ALLAN Mccollum 1944Born in Los Angeles
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
9780230341449 Copyrighted Material – 9780230341449
Copyrighted material – 9780230341449 THE (MOVING) PICTURES GENERATION Copyright © Vera Dika, 2012. All rights reserved. First published in 2012 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the World, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–0–230–34144–9 Library of Congress Cataloging-in-Publication Data Dika, Vera, 1951– The (moving) pictures generation : the cinematic impulse in downtown New York art and film / Vera Dika. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 978–0–230–34144–9 1. Art and motion pictures—New York (State)—New York— History—20th century. 2. Art, American—New York (State)— New York—20th century. 3. Experimental films—New York (State)—New York—History—20th century. I. Title. N72.M6D55 2012 709.0407—dc23 2011039301 A catalogue record of the book is available from the British Library. Design by Integra Software Services First edition: April 2012 10987654321 Printed in the United States of America. Copyrighted material – 9780230341449 Copyrighted material – 9780230341449 Contents -
Mdms Fraser List of Works E.Docx
Andrea Fraser List of Works This list of works aims to be comprehensive, and works are listed chronologically. A single asterisk beside the title (*) indicates that an installation or project is represented in the exhibition only as documentation. Two asterisks (**) indicate that a work is not included in the exhibition. The context of a performance or work (for example commission, project, or exhibition) is listed after the medium. When no other performer is listed, the artist performed the work alone. When no other location is listed, videotapes document the original performance. Unless otherwise specified, videotapes are standard definition. If no other language is indicated, texts, performances, and videos are in English. Dates of performances are noted where possible. Dimensions are given as height x width x depth. Collection credits have been listed for series up to editions of three and public collections have been listed for editions of four to eight. Unless otherwise specified, exhibited works are on loan from the artist. Woman 1/ Madonna and Child 1506–1967 , 1984 Artist’s book Offset print, 16 pages 8 5/8 x 10 1/16 in. (22 x 25.5 cm) Edition: 500 Untitled (Pollock/Titian) #1 , 1984/2005 (**) Digital chromogenic color print 26 3/4 x 60 in. (67.9 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #2, 1984/2005 (**) Digital chromogenic color print 27 x 60 in. (68.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #3 , 1984/2005 (**) Digital chromogenic color print 40 x 60 in. (101.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #4 , 1984/2005 (**) Digital chromogenic color print 40 x 61 in, (101.6 x 154.94 cm) Edition: 5 + 1 AP 1/5 Kemper Museum of Art, Kansas City, MO Untitled (de Kooning/Raphael) #1 , 1984/2005 (**) Digital chromogenic color print 40 x 30 in. -
John BALDESSARI
John BALDESSARI THROUGH VIDEO, ON CANVAS, IN COLLAGE, AND, YES, WITH HIS SIGNATURE PAINTED DOTS ON FACES, ARTIST JOHN BALDESSARI HAS PUNCHED HOLES THROUGH MODERNISM, TURNED CONCEPTUALISM ON ITS HEAD, AND CREATED A BODY OF WORK THAT IS PART COMEDIC, PART TRAGIC, UTTERLY SEMIOTIC, AND ABSOLUTELY ALL HIS OWN. By DAVID SALLE Photography MARIO SORRENTI JOHN BALDESSARI IN NEW YORK, JULY 2013. ALL CLOTHING: BALDESSARI’S OWN. 160 161 For a very long time, John Baldessari had the distinction I think I even used you as a license for my own foundation of humor also play a role in your work. of being the tallest serious artist in the world (he is tendency toward obscurity when I was younger. Now It’s obviously a very sophisticated kind of humor. And 6'7"). To paraphrase the writer A.J. Liebling, he was I find I just want to be as clear as possible. not to in any way denigrate Wegman, but Bill goes taller than anyone more serious, and more serious BALDESSARI: I go back and forth between wanting more for the punch line. Of course, there other artists than anyone taller. As was inevitable, Baldessari’s to be abundantly simple and maddeningly complex. whose sensibility is fundamentally humorous, but few hegemony in the height department has now been I always compare what I do to the work of a mystery who actually make you laugh. challenged by a handful of younger artists. What, is writer—like, you don’t want to know the end of the BALDESSARI: It’s also a little bit in the eyes of the there to be no progress? Paul Pfeiffer, Richard Phil- book right away. -
