Cory Arcangel
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Art in America the EPIC BANAL
Art in America THE EPIC BANAL BY: Amy Sherald, Tyler Mitchell May 7, 2021 10:08am Tyler Mitchell: Untitled (Blue Laundry Line), 2019. Amy Sherald (https://www.artnews.com/t/amy-sherald/): A Midsummer Afternoon Dream, 2020, oil on canvas, 106 by 101 inches. Tyler Mitchell and Amy Sherald—two Atlanta-born, New York–based artists—both capture everyday joy in their images of Black Americans. Recurring motifs in Mitchell’s photographs, installations, and videos include outdoor space and fashionable friends. Sherald, a painter, shares similar motifs: her colorful paintings with pastel palettes show Black people enjoying American moments, their skin painted in grayscale, the backgrounds and outfits flat. Both are best known for high-profile portrait commissions: in 2018 Mitchell became the first Black photographer to have a work grace the cover of Vogue. That shot of Beyoncé was followed, more recently, by a portrait of Kamala Harris for the same publication. Michelle Obama commissioned Amy Sherald to paint her portrait, and last year Vanity Fair asked Sherald to paint Breonna Taylor for a cover too. Below, the artists discuss the influence of the South on their work, and how they navigate art versus commercial projects. —Eds. Amy Sherald: Precious jewels by the sea, 2019, oil on canvas, 120 by 108 inches. TYLER MITCHELL: Amy, we spoke before about finding freedom and making your own moments of joy. I think of Precious jewels by the sea [2019]—your painting of two couples at the beach, showing the men standing with the women on their shoulders—as a moment that you constructed. -
CORY ARCANGEL VERTICALS Opening: Sunday, 27 January 2019, Noon 27 January – 16 March 2019 Mirabellplatz 2, Salzburg
PRESS RELEASE Arcangel’s First Solo Exhibition in 3 Years and Most Comprehensive Presentation of his Scanner Paintings to Date CORY ARCANGEL VERTICALS Opening: Sunday, 27 January 2019, noon 27 January – 16 March 2019 Mirabellplatz 2, Salzburg Galerie Thaddaeus Ropac presents Verticals, an exhibition of works by American artist Cory Arcangel with a focus on his new series of 14 Scanner Paintings. These new works are shown together with a number of drawings, a laser animation, two video sculptures referring to Nam June Paik's TV Buddha and a new minimalist sound installation. A pioneer of technology-based art, Arcangel works in a wide variety of media, including music composition, video, modified video games, performance and the Internet. The ease with which he recognises how to use software, hardware and Internet resources as raw artistic material, placing them in new contexts, reveals a new kind of style. The ageing process of technologies is always a central question in his oeuvre. 1. 2. The Scanner Paintings, a series conceived since 2010, are based on commercially available textiles, which are scanned, inscribed with the artist's signature and printed with UV ink on IKEA LINNMON table-tops. They show various types of leggings – sweatpants, track pants, Daisy Dukes and ripped denims. In each work, details such as waistband, pockets, zips and logos are combined, usually collage-like, on two boards hanging one above the other. Overlapping letters create word-plays and new meanings, or the logo is legible only by force of the branding typography. Independently of changing fashions, the sports labels are part of a contemporary pop culture and a collective memory to which the artist refers. -
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MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world. -
Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
Dara Birnbaum
