DOCSLIB.ORG

(Ordinamento Ex DM 270/2004) in Storia Delle Arti E Conservaz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(Ordinamento Ex DM 270/2004) in Storia Delle Arti E Conservaz Università di Venezia Ca’ Foscari Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Storia delle arti e conservazione dei beni artistici Tesi di Laurea Da artista a curatore: la mostra Slip of the tongue curata da Danh Vo a Punta della Dogana- Fondazione François Pinault Relatore Correlatore Ch. Prof. Nico Stringa Ch. ma Prof.ssa Stefania Portinari Laureando Domenico Moramarco Matricola 964150 Anno Accademico 2014 / 2015 1 Al caro Graziano 2 Indice pag. Introduzione 5 Capitolo 1 – Da artisti a curatori: un breve excursus delle mostre curate dagli artisti Introduzione 32 1. Gli anni ‘60 – ‘70 – ‘80 38 2. Gli anni ‘90 58 3. Gli anni 2000 76 Capitolo 2 – La ricerca artistica di Danh Vo: il «frammento» tra storie di antichità, collezionismo, conflitti e guerre di religione Introduzione 85 1. Storie di frammenti: i prestiti dalle Gallerie dell’Accademia nella mostra “Slip of the tongue” a Punta della Dogana 90 a) Il Redentore di Giovanni Bellini 93 b) I Santi Benedetto, Tecla e Damiano di Giovanni Buonconsiglio detto Il Marescalco 98 c) Frammento di Satiro della Scuola di Tiziano 102 2. Le miniature della Fondazione Giorgio Cini 106 3. Il tema del “frammento” nelle opere di Danh Vo 114 4. Storie di «frammenti»: Danh Vo e Jannis Kounellis 122 Capitolo 3 – La donna artista: storie di identità e di dissidio interiore Introduzione 130 1. L’arte come denuncia degli eventi bellici 132 2. Il Codice Artaud di Nancy Spero 138 3. Il dissidio interiore, la corporeità e l’interiorità 159 Capitolo 4 – L’identità dell’artista: tra genere, alterità e diversità Introduzione 180 1. La produzione artistica condizionata dall’esperienza personale 181 2. L’empatia tra gli artisti: storie di condivisioni, vissuti ed emozioni 187 3. La pratica artistica come denuncia dello stato sociale 197 3 4. L’opera d’arte e l’estetica dell’“inespressione” 206 Conclusione 215 Elenco immagini 218 Bibliografia 254 Sitografia 261 4 Introduzione Danh Vo, artista danese di origine vietnamita, residente tra Berlino e Città del Messico, nato il 1975 a Bà Ria, è senza ombra di dubbio l’«artista del momento», entrato ormai a far parte “di diritto” nel sistema dell’arte contemporanea composto da artisti-divinità osannati da galleristi e collezionisti e corteggiati da tutte le più importanti istituzioni museali del mondo. Nato nel 1975 in Vietnam, a soli quattro anni è costretto a lasciare la sua terra, a causa della guerra civile, ed emigrare negli Stati Uniti con tutta la sua famiglia a bordo di un’imbarcazione di fortuna. Raccolto da una nave-cargo danese, inizia una nuova vita a Copenaghen, dove si stabilizzerà con i suoi genitori, mentre i suoi nonni giungeranno in Germania. Emigrati su un battello, preferiscono separarsi per avere maggiori possibilità di sopravvivenza. L’emigrazione, tra l’altro attualmente una delle più calde ed incandescenti tematiche politiche a livello europeo e internazionale, ritorna in molte sue opere e accompagnerà tutta la sua produzione artistica dagli esordi fino ai giorni nostri. Il 2015, anno appena concluso, è stato eccezionale. Vari progetti di mostre personali e collettive lo hanno visto presentare le sue opere in quattro nazioni europee, in occasione di mostre personali, collettive, o progetti curatoriali di ambito e rilevanza internazionale. Dal l° agosto al 25 ottobre, presso il Museo Ludwig di Colonia (Germania), Danh Vo ha presentato la mostra intitolata “Ybod eht ni mraw si ti”, curata da Ylmaz Dziewior. La capacità dell’artista di giocare con le parole, con le frasi, con le lingue straniere sono un leit-motiv che legano le opere esposte e presentate nelle diverse rassegne (spesso conservano gli stessi titoli, quasi a voler mantenere un legame tematico e filologico) e accomunano la sua ricerca