DOCSLIB.ORG

Download Press Release (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Press Release (PDF) Art Basel Hong Kong Viewing Room VIP Opening: March 18, 2020 Public Opening: March 20, 2020 Closing Date: March 25, 2020 Representing four decades of figuration, P·P·O·W is pleased to showcase works by Elizabeth Glaessner, Sanam Khatibi, Judith Linhares, Betty Tompkins, David Wojnarowicz, and Martin Wong. Taken together, these works represent a range of styles and subject maters, each exemplifying the gallery's longstanding commitment to championing artistic practices that explore issues of gender, sexuality, race and social inequality. Flowing from figuration to abstraction, Elizabeth Glaessner (b. 1984) takes elements from traditional history painting and re-contextualizes them within a strange and sensual setting. Exploring memory, personal history, and ritual, Glaessner’s work questions the ways we relate to and re-imagine our past. Glaessner received her MFA from the New York Academy of Art where she received a post- graduate fellowship in 2013. Her work has been exhibited at P·P·O·W, Louis B. James, Sargent’s Daughters, New Release, BRIC, BAM, 1969 and more. Her work has been featured and reviewed in Art in America, Interview Magazine, Art of Choice, ARTnews and Modern Painters, among others. She was awarded residencies at the Leipzig International Art Programme, Glogau AIR in Berlin and the Galveston Artist Residency, where she is living and working for one year. Sanam Khatibi (b. 1979) works in painting, tapestry, and sculpture, citing a range of art historical references. Her works frequently depict dreamily mythological female protagonists in fantastical landscapes, exposing primal impulses and innate animality. Images of brutality, obedience, and seduction make us consider the dichotomy of triumph and failure, and the thin line between fear and desire, to reveal our contradicting traits and tendencies. Khatibi was born in Tehran, Iran and lives and works in Brussels, Belgium. She is self-taught and has been featured in exhibitions around the world, including group exhibitions in Paris, Florence, Los Angeles, Mexico City, New York, Marseille, Vienna, and Warsaw, among others. Recent institutional shows include Mademoiselle at the Regional Centre of Contemporary Art of Occitan (France), Quel Amour!? at the Museum of Contemporary Art of Marseille (France), and The Biennial of Painting at the Museum of Deinze (Belgium). Her work has been featured in solo exhibitions at BPS22 in Belgium, as well as Rodolphe Janssen in Brussels and P·P·O·W in New York. Rooted in the California Bay Area counterculture of the 60s and 70s, Judith Linhares (b. 1940) composes folkloric, figurative paintings from confident, abstract brushwork, utilizing broad strokes and brilliant fields of color to gradually develop her subjects. Harnessing both portentous and quotidian symbols, her uniquely irradiant paintings celebrating the female body and communal experience. Lady Lazarus, 2020, shows a totemic, chartreuse women squatting atop a broadly smiling donkey. Taking its title from a poem by Sylvia Plath, this work allegorizes a fearsome cycle of extinction and resurrection. Linhares earned her BFA and MFA degrees from California College of Arts and Crafts in Oakland, CA. She was included in the influential Bad Painting exhibition at the New Museum, organized by Marcia Tucker. Her work is held in many permanent collections, including the de Young Museum, San Francisco, CA; the Pennsylvania Academy of Fine Art, Philadelphia, PA; the San Francisco Museum of Modern Art, CA; the Smithsonian American Art Museum, Washington, D.C.; and the Whitney Museum of American Art, New York, NY. Her work is currently on view at the Boston Museum of Fine Arts in Contemporary Art: Five Propositions; the Pennsylvania Academy of the Fine Arts in Sea Change: Highlights from PAFA’s Collection of 20th- century Art, and Jeffrey Deitch Los Angeles in All of Them Witches, organized by Dan Nadel and Laurie Simmons. In a career spanning five decades, Betty Tompkins (b.1945) has been celebrated and scorned for her provocative feminist iconography. By appropriating imagery created for male self-pleasure, Tompkins has reframed long-held taboos by challenging critical discourses around content, style and scale. Censored Painting #2 (Paris 1973 - Instagram 2019), 2019 chronicles her decades-long battle with institutional censorship. In 1973, two significant paintings from her Fuck Paintings series were seized by French customs and, in April 2019, Tompkins’ Instagram