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The Broad Launches Unprecedented Survey of Groundbreaking Artist Shirin Neshat
Media Contacts Tyler Mahowald | [email protected] Justin Conner | [email protected] Alice Chung | [email protected] THE BROAD LAUNCHES UNPRECEDENTED SURVEY OF GROUNDBREAKING ARTIST SHIRIN NESHAT The Artist’s Largest Survey to Date and First Major Exhibition of Her Work in the Western U.S. Will Be on View October 19, 2019–February 16, 2020 in Los Angeles LOS ANGELES—This fall, The Broad will launch a new survey—the largest held to date—of internationally acclaimed artist Shirin Neshat’s work. The exhibition, Shirin Neshat: I Will Greet the Sun Again, will be on view from October 19, 2019, through February 16, 2020, and is the renowned multidisciplinary artist’s first major exhibition to take place in the western United States. The artist has been in the Broad collection for 20 years, beginning with the 1999 acquisition of Rapture (1999)—the first multiscreen video installation to enter the collection. Originated by The Broad, this exhibition surveys approximately 30 years of Neshat’s dynamic video works and photography, investigating the artist’s passionate engagement with ancient and recent Iranian history, the experience of living in exile and the human impact of political revolution. Taking its title from a poem by Iranian poet Forugh Farrokhzad (1934–67), the exhibition begins with her most famous body of work, Women of Allah (1993–97) and features the global debut of Land of Dreams, a new, multi-faceted project that was completed this past summer in New Mexico, and encompasses two videos and a body of photographs. Arranged chronologically, Shirin Neshat: I Will Greet the Sun Again presents over 230 photographs and eight video installations, including iconic video works such as Rapture, Turbulent (1998) and Passage (2001), journeying from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to work that increasingly uses metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders and rootedness. -
From Surrealism to Now
WHAT WE CALL LOVE FROM SURREALISM TO NOW IMMA, Dublin catalogue under the direction of Christine Macel and Rachael Thomas [Cover] Wolfgang Tillmans, Central Nervous System, 2013, inkjet print on paper mounted on aluminium in artist’s frame, frame: 97 × 82 cm, edition of 3 + 1 AP Andy Warhol, Kiss, 1964, 16mm print, black and white, silent, approx. 54 min at 16 frames per second © 2015 THE ANDY WARHOL MUSEUM, PITTSBURG, PA, COURTESY MAUREEN PALEY, LONDON. © WOLFGANG TILLMANS A MUSEUM OF CARNEGIE INSTITUTE. ALL RIGHTS RESERVED. FILM STILL COURTESY OF THE ANDY WARHOL MUSEUM. PHOTO © CENTRE POMPIDOU, MNAM-CCI, DIST. RMN-GRAND PALAIS / GEORGES MEGUERDITCHIAN CONTENTS E 1 FOREWORD Sarah Glennie 6 WHAT WE CALL LOVE Christine Macel 13 SURREALISM AND L’AMOUR FOU FROM ANDRÉ BRETON TO HENRIK OLESEN / FROM THE 1920s TO NOW 18 ANDRÉ BRETON AND MAD LOVE George Sebbag 39 CONCEPTUAL ART / PERFORMANCE ART FROM YOKO ONO TO ELMGREEN AND DRAGSET / FROM THE 1960s TO NOW 63 NEW COUPLES FROM LOUISE BOURGEOIS TO JIM HODGES / FROM THE 1980s TO NOW 64 AGAINST DESIRE: A MANIFESTO FOR CHARLES BOVARY? Eva Illouz 84 THE NEUROBIOLOGY OF LOVE Semir Zeki 96 LOVE ACTION Rachael Thomas WHAT 100 LIST OF WORKS 104 BIBLIOGRAPHY WE CALL LOVE CHAPTER TITLE F FOREWORD SARAH GLENNIE, DIRECTOR The Irish Museum of Modern Art (IMMA) is pleased to present this publication, which accompanies the large scale group exhibition, What We Call Love: From Surrealism to Now. This exhibition was initially proposed by Christine Macel (Chief Curator, Centre Pompidou), who has thoughtfully curated the exhibition alongside IMMA’s Rachael Thomas (Senior Curator: Head of Exhibitions). -
Being There Art Assignment 9
ART ASSIGNMENT SHIRIN NESHAT I WILL GREET THE SUN AGAIN In conjunction with Shirin Neshat: I Will Greet the Sun Again, the Modern’s education department and Akin White are pleased to present this Art Assignment packet for high school students and educators. This packet is a supplement to the gallery experience and offers background information on the artist and work, as well as ideas to consider while engaging in the art project. Shirin Neshat was born in Qazvin, Iran, a small city two hours from Tehran, in 1957. Shirin Neshat: I Will Greet the Sun Again surveys approximately 30 years of the artist’s video works and photography, investigating her passionate engagement with ancient and recent Iranian history. The experience of living in exile and the human impact of political revolution are also explored by Neshat. The exhibition takes its title from a poem by the Iranian poet Forugh Farrokhzad (1934–1967). I Will Greet the Sun Again begins with Neshat’s most famous body of work, Women of Allah, 1993–97, and also features her early iconic video works such as Rapture, 1999, Turbulent, 1998, and Passage, 2001. Monumental photography installations include The Book of Kings, 2012, The Home of My Eyes, 2015, and Land of Dreams, 2019, a new, ambitious work encompassing a photographic series and video. The exhibition journeys from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to works that increasingly use metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders, and rootedness. -
Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students. -
Shirin Neshat March 20 - June 1, 2003 BORN in QAZVIN, IRAN, in 1957, Shirin Neshat Came to the United States at Age 17 to Study Art
Shirin Neshat March 20 - June 1, 2003 BORN IN QAZVIN, IRAN, IN 1957, Shirin Neshat came to the United States at age 17 to study art. In 1983 she received a master of fine arts degree from the University of California at Berkeley, where she majored in painting. After graduating she decided not to pursue a career as an artist instead devoting most of her time to co-directing The Storefront for Art and Architecture, an alternative space in New York. It was not until Neshat was in her 30s — after the first of several visits she made in 1990 to her native Iran — that she began making photographs and subsequently videos. She found the country transformed by the dramatic cultural, Made in collaboration with teams of cinematographers, crew, social and political changes of the Islamic Revolution. The sense and casts of hundreds, Neshat’s installations combine powerful of displacement and exile she felt inspired her to devote her cinematic images with mesmerizing soundtracks by such work to an exploration of the profound differences between contemporary composers as Sussan Deyhim and Philip Glass. the Western culture to which she had become assimilated and Her videos do not rely on plots, characters, or dialogue to tell the Eastern culture in which she was raised. In explaining why a story. Instead, the artist’s mysterious narratives unfold she felt compelled to begin making art again she states, “I had through a combination of richly imaginative and carefully reached a sort of intellectual maturity that I didn’t have before. choreographed scenes, dramatic settings, emotive music, and I also finally reached a subject that I felt really connected to. -
Between Two Worlds: an Interview with Shirin Neshat
Speechless, 1996. RC print. © 1996 Shirin Neshat. Photo by Larry Barns. Courtesy of Barbara Gladstone Gallery, New York City. Between Two Worlds: An Interview with Shirin Neshat Scott MacDonald A native of Qazvin, Iran, Shirin Neshat finished high school and attended college in the United States and once the Islamic Revolution had transformed Iran, decided to remain in this country. She now lives in New York City, where she is represented by the Barbara Gladstone Gallery. In the mid-1990s, Neshat became known for a series of large photographs, “Women of Allah,” which she designed, directed (not a trained photogra- pher, she hired Larry Barns, Kyong Park, and others to make her images), posed for, and decorated with poetry written in Farsi. The “Women of Allah” photographs provide a sustained rumination on the status and psyche of women in traditional Islamic cultures, using three primary elements: the black veil, modern weapons, and the written texts. In each photograph Neshat appears, dressed in black, sometimes covered completely, facing the camera, holding a weapon, usually a gun. The texts often appear to be part of the photographed imagery. The photographs are both intimate and confrontational. They reflect the repressed status of women in Iran and their power, as women and as Muslims. They depict Neshat herself as a woman caught between the freedom of expression evi- dent in the photographs and the complex demands of her Islamic heritage, in which Iranian women are expected to support and sustain a revolution Feminist Studies 30, no. 3 (Fall 2004). © 2004 by Feminist Studies, Inc. -
Why Video Is the Art Form of the Moment
Jesper JUST Why Video Is the Art Form of the Moment November 2019 1/1 “Why Video Is the Art Form of the Moment” Alina Cohen November 27, 2019 Why Video Is the Art Form of the Moment Alina Cohen Nov 27, 2019 3:37pm Jesper Just, Interpassitivies, at the Royal Danish Theater, 2017. Courtesy of Perrotin. At the 2019 edition of the Venice Biennale, video reigned. Arthur Jafa, who began his career as a cinematographer for commercial directors including Spike Lee and Stanley Kubrick, won the prestigious Golden Lion award for his film The White Album (2018). Meanwhile, one of his frequent collaborators, Kahlil Joseph, who seamlessly crosses between the worlds of music videos and art museums, presented BLKNWS (2019– present), an experimental news media channel aimed at black audiences. Artists including Alex