artistica. A prima vista le frasi hanno un chiaro intento ironico e quasi provocatorio, infatti la frase che da il titolo alla mostra di 5 Colonia, che nell’immediato potrebbe far credere di essersi imbattuti nella lettura di una frase nella sua lingua madre, il vietnamita, non è altro che l’inversione da destra verso sinistra delle parole di una celebre frase del film L’Esorcista (1973) “It is warm in the body”, una pratica dell’artista in cui studia il significato delle parole, gioca con il loro posizionamento all’interno della frase e il messaggio che ne deriva per poi trasporlo nel campo dell’arte. Oltre a Colonia, dal 22 ottobre al 19 dicembre 2015, Danh Vo ha presentato una sua mostra personale presso la Galleria Chantal Crousel di Parigi intitolata “Take my breath away”. Inaugurata il primo ottobre 2015 e ancora in corso (terminerà il 28 marzo 2016) la maestosa installazione presso il Palacio de Cristal del Museo Nacional Centro del Arte Reina Sofía di Madrid intitolata “Banish the Faceless / Reward your face”. Ma i due progetti più importanti dell’anno 2015, quasi concomitanti, sono stati quelli presentati nella città di Venezia. In occasione della 56° Esposizione Internazionale d’Arte – la Biennale di Venezia, curata da Okwui Enwezor, Danh Vo ha rappresentato la Danimarca con la mostra “Mothertongue” nel Padiglione Danese e ha curato la mostra intitolata “Slip of the tongue” presso Punta della Dogana, un progetto promosso dalla Fondazione François Pinault in cui l’artista è stato co-curatore della suddetta mostra con Caroline Burgeois. In ambito internazionale, sempre nel 2015, Danh Vo ha esposto in tre mostre collettive: in Cina, per la mostra Absolute Collection Guideline presso il Sifang Art Museum di Nanjing; negli Emirati Arabi Uniti a Sharjah, per la collettiva Biennal 12: The past, the Present, the Possible e a Kyoto, in Giappone, per la mostra Parasophia in occasione del Kyoto International Festival of Contemporary Culture. La sua produzione artistica ha innescato una considerevole attenzione su scala internazionale grazie alle mostre individuali presso le Stedelijk Museum di Amsterdam (2008), la Kunsthalle Basel (2009), l’Art Institute di Chicago (2012), il Museo d’arte moderna della città di Parigi (2013). Sempre nel 2013, 6 presso il Museion di Bolzano, Danh Vo ha presentato la mostra “Fabulous Muscles”, ricordiamo, per lo stesso anno, la partecipazione alla 55° Esposizione Internazionale d’Arte, presso l’Arsenale de la Biennale di Venezia intitolata “Il Palazzo Enciclopedico” e l’installazione “Autoerotic Asphyxiation” in occasione della mostra “The Illusion of Light” presso Palazzo Grassi-Fondazione François Pinault. Durante la sua carriera l’artista ha curato quattro mostre: nel 2013 cura la mostra Tell it to my heart: Collected by Julie Ault con Julie Ault, Martin Beck, Nikola Dietrich, Rasmus Roehling, Scott Weaver e Amy Zion, press il Museum für gegenwartskunst di Basilea in Svizzera; nel 2010 cura la mostra intitolata e dedicata alla memoria di Félix-González Torres presso il Wiels di Bruxelles in Belgio; nel 2007 la mostra intitolata Mia Rosasco presso J-E-T di Berlino, in Germania; infine, nel 2006, la mostra My Blue Genes allestita nell’appartamento dei suoi genitori a Valby in Danimarca. Le opere di Danh Vo fanno parte delle collezioni permanenti d’arte contemporanea delle più importanti istituzioni a livello mondiale tra cui la National Gallery of Denmark di Copenhagen in Danimarca; la FNAC e il MNAM Museo nazionale di arte moderna / Centre Pompidou di Parigi in Francia, l’Institut für Auslandsbeziehungen in Germania; l’Israel Museum in Israele; il MUSEION di Bolzano in Italia; il Kunstmuseum di Basilea e la Kunshaus di Zurigo in Svizzera; la Tate Modern di Londra in Inghilterra; il Walker Art Center di Minneapolis e il Museo d’Arte Moderna (MoMA) di New York negli Stati Uniti. I due maggiori riconoscimenti ottenuti sono nel 2007, il BlauOrange Kunspreis