account was deleted after she posted an image of a catalog reproduction of Fuck Painting #1, 1969, which is now in the permanent collection of the Centre Pompidou. In a 2017 New York Times article, Rachel Corbett wrote, “Part of what makes Tompkins’ work so enduringly potent today, and what made it too shocking for its time, is not just its frank sexuality: It’s that the art […] seethes with lust, ego, wisecracks and profanity. [She] demanded attention the way men did — through shock and awe.” Tompkins will have a concurrent solo presentation of her visually cacophonous Women Words series curated by Darren Flook at Freehouse Gallery in London. Her recent solo exhibitions include Fuck Paintings, etc., J Hammond Projects, London, U.K. (2019); Will She Ever Shut Up?, P•P•O•W (2018); and Betty Tompkins, Ribordy Contemporary, Geneva, Switzerland (2018). Her work has been featured in numerous group exhibitions, including Half the Picture: A Feminist Look at the Collection, The Brooklyn Museum, Brooklyn, NY (2018); Histórias da sexualidade, Museu de Arte de São Paulo (MASP), São Paolo, Brazil (2018); Black Sheep Feminism: The Art of Sexual Politics, Dallas Contemporary, Dallas, Texas (2016) and Elles, Centre Pompidou, Paris (2011), among others. Martin Wong (1946-1999) is best known for deploying a unique visual lexicon of stacked bricks, crumbling tenements, constellations and hand signals to passionately render urban life. With Picture Show at Semaphore Gallery in 1986, Wong confronted the gentrification of New York City’s Lower East Side in a series of life-size paintings that depict gated facades. In his artist statement, Wong wrote, “I wanted to focus in close on some of the endless layers of conflict and confinement that have us all bound together in this life without possibility of parole.” P·P·O·W will present one work from the series, Poetry Storefront, 1986, which documents the Nuyorican Poets’ Café on East 6th Street, founded by Miguel Algarían and Mickey Piñero. This seminal work will be exhibited alongside an untitled, undated work that exemplifies Wong’s use of stacked bricks and sign language as both metaphor and motif. Rigorously painted on a heart-shaped canvas, this brick wall bears a blue ASL plaque that reads “For Sale”. Wong was active in the performance art groups, The Cockettes and Angels of Light before moving to New York in 1978. He exhibited for two decades at notable downtown galleries including EXIT ART, Semaphore and P·P·O·W, among others. Wong died in San Francisco from an AIDS related illness. His work is represented in the collections of The Metropolitan Museum of Art, The Museum of Modern Art, The Bronx Museum of The Arts, and The Whitney Museum of American Art, New York; The Cleveland Museum of Art, The Art Institute of Chicago; and the San Francisco Museum of Modern Art, among others. In 1998, Wong had a one person at the New Museum, New York. Human Instamatic, a comprehensive retrospective, opened at the Bronx Museum of The Arts, New York, in 2015; Wexner Center in Columbus, Ohio in 2016; and UC Berkeley Art Museum in 2017. David Wojnarowicz (1954-1992) was among the most incisive and prolific American artists of the 1980s and 90s. Channeling a vast accumulation of raw images, sounds, memories and lived experiences, Wojnarowicz became well known for his spray-painted iconographies, blunt semiotics and graphic illustrations that deftly conveyed his cultural critiques. Wojnarowicz’s work has been exhibited at The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; The American Center, Paris, France; The Busan Museum of Modern Art, Korea; Centro Galego de Art Contemporanea, Santiago de Compostela, Spain; The Barbican Art Gallery, London; and the Museum Ludwig, Cologne. His work is in permanent collections of major museums nationally and internationally and his life and work have been the subject of significant scholarly studies. Wojnarowicz has had retrospectives at the galleries of the Illinois State University, curated by Barry Blinderman (1990) and at the New Museum, curated by Dan Cameron (1999). A third retrospective, David Wojnarowicz: History Keeps Me Awake at Night, co-curated by David Kiehl and David Breslin, opened at the Whitney Museum of American Art in July 2018. The widely acclaimed exhibition has been reviewed in Artforum, The Guardian, The New York Times and The New Yorker, among others. The retrospective, which traveled to the Museo Reina Sofia, Madrid in May 2019, is currently on view at the Musee d/Art Moderne Grand-Duc Jean, Luxembourg City through February 2020. .