Da Corte, Ian Cheng, Kaari Upson, Ed Atkins, Korakrit Arunanondchai, Stan Douglas , and Hito Steyerl all integrated the medium into dynamic installations. “Video art”—which now encompasses traditional film and digital video as well as a wide range of new media and technology, including virtual reality, video games, and phone apps—represents some of today’s most exciting contemporary work. For further evidence of the medium’s art-world domination, one might examine the artists who were shortlisted for the Turner Prize in 2018 and 2019. All eight—Lawrence Abu “Why Video Is the Art Form of the Moment” Alina Cohen November 27, 2019 Hamdan, Helen Cammock, Oscar Murillo, Tai Shani, Charlotte Prodger, Forensic Architecture, Naeem Mohaiemen, and Luke Willis Thompson—work in video. This video art renaissance derives from an ever-growing range of exhibition methods, improvements in technology, wider institutional acceptance, and artists’ growing ambitions. -
The Mask and the Mirror Curated by Shirin Neshat Leila Heller Gallery November 3 – December 21, 2011
For Immediate Release The Mask and The Mirror curated by Shirin Neshat Leila Heller Gallery November 3 – December 21, 2011 Opening Reception in Chelsea on Thursday, November 3, 6 to 8 p.m. Iké Udé, Sartorial Anarchy: Untitled # 4, 2010. Pigment on satin paper, 40 x 36 in / 101.6 x 91.4 cm Courtesy of the artist New York City – The Mask and The Mirror, an exhibition of self-portraits curated by artist Shirin Neshat, will be on view at Leila Heller Gallery in Chelsea from November 3 through December 21, 2011. The exhibition will take place in the Gallery’s new space at 568 West 25th Street and will present photographs and paintings by 17 artists—some internationally iconic, others emerging and on view for the first time in New York—from the United States, the Middle East, Africa, and Pakistan. An illustrated catalogue will accompany the exhibition. The Mask and The Mirror will include work by Marina Abramović, Matthew Barney, Paolo Canevari, Feridoun Ghaffari, Ramin Haerizadeh, Lyle Ashton Harris, Y.Z. Kami, Shahram Karimi, Robert Mapplethorpe, Youssef Nabil, Nicky Nodjoumi, Bahar Sabzevari, Cindy Sherman, Shahzia Sikander, Iké Udé, Van Leo, and Andy Warhol. Among the highlights of the exhibition are a photograph by Matthew Barney, Drawing Restraint 13: Instrument of Surrender, 2006, with the artist in full military uniform flanked by soldiers, and an untitled color print by Cindy Sherman from 2000 in which she is wearing a yellow wig and outlandish clown makeup. Also included in the exhibition are photographs by Van Leo (1921-2002), whose Hollywood-inspired images of Cairo’s belle époque are considered unrivaled in the Arab world. -
Electronic Arts Intermix New Works 2005 - 2006
Electronic Arts Intermix New Works 2005 - 2006 THE LEADING DISTRIBUTOR OF ARTISTS’ VIDEO Electronic Arts Intermix New Works 2005-2006 New Works 2005-2006 features a remarkable range of video, film, and new media works that have recently been added to the EAI collection. We are pleased to introduce a number of emerging and established artists, including Cory Arcangel, video game and computer hacker extraordinaire; JODI, the pioneering Web art provocateurs, and Lawrence Weiner, one of the most significant figures in Conceptual Art. We are also pleased to launch EAI Projects, a new initiative to present and promote emerging artists working in innovative moving image media, including the international collective Bernadette Corporation; performance artist Shana Moulton; digital artist Takeshi Murata; and multidisciplinary artist Seth Price. Also featured are new video works by emerging and established artists, including Sophie Calle, Seoungho Cho, Tony Cokes, Dan Graham, Mary Lucier, Muntadas, Paper Rad, and Carolee Schneemann, among others, as well as newly preserved early video works by key figures such as Vito Acconci, Ant Farm and Tony Oursler. We are also introducing two new documentaries on the seminal earthworks and land art pieces of Robert Smithson, one of the most influential artists of the 20th century. We are also pleased to present several important series of video and film works. Point of View: An Anthology of the Moving Image features newly commissioned works by eleven major international artists, including Isaac Julien, William Kentridge and Pierre Huyghe; From the Kitchen Archives is a series of rare experimental performance documents from the 1970s and ‘80s; and Workshop of the Film Form is an anthology of early films by pioneers of the Polish moving- image avant-garde. -
DONALD HAYES RUSSELL 5813 NEVADA AVENUE, NW WASHINGTON, DC 20015 202-213-6272 [email protected] [email protected]