der Deutschen Volksbanken und Raiffeisenbanken di Berlino in Germania; nel 2009, il Nominee del Nationalgalerie Prize for Young Art di Berlino in Germania e, nel 2012, lo Hugo Boss Prize a New York, negli Stati Uniti. In occasione della vittoria dello Hugo Boss Prize nel 2012, il curatore associato del Guggenheim Museum di New York, Katherine Brinson, ha definito la 7 ricerca artistica di Danh Vo, come un lavoro che “illumina i fili intrecciati dell’esperienza privata e della storia collettiva che forma il nostro senso del sé. Emergendo da un processo di ricerca, incontri casuali e delicate trattative personali, le sue installazioni scoprono le connotazioni latenti e le memorie incorporate in forme familiari”1. Il sistema dell’arte potrebbe essere rappresentato come un mondo “definito” in cui gli attori (gli artisti, i curatori, i critici, i committenti tra cui i collezionisti, le istituzioni; i media, ecc.) giocano dei ruoli e difficilmente gli uni possono sostituire gli altri o intercambiarsi, anche se, come i fatti lo evidenziano, spesso le parti di invertono, gli uni sostituiscono gli altri, da ciò nascono nuove figure come il critico-curatore, l’artista-curatore, il gallerista-artista, il critico-artista, i quali si impegnano in progetti che diventano vere e proprie sfide. Lo storico dell’arte S. Salvagnini parla di una “fabbrica dell’arte” in cui gli attori del sistema arte contemporanea sono gli artisti, i critici, i curatori e i committenti, figure ben definite ma non dotate di immobilismo. Dopo aver analizzato storicamente il fenomeno del collezionismo, lo storico focalizza la sua attenzione sul ruolo del mercato, inteso come un “sistema di relazioni sociali basato essenzialmente sulla valorizzazione, e cioè sulla trasformazione di qualcosa – per esempio, un dipinto – in un’opera, un bene dotato di grande appetibilità per qualcuno in virtù di processi culturali che presiedono alla produzione dei valori artistici” e, tra i tanti poteri che si esercitano uno dei più preponderanti è sicuramente quello “propulsivo” della critica d’arte. Quando si dice che si rende esplicita l’intima relazione degli artisti con il discorso, quindi con le idee dell’arte, si intende sottolineare come l’arte 1 K.
Load more

Recommended publications
  • 2018 — Anonymous Was a Woman
    2018 — Anonymous Was A Woman anonymouswasawoman.org/2018 Dotty Attie Painting Dotty Attie (b. 1938, Pennsauken, New Jersey) is a painter who lives and works in New York City, utilizing images from the art of the past in her work and social commentary. In 1971 she helped found AIR Gallery, at that time the sole gallery in New York to show only the art of women. Since 1972 she has been making small works (first, 2-½-inch square drawings and, since 1985, six-inch by six-inch paintings). Several of these paintings are combined, and then combined again with a text, sometimes taken from other sources, sometimes written by her, to make one work that has an ambiguous narrative. She has exhibited widely in the United States and internationally, including Paris, Osaka, Cairo, London, Venice, and Berlin. Attie’s work is represented in the permanent collections of the Museum of Modern Art, the Whitney Museum, Brooklyn Museum, and the National Museum of Women in the Arts. Yale Museum, the Wadsworth Atheneum, the Walker Art Center, and the National Art Gallery, London, among many others. She has received several awards, including two CAPS grants, two NEA grants, and a US/Japan Fellowship. Attie earned her BA at the Philadelphia College of Art. Image: The Golden Age of Radio (L), 2018. Oil on linen. María Magdalena Campos-Pons Photography, Performance, Painting, Sculpture, Film, Video 1/12 Mariá Magdalena Campos-Pons (American, b. 1959, Cuba) is a Cuban-born artist who works in photography, performance, painting, sculpture, film, and video. She grew up on a sugar plantation in a family with Nigerian, Hispanic and Chinese roots.