DARA BIRNBAUM 8 NOVEMBER 201 8 – 12 JANUARY, 2019 OPENING RECEPTION: THURSDAY 8 NOVEMBER 2018 , 6– 8pm “Her use of video and found footage, her editing and image processing are groundbreaking…. This is our visual language.” -Eva Respini, Barbara Lee Chief Curator, ICA, Boston Marian Goodman Gallery London is delighted to present an exhibition of works by Dara Birnbaum, with special focus on her large-scale video installations from the 1990s. The exhibition will open on 8 November 2018, running until 12 January 2019. Birnbaum’s practice has long been concerned with the lexicon of broadcasting and communication and the way ‘truths’ are delivered to the viewer. An early proponent of video art, Birnbaum began by isolating imagery from television, recontextualising it in an attempt to understand its true meaning. For the first time since her major 2009/2010 travelling retrospective, The Dark Matter of Media Light, the three works Tiananmen Square: Break-In Transmission, 1990, Transmission Tower: Sentinel, 1992 and Hostage, 1994, will be shown Transmission Tower: Sentinel, 1992. Installation view, together. All three pieces were made in response to major political events in the latter part of Documenta IX commission, Kassel, Germany, 1992. the 20th century, as a way to uncover the complex relationship between the media, the events covered and the way in which those events are presented to the public. On view in the side galleries will be a selection of two-dimensional works focusing on the anonymous street posters from the May 68 protests in France, as well as the series Lesson Plans (To Keep the Revolution Alive), 1977, which formed the basis of the artist’s first exhibition, at Artists Space in New York in 1977. -
E the New American Filmmakers Series
• ,r:·~· ,.~· ).r !'J1useu.m of 1\merican Art 14 e The NewAmerican Filmmakers Series EXHIBITIONS OF INDEPENDENT FILM AND VIDEO Dara Birnbaum February 4-March 4, 1984 PM Magazine, 1982. Video installation Gallery Talk, Thursday, February 9, at 2:00 On view continuously 12:00-6:00, Tuesdays until8:00 Dara Birnbaum will be present C redits: Video post-production: C MX editors- Mark Bement, Stev·m Rob inson, California Institute of the Arts; Matt Danowski, Electronic Arts Intermix; Joseph Leonardi, the Annex, Long Beach Museum of Art. Music collaboration: Dara Birnbaum, Simeon Soffer. Post production sound editor/mixer: Simeon Soffer. Musical assistance: vocals-Shauna D'Larson; drums/rhythm-James Dougherty, Jon Norton (L.A. Woman); guitar- David Dowse (L. A. Woman) , Mark Norris; synthesizer -Simeon Soffer. Design consultation and ex ecution: Dan HilL John Salmen .. The artist wishes to thank Nancy Hoyt, who made the original in stallation of PM Magazine possible at The Hudson River Museum, Yonkers, New York, and Coosje Van Bruggen, who made the instal lation possible at "Documenta 7," Kassel, West Germany. The art of Dara Birnbaum has established an aesthetic dis course predicated on both a formal and ideological inves tigation of commercial broadcast television. In her video tapes she refashions television's popular images through a PM Magazine, 1982. Video installation at The Hudson River Museum, Yonkers, New York. Photograph by Dara Birnbaum. variety of editing and image-processing strategies that ex pose the hidden meanings within narrative and commercial women and the sexual roles of the office worker and con programs. sumer by replaying them on monitors that are placed with In a series of short videotapes Birnbaum began to exam in three enlarged photographic panels. -
Annual Report 2018-2019
ANNUAL REPORT 2018-2019 1 2 CONTENTS A Letter from Our Executive Director 4 A Letter from the Chair of the Board 5 Our Namesakes 6 Celebrating Our History: 50 Years of LGBTQ Health 8 Timeline 12 Reflections on our History 14-17 Our Patients 18 A Year in Photos 22 Our Staff 24 Callen-Lorde Brooklyn 26 Board of Directors 28 Senior Leadership 29 Howard J. Brown Society 30 Our Supporters 32 ABOUT US Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, we have been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, we are continuously pioneering research, advocacy and education to drive positive change around the world, because we believe healthcare is a human right. 