Robert Longo
ROBERT LONGO Born in 1953 in Brooklyn, New York Lives in New York, New York EDUCATION 1975 BFA State University College, Buffalo, New York SELECTED ONE-PERSON EXHIBITIONS 2021 A House Divided, Guild Hall, East Hampton, New York 2020 Storm of Hope, Jeffrey Deitch, Los Angeles 2019 Amerika, Metro Pictures, New York Fugitive Images, Metro Pictures, New York When Heaven and Hell Change Places, Hall Art Foundation | Schloss Derneburg Museum, Germany 2018 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Deichtorhallen Hamburg Them and Us, Metro Pictures, New York Everything Falls Apart, Capitan Petzel, Berlin 2017 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Brooklyn Museum (cat.) Sara Hilden Art Museum, Tampere, Finland (cat.) The Destroyer Cycle, Metro Pictures, New York Let the Frame of Things Disjoint, Thaddaeus Ropac, London (cat.) 2016 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Garage Museum of Contemporary Art, Moscow (cat.) Luminous Discontent, Galerie Thaddaeus Ropac, Paris (cat.) 2015 ‘The Intervention of Zero (After Malevich),’ 1991, Galerie Hans Mayer, Düsseldorf 2014 Gang of Cosmos, Metro Pictures, New York (cat.) Strike the Sun, Petzel Gallery, New York 2013 The Capitol Project, Aldrich Contemporary Art Museum, Ridgefield, Connecticut Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg, Austria 2012 Stand, Capitain Petzel, Berlin (cat.) Men in the Cities: Fifteen Photographs 1980/2012, Schirmer/Mosel Showroom, Munich 2011 God Machines, Galerie Thaddaeus Ropac, Paris (cat.) Mysterious Heart Galería -
The Art of Duplicitous Ingemination
Originally published in ALLAN McCOLLUM Stedelijk Van Abbemuseum Eindhoven, Holland; 1989 Allan McCollum: The Art of Duplicitous Ingemination LYNNE COOKE ‘THE QUESTION OF NUANCE (within unity) is linked to the model, while difference (within uniformity) is linked with mass-production. Nuances are infinite, they are an inflexion, renewed continually by invention within a free syntax. Differences are finite in number and result from the systematic bending of a paradigm. We must not make a mistake here: if nuance seems rare and the marginal difference unquantifiable, because it benefits from being diffused widely, structurally it is still only the nuance which is inexhaustible. (In this way the model is linked to the work of art). The serial difference returns into a finite combination, into a system which changes continually according to fashion but which, for each synchronic moment in which it is considered, is limited and narrowly restricted by the dictates of production. When all is said Allan McCollum. Over Ten Thousand and done, a limited range of objects is offered to the vast Individual Works (detail). 1987-88. majority through the series, while a tiny minority is Enamel on cast Hydrocal, 2” diameter each, lengths variable. presented with an infinite variation of models. The first social group is offered a repertoire (however vast) of fixed elements, while the latter is given a multiplicity of opportunities (the former is given an indexed code of values, the latter a continually new invention). The question of class is therefore fundamental to this whole business. Through the redundancy of its secondary characteristics, the serial object makes up for the loss of its fundamental qualities. -
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 -
ALLAN Mccollum Brief Career Summary Allan Mccollum
ALLAN McCOLLUM Brief career summary Allan McCollum was born in Los Angeles, California in 1944 and now lives and works in New York City. He has spent over thirty years exploring how objects achieve public and personal meaning in a world constituted in mass production, focusing most recently on collaborations with small community historical society museums in different parts of the world. His first solo exhibition was in 1970 in Southern California, where he was represented throughout the early 70s in Los Angeles by the Nicholas Wilder Gallery, until it’s closing in the late 70s, and subsequently by the Claire S. Copley Gallery, also in Los Angeles. After appearing in group exhibitions at the Pasadena Art Museum and the Los Angeles County Museum of Art, his first New York showing was in an exhibition at the Sidney Janis Gallery, in 1972. He was included in the Whitney Museum of American Art Biennial Exhibition in 1975, and moved to New York later that same year. In 1978 He became known for his series Surrogate Paintings, which were shown in solo exhibitions in New York at Julian Pretto & Co., Artistspace, and 112 Workshop (subsequently known as White Columns), in 1979. In 1980, he was given his first solo exhibition in Europe, at the Yvon Lambert Gallery, in Paris, France, and in that same year began exhibiting his work at the Marian Goodman Gallery in New York, where he introduced his series Plaster Surrogates in a large solo exhibition in 1983. McCollum began showing his work with the Lisson Gallery in London, England, in 1985, where he has had a number of solo exhibitions since. -