    [Show full text]
  • Download Issue (PDF)
    Vol. 2 No. 2 wfimaqartr f l / l I l U X l U l I Winter 1977-78 ‘ARTISTS IN RESIDENCE': The First Five Years Five years ago, the A.I.R. feminist co-op gallery opened its doors, determined to make its own, individual mark on the art world. The first co-op organized out of the women artists' movement, it continues to set high standards of service and commitment to women's art by Corinne Robins page 4 EXORCISM, PROTEST, REBIRTH: Modes ot Feminist Expression in France Part I: French Women Artists Today by Gloria Feman Orenstein.............................................................page 8 SERAPHINE DE SENLIS With no formal art training, she embarked on a new vocation as visionary painter. Labelled mentally ill in her own time, she is finally receiving recognition in France for her awakening of 'female creativity' by Charlotte Calmis ..................................................................... p a g e 12 A.I.R.'S FIFTH ANNIVERSARY 1 ^ ^ INTERVIEW WITH JOAN SEMMEL W omanart interviews the controversial contemporary artist and author, curator of the recent "Contemporary Women: Consciousness and Content" at the Brooklyn Museum by Ellen L u b e ll.................................................................................page 14 TOWARD A NEW HUMANISM: Conversations with Women Artists Interviews with a cross-section of artists reveal their opinions on current questions and problems, and how these indicate movement toward a continuum of human values by Katherine Hoffman ................................................................... pa g e 22 GALLERY REVIEWS ..........................................................................page 30 WOMAN* ART»WORLD News items of interest ................................................................... page 42 FRENCH WOMEN ARTISTS REPORTS Lectures and panel discussions accompany "Women Artists: 1550-1950" and "Contemporary Women" at the Brooklyn Museum; Women Artists in H o lla n d ...............................................................page 43 Cover: A.I.R.
    [Show full text]
  • Visions Vol. XIV, Fall 2014
    Visions Vol. XIV, Fall 2014 News from the Friends of Art Sweet Briar College THE FRIENDS OF ART BOARD President President’s Letter Molly Sutherland Gwinn ’65 Contents The hot topic among college educators for has been underwritten by the Friends of Treasurer the last few years has been the viability Art in celebration of our 75 years as an Barbara Hastings Carne ’69 Vol. XIV, Fall 2014 Secretary of online learning as a tool for making organization and in honor of the newly Melissa McGee Keshishian ’71 The President’s Letter ........................................................................1 higher education accessible and affordable renovated Cochran Library. Members to more young people. The popularity of For us, MOOCs are no substitute for a May Carter Barger ’81 On Site with Catherine Peek......................................................... 2–5 Massive Open Online Courses, or MOOCs, Elinor Plowden Boyd ’74 Sweet Briar education as we know it, but is due in large part to their digital format, Margaret Hayes Brunstad ’72 Sweet Briar Alumnae in the Visual Arts ....................................... 6–9 the online classroom may prove effective readily available to anyone with an internet Sigrid Zirkle Carroll ’93 in extending the reach of programs, not connection, and by extension, their Susan Stephens Geyer ’74 Students Explore Museum Internships ..................................... 10–11 just in the arts, but across the curriculum, Kathy Jackson Howe ’78 disruption of the old knowledge delivery to underserved groups, for example, Reyhan Tansal Larimer ’62 The “Big Night” in Guion Pond ...................................................... 12 system, which required lecture halls, to students who cannot afford the cost Linda Lipscomb ’73 seminars and laboratories, and instructors of a four-year program; to members of Nancy Dabbs Loftin ’81 Art History Professor Maps the Middle Ages ................................
    [Show full text]
  • Curating Now: Imaginative Practice/Public Responsibility Full Text Edited by Paula Marincola