Load more

Recommended publications
  • PIER 34 Something Possible Everywhere Something Possible
    NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street.
    [Show full text]
  • Judith Bernstein Selected Press Pa Ul Kasmin Gallery
    JUDITH BERNSTEIN SELECTED PRESS PA UL KASMIN GALLERY Judith Bernstein Shines a Blacklight on Trump’s Crimes We cannot ignore the fact that Americans voted for Trump. Jillian McManemin Feburary 16, 2018 Judith Bernstein, “President” (2017), acrylic and oil on canvas, 90 x 89 1/2 inches (all images courtesy the artist and Paul Kasmin Gallery) People pay to watch a real fuck. In the heyday of Times Square porn the “money shot” was developed to prove that the sex-on-film was real and not simulated. The proof? Cum. The (male) ejaculation onto the body of his co-star. In her debut solo show at Paul Kasmin Gallery, Judith Bernstein unveils Money Shot, a series of large- scale paintings starring the Trump administration, its horrific present and terrifying potential future. The gallery is outfitted with blacklight, which alters the paintings even during daytime hours. The works glow orange, green, violet, and acid yellow against pitch black. The unstable colors signal that nothing will ever look or be the same as it was before. But, this isn’t the dark of night. This place is tinged with psychedelia. The distortions border on 293 & 297 TENTH AVENUE 515 WEST 27TH STREET TELEPHONE 212 563 4474 NEW YORK, NY 10001 PAULKASMINGALLERY.COM PA UL KASMIN GALLERY nauseating. The room spins as we stand still. We oscillate between terror and gut-busting laughter, as we witness what we once deemed unimaginable. Judith Bernstein, “Money Shot – Blue Balls” (2017), acrylic and oil on canvas, 104 x 90 1/2 inches Our eyes adjust at different speeds to the dark.
    [Show full text]
  • Deborah Kass & Betty Tompkins
    “FRONTRUNNER Presents: Deborah Kass & Betty Tompkins,” by Shana Beth Mason for Frontrunner, January 29, 2021. FRONTRUNNER Presents: Deborah Kass & Betty Tompkins At one point or another within the last ten years, I’ve laughed, cried, gossiped and shared meals with Betty Tompkins (alongside her husband, Bill Mutter) and Deborah Kass (alongside her wife, Patricia Cronin). So it’s fair to say that both of these women mean a great deal to me. They are not only world-renowned artists who have been cruelly under-represented and under-appreciated for most of their creative lives, but they are true mentors in every sense. Their experiences and their wisdom are windows into an art world long gone – for many reasons, rightly so – and have deeply permeated their respective visual vocabularies. Deborah Kass (b. 1952, San Antonio, TX) received her BFA in Painting at Carnegie Mellon University and attended the Whitney Museum Independent Study Program. Her works are in the permanent collections of MoMA, The Whitney Museum, The National Portrait Gallery (Washington, D.C.), The Smithsonian Institution, and The Jewish Museum (New York). She has presented work at the Venice Biennale, the Istanbul Biennale, and in 2012 was the subject of a mid-career retrospective at the Andy Warhol Museum in Pittsburgh. She is currently a Senior Critic at the Yale University MFA Painting Program. Kass is represented by Gavlak Gallery (Los Angeles/Palm Beach) and Kavi Gupta (Chicago). Betty Tompkins (b. 1945, Washington, D.C.) received her BFA from Syracuse University, then taught at Central Washington State College (Ellensburg), where she received her graduate degree.