Rhizome Seven Online Exhibitions Capitain Petzel Berlin
Rhizome seven online exhibitions 6/7 Pictures Generation May 7–14, 2020 Capitain Petzel Berlin Node 6/7 Pictures Generation The second to last node of the Capitain Petzel Rhizome series brings together a selection of works by artists afliated with the legendary Pictures Generation. Influenced by Conceptual and Pop Art of the 1970s, the Pictures Generation artists worked with appropriation and montage to reveal the constructed nature of images. By experimenting with a variety of media, including photography, film, video and performance, their practices exposed recurring tropes and stereotypes in popular visual culture and demonstrated that the meaning of a work is dependent on its historical and social circumstances. The Pictures Generation’s frequent reworking of known imagery would contest notions of individuality and authorship, making the movement an influential part of postmodernism. The defining moment of the movement came in 1977 with the exhibition Pictures at Artist Space in New York, curated by Douglas Crimp. In the accompanying essay, Crimp described the participants of the exhibition as “a group of younger artists [that] sees representation as an inescapable part of our ability to grasp the world around us”. The 1977 show included works by Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo and Philip Smith. In this Rhizome, Brauntuch and Longo are present, as well as Barbara Bloom, Matt Mullican and Rhys Chatham who also became afliated with the visionary movement. In 2009, The Metropolitan Museum of Art (New York) held The Pictures Generation, 1974–1984, a seminal exhibition which focused exclusively on this group of artists, afrming the long-standing relevance of their visions in the art world. -
Louise Lawler
LOUISE LAWLER Born 1947 in Bronxville, New York Lives in Brooklyn, New York EDUCATION 1969 BFA Cornell University, Ithaca, New York SELECTED ONE-PERSON EXHIBITIONS 2019 Andy in Chicago, Art Institute of Chicago Is Anybody Home, Marc Jancou Chalet, Rossinière, Switzerland 2018 She’s Here, Sammlung Verbund, Vienna (cat.) Edits and Projections (with Rhea Anastas and Robert Snowden), 80WSE, New York AFTER, Campoli Presti, Paris 2017 WHY PICTURES NOW, Museum of Modern Art, New York (cat.) 2015 No Drones, Blondeau & Cie, Geneva 2014 The High Line Billboard, New York No Drones, Metro Pictures, New York No Drones, Sprueth Magers, Berlin No Drones, Sprueth Magers, London No Drones, Yvon Lambert, Paris No Drones, Galerie Greeta Meert, Brussels No Drones, Studio Guenzani, Milan 2013 Adjusted, Museum Ludwig, Cologne (2013-2014) (cat.) November 1 – December 21 (two-person show with Liam Gillick), Casey Kaplan, New York 2012 (Selected). Louise Lawler, Galerie Neue Meister, Albertinum, Dresden (cat.) 2011 No Drones, Sprüth Magers, London Fitting at Metro Pictures, Metro Pictures, New York 2010 Later, Yvon Lambert, Paris 2009 Sprüth Magers, Berlin 2008 Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other, Metro Pictures, New York 2007 No Official Estimate, Yvon Lambert, Paris Where is the Nearest Camera, Sprüth Magers, London (2007-2008) Louise Lawler: The Tremaine Pictures 1984-2007, BFAS Blondeau Fine Art Services, Geneva (cat.) 2006 Twice Untitled and Other Pictures (looking back), curated by Helen Molesworth, Wexner Center, -
RICHARD PRINCE Born 1949, in the Panama Canal Zone