    QUESTIONS OF PRACTICE Curating Now: Imaginative Practice/Public Responsibility Full Text Edited by Paula Marincola THE PEW CENTER FOR ARTS & HERITAGE / PCAH.US / @PEWCENTER_ARTS CURATING NOW: IMAGINATIVE PRACTICE/PUBLIC RESPONSIBILITY OCT 14-15 2000 Paula Marincola Robert Storr Symposium Co-organizers Philadelphia Exhibitions Initiative Funded by The Pew Charitable Trusts Administered by The University of the Arts The Philadelphia Exhibitions Initiative is a granting program funded by The Pew Charitable Trusts and administered by The University of the Arts, Philadelphia, that supports exhibitions and accompanying publications.“Curating Now: Imaginative Practice/Public Responsibility” has been supported in part by the Pew Fellowships in the Arts’Artists and Scholars Program. Philadelphia Exhibitions Initiative 230 South Broad Street, Suite 1003 Philadelphia, PA 19102 215-985-1254 [email protected] www.philexin.org ©2001 Philadelphia Exhibitions Initiative All rights reserved ISBN 0-9708346-0-8 Library of Congress catalog card no. 2001 131118 Book design: Gallini Hemmann, Inc., Philadelphia Copy editing: Gerald Zeigerman Printing: CRW Graphics Photography: Michael O’Reilly Symposium and publication coordination: Alex Baker CONTENTS v Preface Marian Godfrey vii Introduction and Acknowledgments Paula Marincola SATURDAY, OCTOBER 14, 2000 AM 3 How We Do What We Do. And How We Don’t Robert Storr 23 Panel Statements and Discussion Paul Schimmel, Mari-Carmen Ramirez, Hans-Ulrich Obrist,Thelma Golden 47 Audience Question and Answer SATURDAY,
    [Show full text]
  • PAT LASCH Journeys of the Heart
    PAT LASCH journeys of the heart this book is number in a limited edition of 250 signed by the artist Mara Gladstone PAT LASCH journeys of the heart Palm Springs Art Museum Published in conjunction with the exhibition Pat Lasch: Journeys of the Heart Palm Springs Art Museum in Palm Desert 72-567 Highway 111, Palm Desert, CA 92260 March 25 – October 15, 2017 This exhibition is organized by Palm Springs Art Museum and supported by the Clinton Hill & Allen Tran Foundation, and Donna MacMillan. Exhibition Season Sponsors: Carol & Jim Egan, David Kaplan & Glenn Ostergaard, Dorothy C. Meyerman, Marion & Bob Rosenthal, and the Herman and Faye Sarkowsky Charitable Foundation. Copyright © 2017 by Palm Springs Art Museum 101 Museum Drive, Palm Springs, CA 92262 psmuseum.org All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher except in the case of brief quotations embodied in critical articles and reviews. Every reasonable attempt has been made to identify the owners of copyright. Errors or omissions will be corrected in subsequent editions. All images © Pat Lasch All works collection of the artist unless noted otherwise. Photographs by Martine Fougeron, Pat Lasch, David Plakke, David Blank, and Palm Springs Art Museum Library of Congress Control Number 2017930583 isbn 9780986245329 Catalogue and exhibition organized by Mara Gladstone Catalogue design and production by Lilli Colton Printed by Todd Wallace, International Printing & Typesetting Front cover: Three Untitled Petit Fours (from 700 series), 2016, acrylic paint, wood, baroque pearls, glass beads; Untitled Petit Four (from 700 series), 2016, acrylic paint, wood, baroque pearls, glass beads; Yaddo I, 2016, acrylic paint, wood, baroque pearls, Collection of Tom Minder and Duke Kulas Inside cover: Untitled Cake (detail), ca.
    [Show full text]
  • Women Defining Themselves the Original Artists of SOHO 20
    Rowan University Art Gallery Select Exhibitions Jamea Richmond-Edwards: 7 Mile Girls Ebony G. Patterson: If We Must Die… November 7 – December 21, 2019 February 11 - April 20, 2019 The title 7 Mile Girls refers to the street in Detroit Known for her drawings, tapestries, videos, sculptures where Richmond-Edwards grew up the late 1980s and and installations that involve surfaces layered with early ’90s and where she encountered many of the flowers, glitter, lace and bead, Ebony G. Patterson’s female subjects depicted in her paintings. This works investigate forms of embellishment as they relate exhibition explores the connection between black to youth culture within disenfranchised communities. In female style of Detroit’s inner city with designer fashion conjunction with the exhibit, a conversation with the and self-empowerment. Across her multi-layered artist was held on Wednesday, March 27 at 5:00 p.m. in collages, the artist expresses the intersections of black the gallery, led by visiting scholar Colette Gaiter, a style, capitalism, fashion, and personal identity. professor in the Department of Art & Design and View the Exhibition Catalog Department of Africana Studies at the University of Delaware. Julie Heffernan: Mending a Reflection September 3 – October 26, 2019 Heather Ujiie: Terra Incognita September 4 – November 17, 2018 Mending a Reflection addresses the connection between culture, mass media and personal identity Heather Ujiie blends the disciplines of textiles, fashion through the lens of one dominate central female figure. design, and visual art to create an ethereal, imaginary In her large-scale self-portraits Heffernan investigates and mythological world.