    [Show full text]
  • Betty Tompkins
    The Drawers - Headbones Gallery Contemporary Drawing, Sculpture and Works on Paper Revivified April 3 - April 29, 2008 Betty Tompkins Commentary by Julie Oakes Artist Catalog, Betty Tompkins Copyright © 2008, Headbones Gallery This catalog was created for the exhibition titled “Revivified” at Headbones Gallery, The Drawers, Toronto, Canada, April 3 - April 29, 2008 Commentary by Julie Oakes Copyright © 2008, Julie Oakes Artwork Copyright © 1995 -1999, Betty Tompkins Rich Fog Micro Publishing, printed in Toronto, 2008 Layout and Design, Richard Fogarty Courtesy Mitchell Algus Gallery, New York Printed on the Ricoh SPC 811DN All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 copyright act or in writing from Headbones Gallery. Requests for permission to use these images should be addressed in writing to Betty Tompkins, c/o Headbones Gallery. www.headbonesgallery.com RICH FOG Micro Publishing Toronto Canada Betty Tompkins Revivified Did the frolic come first or the spring in which to frolic? In Tompkins' impressionist paintings on photographic images, women from the 30's and 40's saucily act out in a frothy, leafy, grassy, effulgent playground, like nymphs in a naturalist boudoir. In contrasting colors, where the red next to green or fuchsia beside puce is as vibrant as a gift wrapped with the freshness of nature; Betty Tompkins' pin-ups from the past cavort in the outdoors. Like a flurry of covert caresses between viridian landscapes and scantily clad figures, tantalizing fleshy hues are discretely muted by the photographic gradations from white to black as they lay in the arms of pastel bushiness.
    [Show full text]
  • Cunt, Slut, Bitch, Mother Betty Tompkins, Interviewed By
    Cunt, slut, bitch, mother was 2% that she thought was really misogynist and caricatured both men and women. [Heigl Betty Tompkins, interviewed by Elliat Albrecht was quoted as saying the that film “paints the women as shrews, as humourless and uptight, and it paints the men as lovable, goofy, fun-loving guys”.] Rogen and Apatow really pushed It was late afternoon in early June 2018—as the sun split through the trees onto the back at the statement, and her career really went south afterwards because of it. Later, Rogen brownstones and street hawkers outside—that Betty Tompkins welcomed Wil and I into her was very casual about having destroyed her career. There we have it, straight from the horse’s Soho studio. Having just returned to New York from her house in Pennsylvania, Tompkins mouth: casual misogyny. shuffled around canvases and books piled high on the hardwood floors as she led us to a congregation of mismatched chairs. It’s interesting to see how blatant the caricaturisation of women is in film and television from even ten years ago. Sex and the City , for example, feels rather un-feminist and non- Born in Washington D.C. in 1945, Tompkins is best known for her Fuck Paintings : intersectional where it once was deemed progressive. One can chart progress of our times monochrome, photorealist images of closely-cropped sexual acts and genitalia which she through the portrayal of women in the media landscape. began in the late 1960s. Pornography is an inexhaustible treasure trove of reference material for those who desire to render the body, and Tompkins, following her graduation from Yes, it has actually really changed how we can see them.