3 A LETTER FROM OUR EXECUTIVE DIRECTOR Dear Friends, Supporters, and Community Members, Fifty years ago, Sylvia Rivera and Marsha P. Johnson were among the first brick throwers in the Stonewall Rebellions, igniting the fire that began – slowly – to change LGBTQ lives. That same year, the beginnings of Callen- Lorde started when two physicians opened the St. Mark’s Health Clinic to provide free healthcare services to the ‘hippies, freaks, and queers’ in the East Village. Today, that little clinic is Callen-Lorde Community Health Center - a network of health centers soon to be in three boroughs of New York City and improving LGBTQ health worldwide. What has not changed in 50 years is our commitment to serving people regardless of ability to pay, our passion for health equity and justice for our diverse LGBTQ communities and people living with HIV, and our belief that access to healthcare is a human right and not a privilege. -
The 2020 TJFP Team
On the Precipice of Trans Justice Funding Project 2020 Annual Report Contents 2 Acknowledgements 4 Terminology 5 Letter from the Executive Director 11 Our Grantmaking Year in Review 20 Grantees by Region and Issue Areas 22 The 2020 TJFP Team 27 Creating a Vision for Funding Trans Justice 29 Welcoming Growth 34 Funding Criteria 35 Some of the Things We Think About When We Make Grants 37 From Grantee to Fellow to Facilitator 40 Reflections From the Table 43 Our Funding Model as a Non-Charitable Trust 45 Map of 2020 Grantees 49 Our 2020 Grantees 71 Donor Reflections 72 Thank You to Our Donors! This report and more resources are available at transjusticefundingproject.org. Acknowledgements We recognize that none of this would have been possible without the support of generous individuals and fierce communities from across the nation. Thank you to everyone who submitted an application, selected grantees, volunteered, spoke on behalf of the project, shared your wisdom and feedback with us, asked how you could help, made a donation, and cheered us on. Most of all, we thank you for trusting and supporting trans leadership. A special shoutout to our TJFP team, our Community Grantmaking Fellows and facilitators; Karen Pittelman; Nico Amador; Cristina Herrera; Zakia Mckensey; V Varun Chaudhry; Stephen Switzer at Rye Financials; Raquel Willis; Team Dresh, Jasper Lotti; butch.queen; Shakina; Nat Stratton-Clarke and the staff at Cafe Flora; Rebecca Fox; Alex Lee of the Grantmakers United for Trans Communities program at Funders for LGBT Issues; Kris -
Cory Arcangel
www.teamgal.com Cory Arcangel 1978 Born on 25 May in Buffalo, NY Education: 2000 Bachelor of Music, Oberlin Conservatory, Oberlin, OH Solo Exhibitions: 2013 DHC/ART Foundation for Contemporary Art, Montreal, Canada, Power Point 2012-13 The Carnegie Museum of Art, Pittsburgh, PA, Cory Arcangel: Masters 2011 The Whitney Museum of American Art, New York, NY, Pro Tools Barbican Centre, London, UK, Beat the Champ Lisson Gallery, London, UK, Speakers Going Hammer 2010-11 Hamburger Bahnhof Museum fur Gegenwart, Berlin, Germany, Here Comes Everybody 2010 Galerie Thaddaeus Ropac, Paris, France, Image is Everything Museum of Contemporary Art, Miami, FL, Cory Arcangel: The Sharper Image (with catalog) University of Michigan Museum of Art, Ann Arbor, MI, Creative Pursuits (with catalog) 2009 Montevideo: The Netherlands Institute for Media Art, Amsterdam, The Netherlands, Depreciated 2008 Team Gallery, New York, NY, Adult Contemporary Galerie Thaddaeus Ropac, Salzburg, Austria, Variations on a Theme 2007-08 Northern Gallery for Contemporary Art, Sunderland, UK (with catalog, and traveling to: Spacex, Exeter, UK and Castlefield Gallery, Manchester, UK; under the auspices of the Film and Video Umbrella) 2007 Max Wigram Gallery, London, UK, Request for Comments Brändström & Stene, Stockholm, Sweden, Get back to me in a couple of years Galerie Guy Bartschi, Geneva, Switzerland, Cory Arcangel (with catalog) team gallery, inc. 83 grand st New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.teamgal.com 2006 Virginia Commonwealth University, Richmond, -
Annual Report 2019 - 2020