    [Show full text]
  • From the 1960S to New York Cityâ•Žs AIR Gallery
    Lizy Dastin is currently a doctoral candidate at the CUNY Graduate Center in Art History where she is also working toward an Advanced Certificate in Gender Studies. She received her MA in Art History, Conoisseurship and the History of the Art Market from Christie's Education and her BA from Wellesley College. She has worked on special projects at the International Center of Photography and the Whitney Museum in museum education, and at the Metropolitan Museum in photograph conservation. Lizy is currently acting as an adjunct professor of Art History at Mercy College and the School of Visual Arts, both in New York. This presentation examines the feminist historical happenings of the 1960s and how they led to the creation of New York City’s A.I.R. Gallery. Founded in 1972 by multi-media artist Susan Williams and sculptor Barbara Zucker, A.I.R. is the first artist-run, not-for-profit gallery for women artists in the United States. [SLIDE] Enlivened by the Women’s Liberation Movement of the 60s, members of the art world began publicly protesting the paucity of work by women artists in museum exhibitions and permanent collections; however, women were still being denied access to the commercial gallery system. This absence from the gallery world perpetuated the fictive (and gender biased) belief that somehow work by women was of lesser quality than work by men. A.I.R. Gallery was conceptualized out of this frustration. [SLIDE] In 1971, Williams and Zucker decided to proactively build their own women’s cooperative. The artists met during the summer of 1963 and soon became close friends and art colleagues.
    [Show full text]
  • Nohra Haime Gallery 730 Fifth Avenue
    N OHRA HAIME GALLERY 730 FIFTH AVENUE FEMINIST FEMININE January 25 – March 4, 2017 Opening Reception: Tuesday, January 24th from 6 to 8 p.m. SHIRIN NESHAT:FACELESS - FROM SERIES WOMEN OF ALLAH, 1994, c-print, unique, 10 x 8 in. 26 x 20 cm. FEMINIST OR FEMININNE: DIFFERENT RESPONSES Feminist Feminine, an impressive display of women artists and converging cultures spanning from the 1960s and 70s to present day, opens at Nohra Haime Gallery on Tuesday, January 24th from 6 – 8 p.m. The exhibition hosts key figures from the American Feminist movement such as Judy Chicago, Carolee Schneemann, Hannah Wilke, Faith Ringgold, Nancy Spero, Martha Wilson, Dotty Attie and Joyce Kozloff, who represent a time when women were demanding the right to exhibit in both museums and galleries. Such powerful personalities as Louise Bourgeois, Louise Nevelson, Niki de Saint Phalle, Cindy Sherman, Yayoi Kusama and Marina Abramovic, who have broken the cannons of art and societal acceptance, are included in the exhibition with influential contemporary figures like Marilyn Minter, Adriana Marmorek and Rhiannon Schneiderman, who utilize the body in a bold and compelling way. Feminist Feminine highlights an era of women who combine anger, rage and resentment with love, sexuality and seduction to create a deep everlasting physicality in art. Socially constructed barriers are broken and femininity is emphasized with sensuality and tenderness. The exhibition embraces an alternative approach to power utilizing this femininity and feminine guile combined with intelligence to accomplish far-reaching goals. The result pushes mind and body to the limit and commands strength and pride in creative virtuosity.
    [Show full text]
  • DOTTY ATTIE B
    DOTTY ATTIE b. 1938, Pennsauken, NJ EDUCATION 1959 Philadelphia College of Art, Bachelor of Fine Arts SOLO EXHIBITIONS 2013 The Lone Ranger, P·P·O·W, New York, NY Sometimes a Traveler/There Lived in Egypt, Cantor Arts Center, Stanford, CA 2009 What Would Mother Say?, P·P·O·W, New York, NY 2007 Sequel, P·P·O·W, New York, NY 2003 Sometimes A Traveler, P·P·O·W, New York, NY 1999 Pierre and Lady Holland: A Suite of Drawings by Dotty Attie, Smith College Museum of Art, Northampton, MA 1998 Fairy Tale /Endings, P·P·O·W, New York, NY 1994 After Courbet, P·P·O·W, New York, NY 1993 Mary Ryan Gallery, New York, NY 1992 Dotty Attie, Montclair Museum of Art, Montclair, NJ 1991 In the Atelier, P·P·O·W, New York, NY Galerie Rizzo & Hubbard, Paris, France 1990 Greenville County Museum of Art, Greenville, SC P·P·O·W, New York, NY Tyler Galleries, Tyler School of Art, Temple University, Elkins Park, PA 1989 Dotty Attie, Paintings and Drawings, Pittsburgh Center for the Arts, Pittsburgh, PA Five Tales, University of Missouri, St. Louis, MO 1988 P·P·O·W, New York, NY 1986 On Gallery, Osaka, Japan A.I.R. Gallery, New York, NY 1985 Sanat Gallery, Istanbul, Turkey Valancia Community College, Orlando, FL 1984 Bowdoin College Museum of Art, Brunswick, ME Virginia Commonwealth University, Richmond, VA Ricardo Barreto Gallery, Boston, MA 1983 Ackland Art Museum, Chapel Hill, NC The New Museum, New York, NY A.I.R. Gallery, New York, NY 1982 Norton Gallery and School of Art, West Palm Beach, FL Mary Ryan Gallery, New York, NY 1981 Pennsylvania Academy of Fine Arts, Philadelphia, PA University of Missouri, Kansas City, MO 1980 Wadsworth Atheneum, Hartford, CT Portland Center for Visual Artists, Portland, OR Museum Art School, Portland, OR Wright State University, Dayton, OH A.I.R.