    [Show full text]
  • Betty Tompkins 18.01 > 17.03.2018
    [email protected] — WWW.RODOLPHEJANSSEN.COM Betty Tompkins 18.01 > 17.03.2018 Rodolphe Janssen is pleased to announce Betty Tompkin’s forth solo project with the gallery from Jan- uary 18th to March 17th 2018. Betty tompkins began painting large scale, photorealistic airbrush paintings of penetrations and mastur- bations in 1969. Beside the feminist content of her work, her intention from the start was to have two distinct elements which would allow the abstract and the sexual content to coexists equally in the work. She achieved this by cropping the images in such a way that only the explicit sexual parts remain, without heads or other body parts. After some group shows in the early 1970’s, her work remained widely overlooked by the critics and art market due to its subject matter. In 1973, two of her works were held and confiscated by French customs for censorship reasons. In 2003, Tompkins was invited by the New York curator Bob Nickas to take part in the 7th Biennale de Lyon which brought extraordinary attention to her work. After that, the Centre Georges Pompidou ac- quired Fuck Painting #1 (one of the two paintings that had been censored in 1973) for its permanent collection. Since the late 1960’s, Betty Tompkins has been painting her Fuck, Cunt or Kiss Paintings, studying dif- ferent mediums going from airbrush to stamps, graphite powder or fingerprints. She imposes a distance with her explicit subjects, or as she says : « I see something intimate made monumental - we see a visual we don’t usually see in a medium we don’t expect.
    [Show full text]
  • To #Sendnudes: Social Media and Censorship of Art
    AiA news-service OPINION From “The Origin of the World” to #SendNudes: Social Media and Censorship of Art Date: July 19, 2019Author: centerforartlaw0 Comments By Hannah Tager. WARNING: this article contains explicit content. In April of 2019, Instagram deactivated the account of American feminist art pioneer Betty Tompkins. The social media platform barred Tompkins from creating a new one after the artist posted a photograph of her painting Fuck Painting #1 (1969), an artwork owned by the Centre Pompidou in Paris. Only after a formal report by Tompkins and a barrage of complaints from her followers did Instagram reinstate the artist’s original account, providing no further information regarding its earlier deactivation. Tompkins’s 2019 experience is not unique. Both emerging and established artists are reporting more and more cases of censorship by social media platforms like Facebook and Instagram, which was acquired by Facebook, Inc. in 2012. The quantity of these take downs is hard to ascertain, but members of the museum, artist, and academic communities have been repeatedly censored by the sites. Online platforms develop and enforce terms of service and algorithms to deter the circulation of pornography, inadvertently catching artists and their works in the cross-fire, and raising legal and artistic concerns regarding the effectiveness and legality of such terms. In the most drastic of cases, Facebook censored a photograph of the “Venus of Willendorf,” a 30,000 year old limestone figurine, in 2017. In another instance, a French teacher sued Facebook in 2018 for deactivating his account after he posted a photograph of Gustave Courbet’s painting “L’Origine du Monde” (1866).
    [Show full text]
  • An Exhibition of Recent Work by Robert Colescott
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1989 An Exhibition of Recent Work by Robert Colescott Susanne K. Arnold Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4343 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE AN EXHIBITION OF RECENT WORK BY ROBERT COLESCOTT by SUSANNE KILGORE ARNOLD Graduate Corrvnittee AN EXHIBITION OF RECENT WORK BY ROBERT COLESCOTr by SUSANNE KILGORE ARNOLD B.F.A .. Richmond Professional Institute. 1963 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND. VIRGINIA MAY. 1989 TABLE OF CONTENTS Page List of Catalogue Illustrations . .. .. .. .. i List of Exhibition Photographs . .. .. .. .. .. .. ii Introduction 1 Chapter I. PROJECT SUMMARY ............................ 4 II. PRELIMINARY ORGANIZATION AND RESEARCH ...... 7 III. CATALOGUE ESSAY: "IBE EYE OF IBE BEHOLDER" 17 IV. EXHIBITION DESIGN AND INSTALLATION ........ 39 v. REGISTRATION PROCEDURES .................... 42 VI. CATALOGUE PREPARATIONS .................... 43 VII. PROMOTION AND PUBLICITY ................... 48 VIII. BUDGET .................................... 51 IX. EXHIBITION OPENING EVENTS .................. 54 X. CONCLUSION 57 Selected Bibliography ................................ 59 Appendix 65 Appendix Contents .................................... 66 i LIST OF CATALOGUE ILLUSTRATIONS Figure Catalogue Page 1. Pygmalion. 1987 .............................. Cover 2. The Three Graces: Art, Sex and Death. 1981 .. 3 3.
