal Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Fine Art, History of Art and Cultural Studies, September, 2018 Author’s Declaration The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2018 The University of Leeds and Joanne McGonigal i Acknowledgements There are a lot of people I’d like to thank. My first acknowledgment is to the Burton family and their scholarship to the School of Fine Art, History of Art and Critical Studies at the University of Leeds, whose generous support made the whole project possible. Secondly, I am deeply grateful to my supervisors, Dr. Catherine Ferguson and Dr. Chris Taylor for their continuous support and honest, insightful and encouraging feedback. Grateful thanks also to all the staff and my colleagues at FAHACS, University of Leeds. Thank you to all the artists, curators and others with whom I have had the pleasure of working with on the projects discussed herein, particularly Patricia Fleming, Deb Covell, Tony Charles (Platform-A Gallery), Kwong Lee (Castlefield Gallery), Tiago Duarte, Dean Brierley (Caustic Coastal), Martina Geccelli (RAUMX), Rebecca Fairman (Arthouse1), Della Gooden, Dr. Craig Staff and Lisa Denyer. Lastly, thanks to my family. Roger, for believing in me and without whose support this would never have been completed. -
Congressional Record-· Senate. 8373'
1912. CONGRESSIONAL RECORD-· SENATE. 8373' Also (by request), memorials of St. Mary's of Gestochowe Also, memorial of the Trenton Chamber of Commerce, against. Society, No. 341, of West Wyoming, Pa., and St. Joseph's passage of Senate bill 5458, relative to construction of a bridge Society, No. 165, of Albany, N. Y., against passage of bills over the Delaware ~iver at Trenton; to the Committee on restricting immigration; to the Committee on Immigration and Inter.,tate and Foreign Commerce. Naturalization. Also, petition of N. M . l\fosely, of Washington, D. C., rela By :;\Ir. BATHRICK: Petition of Division No. 145, Order of ti"ve to the Norton case ; to the Committee on the Post Office Railway Conductor , of Conneaut, Ohio, against passage of and Post Roads. employers' liability ancl workmen's compensation bills; to the Also, memorial of the Omaha Branch of the United States Committee on the Judiciary. Civil Senice Retirement Association and Pennsylvania Civil By ~Ir. BUTLER: Petition of the Daughters of Liberty of Service Reform Association, against passage of se tion 5, House Pennsylvania, favoring passage of House bill 22527, for restric bill 24023, for five-year tenure of office for Government em tion of immigration; to the Committee on Immigration and ployees; to the Committee on Appropriations. Naturalization. Also, memorial of the Farmers' Union and Active Workers' Also (by request), memorials of Edgemont Council,.No. 833, the Association of Philadelphia, Pa., and State Council, Order Order of Independent Americans, of Gradyville, Pa., and Active United American Mechanics of the State of New York, fa>or Workers' Association, Order of Independent Americans, of ing passage of bills restricting immigration; to the Committee Philadelphia, Pa., favoring passage of bills restricting immigra ou Immigration and Naturalization. -
School of Architecture 2001–2002
School of Architecture 2001–2002 bulletin of yale university Series 97 Number 3 June 30, 2001 Bulletin of Yale University Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven ct 06520-8227 PO Box 208230, New Haven ct 06520-8230 Periodicals postage paid at New Haven, Connecticut Issued sixteen times a year: one time a year in May, October, and November; two times a year in June and September; three times a year in July; six times a year in August Managing Editor: Linda Koch Lorimer Editor: David J. Baker Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Publication number (usps 078-500) The closing date for material in this bulletin was June 20, 2001. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. ©2001 by Yale University. All rights reserved. The material in this bulletin may not be repro- duced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Open House All interested applicants are invited to attend the School’s Open House: Thursday, November 1, 2001. Inquiries Requests for additional information may be directed to the Registrar, Yale School of Architecture, PO Box 208242, 180 York Street, New Haven ct 06520-8242; telephone, 203.432.2296; fax, 203.432.7175. Web site: www.architecture.yale.edu/ Photo credits: John Jacobson, Sarah Lavery, Michael Marsland, Victoria Partridge, Alec Purves, Ezra Stoller Associates, Yale Office of Public Affairs School of Architecture 2001–2002 bulletin of yale university Series 97 Number 3 June 30, 2001 c yale university ce Pla Lake 102-8 Payne 90-6 Whitney — Gym south Ray York Square Place Tompkins New House Residence rkway er Pa Hall A Tow sh m u n S Central tree Whalley Avenue Ezra Power Stiles t Morse Plant north The Yale Bookstore > Elm Street Hall of Graduate Studies Mory’s Sterling St. -