ANNUAL REPORT 2019 - 2020 1 2 ABOUT US Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, we have been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, we are continuously pioneering research, advocacy and education to drive positive change around the world, because we believe healthcare is a human right. CONTENTS History and Namesakes . 4 A Letter from our Executive Director Wendy Stark . 6 A Letter from our Board Chair Lanita Ward-Jones ������������������������������������������������������������ 7 COVID-19 Impact . 8 Callen-Lorde Brooklyn ������������������������������������������������������������������������������������������������������������������������������������������������10 Advocacy & Policy ��������������������������������������������������������������������������������������������������������������������������������������������������������������10 The Keith Haring Nurse Practitioner Postgraduate Fellowship in LGBTQ+ Health ������������������������������������������������������������������������������������������������������������������������������������������������������������������������ 12 Callen-Lorde by the Numbers . 14 Senior Staff and Board of Directors ������������������������������������������������������������������������������������������������������ 16 Howard J. Brown Society . .17 John B. Montana Society �����������������������������������������������������������������������������������������������������������������������������������������17 -
Ryan Mcginley
Akeem Flavors Artist Research Paper #3 Kelly – T.A. (PM) Ryan McGinley Many artists strive to create visual representations of events, symbols, and scenes that accurately reflect their lifestyles - with few of them ever being successful. However, by depicting himself, close friends, and mere acquaintances skateboarding, running, and moving by day as well as partying, taking drugs, and having sex by night, Ryan McGinley has easily surpassed this goal. The innocent yet edgy world captured by McGinley is far from fiction and closer to the documentation of his reality of being young, beautiful, and killing time in New York City. McGinley was born and raised in New Jersey until moving to New York to attend Parsons School of Design to study graphic design. After an inevitable introduction to the lifestyle of Manhattan’s artsy lower East Side and three years at Parsons McGinley became interested in photography. He explains that “For me the reason to go out to a party was to photograph,” (Gefter 2007). This is evident in Dash the almost voyeuristic style of his early photographs, in which he abandoned all concernBombing ,for 2000 detail and focused solely on the spirit of his subjects. For example, in Dash Bombing, McGinley captures a young graffiti artist tagging the wall of a building high above New York City. The lack of his attention to technicality in handling the camera is far from distracting. Instead, the viewer’s attention is absorbed by the subject’s concentration on his craft and the energy radiating from the city lights below. McGinley is simply a fly on the wall in capturing this fleeting moment of beauty and freedom. -
Louise Bourgeois's 'Cells' Looking at Bourgeois Through Irigaray's Gesturing Towards the Mother 17
n.paradoxa online, issue 3 May 1997 Editor: Katy Deepwell n.paradoxa online issue no.3 May 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 3, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue3.pdf May 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.3 May 1997 ISSN: 1462-0426 2 List of Contents Dot Tuer Mirrors and Mimesis: An Examination of the Strategies of Image Appropriation and Repetition in the Work of Dara Birnbaum 4 Hilary Robinson Louise Bourgeois's 'Cells' Looking at Bourgeois through Irigaray's Gesturing Towards the Mother 17 Katy Deepwell Feminist Readings of Louise Bourgeois or Why Louise Bourgeois is a Feminist Icon 28 Nima Poovaya-Smith Arpana Caur : A Profile 39 Violetta Liagatchev Constitution Intempestive de la République Internationale des Artistes Femme 44 Diary of an Ageing Art Slut 47 n.paradoxa online issue no.3 May 1997 ISSN: 1462-0426 3 Louise Bourgeois’s Cells:Looking at Bourgeois through Irigaray’s Gesturing Towards the Mother Hilary Robinson ‘It is difficult to find a framework vivid enough to incorporate Louise Bourgeois's sculpture.