DONALD HAYES RUSSELL 5813 NEVADA AVENUE, NW WASHINGTON, DC 20015 202-213-6272 [email protected] [email protected] EXPERIENCE 2014 - present University Curator, George Mason University, Fairfax, VA ● Directs university fine art collection, exhibitions, public art, artist residencies, donor relations, acquisitions, university partnerships ● Established campus mural program bringing professional artists to work with students 2011- present Research Faculty, College of Visual and Performing Arts, School of Art, George Mason University, Fairfax, VA ● Directs Provisions Research Center for Arts and Social Change in the School of Art, enriching creative research and learning across the University ● Leads Honors Seminar focused on research as art and social practice ● Established research residency program bringing US artists to utilize Washington as a platform for research and project development ● Established and edits Provisional Research Journal ● Serves on the School of Art Advisory Council 2000-present Executive Director, Co-Founder, Provisions Learning Project and Research Center for Art and Social Change, Washington, DC and George Mason University, Fairfax, VA ● Leads research, development and documentation of arts and social change through the library’s collection, online resources, residencies, exhibitions, public art and workshops ● Established collections policy for book, audio/visual and periodical collections covering thirty-three social change topics, called Meridians ● Co-founded, with Edgar Endress, Floating Lab Collective -
The Broad Presents Winter 2017 Season of Diverse Public Programming
For Immediate Release Thursday, Jan. 5, 2017 Media Contact Alex Capriotti | 213-232-6236 | [email protected] THE BROAD PRESENTS WINTER 2017 SEASON OF DIVERSE PUBLIC PROGRAMMING Lineup includes Un-Private Collection conversations featuring Thomas Houseago with Flea, Tony Oursler and Tyler Hubby with Henry Rollins; lecture with artist Ellen Gallagher; performances by Trisha Brown Dance Company and L.A. rap/noise trio clipping.; and film programs to animate the Broad collection of contemporary art Clockwise from top left: Thomas Houseago, photo by Ari Marcopoulos; still from Cooley High, 1975; Ellen Gallagher, photo by © Philippe Vogelenzang / Trunk Archive, courtesy of Gagosian Gallery; Trisha Brown Dance Company, photo by Kat Schleicher; Flea, photo by Clara Balzary; Tony Oursler, photo by Magasin III; clipping., photo by Brian Tamborello; Kim Gordon, photo by David Black. LOS ANGELES—The Broad announced today its winter season of public programming, which will include multiple artist conversations, dance and music performances and film screenings. The winter 2017 public program lineup includes three Un-Private Collection talks, the popular artist conversation series that began in 2013 before The Broad opened. On Jan. 26, Los Angeles artist Thomas Houseago, whose 15-foot tall Giant (Cyclops) sculpture is currently on view in The Broad’s Creature installation, will be in conversation with rock bassist Flea at The Theatre at Ace Hotel. The talk is sponsored by U.S. Trust, Bank of America Private Wealth Management. On March 16 also at The Theatre at Ace Hotel, The Broad will present an evening of film, conversation and music, featuring the West Coast premiere of Tony Conrad: Completely in the Present, followed by a conversation with the documentary’s filmmaker Tyler Hubby and Broad collection artist Tony Oursler, moderated by musician Henry Rollins, about Conrad’s influence on artists including those in the Broad collection. -
Sophie Calle's Prenez Soin De Vous
Studies in 20th & 21st Century Literature Volume 38 Issue 2 Self and Stuff: Accumulation in Article 3 Francophone Literature and Art 2014 Accumulation and Archives: Sophie Calle’s Prenez soin de vous Natalie Edwards The University of Adelaide, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, French and Francophone Literature Commons, and the Interdisciplinary Arts and Media Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Edwards, Natalie (2014) "Accumulation and Archives: Sophie Calle’s Prenez soin de vous," Studies in 20th & 21st Century Literature: Vol. 38: Iss. 2, Article 3. https://doi.org/10.4148/2334-4415.1016 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Accumulation and Archives: Sophie Calle’s Prenez soin de vous Abstract French project artist Sophie Calle has become well-known for her iconoclastic performance art that blends visual and textual elements. Beginning with Les Dormeurs in 1979, in which she invited 24 strangers to sleep in her empty bed and photographed them hourly, through her project of following people around Paris and photographing them like a private detective in Suite vénitienne, Calle has blurred the boundaries between private and public, between photographer and photographed, and between viewer and participant. In this article, I focus on her recent exhibition, Prenez soin de vous.