RICHARD PRINCE Born 1949, in the Panama Canal Zone (now Panama) Lives and works in Upstate New York EDUCATION Nasson College, Springvale, ME SELECTED SOLO EXHIBITIONS 2014 Canal Zone, Gagosian Gallery, New York It's a Free Concert, Kunsthaus-Bregenz, Bregenz New Figures, Almine Rech Gallery, Paris New Portraits, Gagosian Gallery, New York 2013 Monochromatic Jokes, Nahmad Contemporary, New York Protest Paintings, Skarstedt Gallery, London Untitled (band), Le Case D'Arte, Milan Richard Prince, Sadie Coles HQ, London Richard Prince: Cowboys, Gagosian Gallery, Beverly Hills 2012 White Paintings, Skarstedt Gallery, New York 4 Saturdays, Gagosian Gallery, New York 14 Paintings, 303 Gallery, New York Prince / Picasso, Museo Picasso Malaga 2011 The Fug, Almine Rech Gallery, Brussels Covering Pollock, Guild Hall, Easthampton Richard Prince, Gagosian Gallery, Hong Kong de Kooning, Gagosian Gallery, Paris Bel Air, Gagosian Residence, Bel Air American Prayer, Bibliotheque nationale de France, Paris 2010 Richard Prince, Pre-Appropriation Works, 1971 – 1974, Specific Objects, New York Tiffany Paintings, Gagosian Gallery, New York Hippie Punk, Salon 94 Bowery, New York 2008 Richard Prince: Continuation, Serpentine Gallery, London Four Blue Cowboys, Gagosian, Rome Richard Prince, Gagosian, Davies Street, London Richard Prince, Galerie Patrick Seguin, Paris Richard Prince: Canal Zone, Gagosian New York SHE: Works by Wallace Berman and Richard Prince, Michael Kohn Gallery, Los Angeles 2007 Richard Prince: Spiritual America, Solomon R. Guggenheim Museum, -
Allen Ruppersberg Biography
greengrassi 1a Kempsford Road London SE11 4NU + 44 207 840 9101 [email protected] Allen Ruppersberg Biography Born 1944, Cleveland, OH Lives and works in New York and Santa Monica. Education 1967 Bachelor of Fine Arts, Chouinard Institute, Los Angeles, CA Awards 2011 USA Fellowship grants, United States Artists, Los Angeles, CA 2004 Best Exhibition of Art Using the Internet, The New Five-Foot Shelf (Web Project) with Dia Center 1997 Guggenheim Fellowship Laurenz-Hans Foundation, Basel 1987 Awards in the Visual Arts, South Eastern Center for Contemporary Arts, Winston Salem, NC 1982 National Endowment for the Arts 1977 Solomon R. Guggenheim Museum, New York, NY, Theodoran Award 1976 National Endowment for the Arts 1975 Change, Inc Solo Exhibitions 2019 Planet Stories, ProjecteSD, Barcelona What a Strange Day it has Been, Marc Selwyn Fine Art, Beverly Hills, CA Intellectual Property 1968–2018, Hammer Museum, Los Angeles, CA* 2018 Intellectual Property 1968–2018, Walker Art Museum, Minneapolis, MN* 2017 The Novel That Writes Itself, Greene Naftali, New York, NY Oh, What a Time, PARQUE Galería, Mexico City, Mexico Past Present Future, Marc Selwyn Fine Art, Los Angeles, CA 2016 Accrochage #1: Allen Ruppersberg et al., ProjecteSD, Barcelona GET SET FOR ACTION, Air de Paris, Paris 2015 What is a Stamp?, Jumex Foundation of Contemporary Art, Mexico City The singing Posters, Skirball Culture Center, Los Angeles, CA 2014 Allen Ruppersberg, Jürgen Becker Galerie, Hamburg The Novel That Writes Itself, mfc- michèle didier, Paris FOR COLLECTORS -
Self-Referentiality and Mass-Production in the Work of Allan Mccollum, 1969 - 1989
REPRINT FROM ALLAN McCOLLUM STEDELIJK VAN ABBEMUSEUM Eindhoven, Holland; 1989 Self-Referentiality and Mass-Production in the Work of Allan McCollum, 1969 - 1989 ANNE RORIMER SINCE 1977, when he shifted the focus of his earlier frame and its enclosed ‘image’ are combined on one production, Allan McCollum has been involved in an and the same pictorial field. investigation of the work of art with regard to its function within the social system. ‘If one wants to Although no two pieces are ever identical, each understand art,’ McCollum has stated, ‘it seems to Surrogate presents the same, self-reflexive image of me, one should begin with the terms of the situation a typical painting and thus provides what McCollum in which one actually encounters it’.1 To this end, the has aimed at from the inception of this series: ‘a artist has developed a diverse series of works that universal sign-for-a-painting’2. Since their literal reflect upon the status of art in contemporary culture. Although their particular means and emphasis necessarily vary, the Surrogates, Perpetual Photos, Perfect Vehicles, and Individual Works, created by McCollum during the last twelve years, call attention to the place of art as an economic and psychological, not merely physical, presence within society. A small, square work, Untitled, 1977, measuring 21 x 21 cm and made of wood covered with an off-white acrylic, marks McCollum’s departure from his previous approach to painting and his achievement of a new level of thematic interest. This transitional piece is to be distinguished from prior works by the artist because of the simple presentation of its own painted surface as a primary and singular fact.