    [Show full text]
  • Stony Brook University
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Signal Disruptions: Gendered Tropes and the Feminist Burlesque of Martha Rosler A Dissertation Presented by Jennifer Mary Kruglinski to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University December 2014 Copyright by Jennifer Mary Kruglinski 2014 Stony Brook University The Graduate School Jennifer Mary Kruglinski We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. _______________________________________ Andrew V. Uroskie Associate Professor, Department of Art _______________________________________ Michele H. Bogart Professor, Department of Art _______________________________________ Zabet Patterson Assistant Professor, Department of Art _______________________________________ Victoria Hesford Associate Professor, Department of Cultural Analysis and Theory This dissertation is accepted by the Graduate School ___________________________ Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Signal Disruptions: Gendered Tropes and the Feminist Burlesque of Martha Rosler by Jennifer Mary Kruglinski Doctor of Philosophy in Art History and Criticism Stony Brook University 2014 My dissertation reveals the role of burlesque and humor in the feminist art of Martha Rosler. Rosler is acknowledged as a key figure in the feminist art movement, as well as a pioneer in video art, yet the fact that humor was integral to what I call her “feminist burlesque”—Rosler’s parodic interpretation and re-presentation of the gendered imagery portrayed by the mass media—has been largely ignored in the literature surrounding her work.
    [Show full text]
  • Peter Bradley
    Oral History Center University of California The Bancroft Library Berkeley, California Peter Bradley Peter Bradley: A Life in Paint Getty Trust Oral History Project African American Art History Initiative, Getty Research Institute Interviews conducted by Andrianna Campbell and Shanna Farrell In 2019 Interviews sponsored by the J. Paul Getty Trust Copyright © 2020 by J. Paul Getty Trust Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan,
    [Show full text]
  • Judith Bernstein Conversations Conversations
    CONVERSATIONS JUDITH BERNSTEIN CONVERSATIONS CONVERSATIONS Conversations is an ongoing production from Venus Over Manhattan, where artists, writers, critics, academics, and familiars come together to talk about art. Each conversation is published as an audio recording made accessible the gallery’s website, and accompanied by a PDF that features a transcript of the conversation. Listen along at #ConversationsVOM. On April 23rd, 2020, Judith Bernstein and Alison Gingeras spoke with Anna Furney about Bernstein’s career. They discuss her time at Yale in the 1960s, her first solo-exhibition at A.I.R. Gallery, and what it means to be a Feminist artist. Judith Bernstein is an artist living and work in New York City. She joins the conversation from her loft on the Lower East Side, where she’s lived for more than 50 years. Alison Gingeras is a curator and writer. She has held positions at numerous institutions including the Guggenheim Museum, the Musée national d’art moderne, Centre Pompidou and the Palazzo Grassi. She joins the conversation from her home in Brooklyn. Anna Christina Furney is partner at Venus Over Manhattan. She moderated this conversation 2. 3. CONVERSATIONS CONVERSATIONS ACF: Hi everybody. I wanted to introduced Judith accepted canon of a lot of the women artists Bernstein and Alison Gingeras, two very dear that were celebrated, and sort of the mainstream parts of the VOM family. Judith Bernstein is of cornerstones of this period of time. I hesitate course the legendary artist living and working to call it a movement, because Judith is among here in New York City, and Alison is a world- the artists who, in my opinion, is part, and was famous curator and art-historian of all things, and part of this sort of radical fringe that questioned in particular, has had a longstanding relationship from the very beginning what feminist art should with Judith and her work, and a lot of the subject look like, and what it should be about.
    [Show full text]