Deconceptualizing Artists' Rights
Deconceptualizing Artists’ Rights STEVEN G. GEY* TABLE OF CONTENTS I. INTRODUCTION .................................................................................................... 38 II. THE NEW CASE AGAINST MORAL RIGHTS STATUTES ........................................... 41 A. The Theory and Justification of Moral Rights Protection .......................... 42 B. The Pragmatic Objections to Moral Rights ............................................... 45 1. Society’s Interest in Destroying Art .................................................... 46 2. Society’s Interest in Favoring Curatorial Decisions About Art ............................................................................................ 49 3. Society’s Interest in Allowing Others To Modify an Artist’s Work ................................................................................. 52 4. Society’s Interest in Recognizing Multiple Authorship ....................... 53 5. The Failure of Pragmatic Arguments Against Moral Rights .............. 54 III. MORAL RIGHTS AND THE END OF ART: THE UNEASY RELATIONSHIP BETWEEN ART THEORY AND THE LAW REGARDING ART .................................................................................................. 55 A. The End of Art or the Proliferation of Art? ................................................ 56 B. The End of Art and Destruction-as-Artistic-Creation ................................ 62 C. Reconceptualizing Moral Rights Statutes .................................................. 67 IV. WHY ART (AND ARTISTS) STILL -
Nature, Art and Indifference Rob Bartram
Nature, art and indifference Rob Bartram To cite this version: Rob Bartram. Nature, art and indifference. cultural geographies, SAGE Publications, 2005, 12 (1), pp.1-17. 10.1191/1474474005eu320oa. hal-00572144 HAL Id: hal-00572144 https://hal.archives-ouvertes.fr/hal-00572144 Submitted on 1 Mar 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. cultural geographies 2005 12: 1–17 Nature, art and indifference Rob Bartram Department of Geography, University of Sheffield This paper explores possibilities associated with contemporary explanations of nature through a con- sideration of the nature-based art of Damien Hirst. I argue that this art poses fresh and challenging questions with the potential to destabilize dominant explanations of nature. His art affords nature the transformative qualities that rupture both its unproblematical differentiation from society and the belief that nature can be represented as an objectified truth through art. We can best explore these ideas in relation to Hirst’s art by ‘using’ an interpretative strategy akin to Baudrillard’s ‘mysterious rules of indifference’ – the exploration of art’s capacity to activate and trigger metaphors, motifs and plays on meaning that form the ebb and flow of the cultural sign system, where attention is paid to the relational order between the components of meaning, rather than the material composition of specific objects. -
Jemima Stehli B
Jemima Stehli b. 1961, London, UK Education 1989-1991 MA Fine Art, Goldsmith’s College 1980-1983 BA Honours Fine Art, Goldsmith’s College, University of London Solo Exhibitions 2007 ‘Jemima Stehli’ Lisboa 20, Lisbon Portugal ‘Studio Double’, ARTRA, Milan, Italy 2004 ‘Put there’, Galerie Bernd Kluser, Munich, Germany 29 April – 23rd June ‘Jemima Stehli’, Centro de Artes Visuais, Coimbra, Portugal, 7th Feb – 21st March ‘Jemima Stehli / John Hilliard’, Artra Milan, Italy, 17 Feb – 30 March ‘Jemima Stehli / John Hilliard’, Artra Genova, Italy, 14 Feb – 30 March 2003 ‘mm Studio’, Contemporary Art Gallery, Vancouver, BC, Canada 9th May- 29th June ‘The Upsetting Table’, Jeffrey Charles Gallery, London 3- 31st May ‘Jemima Stehli’, Lisson Gallery, London, 26th March -3 May 2001-2 ‘Jemima Stehli’, ARTRA, Milan, Italy 2000 ‘Jemima Stehli’, Chisenhale Gallery, London ‘Karen 2000’, Artlab, Imperial College, London Selected Group Exhibitions 2007 Fotofestival, curated by Pedro J. Vicente Mullor, Centro de Historia, Zaragoza, Spain The Naked Self Portrait, curated by Martin Hammer, The Scottish National Portrait Gallery, Edinburgh Republic, L’est, London 2006 Kunst und Photographie, Galerie Bernd Kluser, Munich, 23rd May – 29th July, XX- Visoes no feminino, da colleccao dos Encontros deFotografia, Centro de Arte Visuais, Coimbra, Portugal, 1ST April – 28th May Filmperformance Modern Art Oxford, Oxford, 21st February – 24th February 2005 I Shot Norman Foster, The Architecture Foundation, Old Street, London, 16th November – 20th January 2006 Transmission