    [Show full text]
  • Betty Tompkins
    [email protected] — WWW.RODOLPHEJANSSEN.COM 1/6 Betty Tompkins Biography Born 1945 in Washington D.C. USA Lives and works in New York and Mt. Pleasant, PA USA Selected solo and two-person exhibitions 2020 - Betty Tompkins et Marilyn Minter, MO.CO., Montpellier, France 2019 - TALKING TALKING TALKING, Freehouse, London, UK - GIRL ON GIRL, Helmuts Art Club, Vienna, Austria - FUCK PAINTINGS, ETC , J Hammond Projects, London, UK 2018 - Will She Ever Shut Up?, P·P·O·W, New York, NY USA - Betty Tompkins : Women Words, WAAP, Wil Aballe Art Projects, Vancouver, Canada - rodolphe janssen, Brussels, Belgium - Betty Tompkins & Jean-Baptiste Bernadet, Ribordy Contemporary, Geneva, Switzerland 2017 - Betty Tompkins, Kunstraum Innsbruck, Innsbruck, Austria - The project room at Marlborough Gallery, New York, NY USA - Virgins, P·P·O·W, New York, NY USA - Jean Baptiste Bernadet & Betty Tompkins, Hasley Mckay Gallery, East Hampton, NY USA - Sex Works / WOMEN Words: Words, Phrases and Stories, Gavlak Gallery, Palm Beach, FL USA 2016 - Sex Works / WOMEN Words: Words, Phrases and Stories, Gavlak Gallery, Los Angeles, CA USA - WOMEN Words Phrases and Stories, FLAG Art Foundation, New York, NY USA 2015 - Real Ersatz, BHQFU, New York, NY USA [email protected] — WWW.RODOLPHEJANSSEN.COM 2/6 2014 - Art Basel Feature, Galerie Rodolphe Janssen, Basel, Switzerland - Paintings & Works On Paper 1972-2013, Sarah Gavlak Gallery, Palm Beach, FL USA 2013 - Woman Words, Dinter Fine Art, project room #63, New York, NY USA - Home alone 2, Betty Tompkins and Dadamaino,
    [Show full text]
  • BETTY TOMPKINS WOMEN Words, Phrases, and Stories 1,000 Paintings
    PRESS CONTACT: Maureen Sullivan Red Art Projects, 917.846.4477 [email protected] BETTY TOMPKINS WOMEN Words, Phrases, and Stories 1,000 Paintings Exhibition Dates: January 20 – May 14, 2016 Opening Reception: Wednesday, January 20, 6-8PM The FLAG Art Foundation, 545 West 25th Street, NY NEW YORK, NY – The FLAG Art Foundation presents Betty Tompkins: WOMEN Words, Phrases, and Stories from January 20 – May 14, 2016, on FLAG’s 10th floor gallery. The exhibition marks the first comprehensive presentation of 1,000 intimately-scaled, hand-painted works, each of which features a word or words used to describe women. Ranging from flirtatious to derogatory – with the four most used words being Mother, Slut, Bitch, Cunt – WOMEN Words emanates from Tompkins’s career-long commitment to challenge the representation of female identity, the politics of pleasure, and the role of sexuality in contemporary culture. In 2000 and 2013, Tompkins circulated the following email: “I am considering doing another series of pieces using images of women comprised of words. I would appreciate your help in developing the vocabulary. Please send me a list of words that describe women. They can be affectionate (honey), pejorative (bitch), slang, descriptive, etc. The words don't have to be in English but I need as accurate a translation as possible. Many, many thanks, Betty Tompkins.” The response was overwhelming, with over 3,500 words and phrases in seven languages submitted, equally split between men and women. In 2012, Tompkins was invited to create a performance in Vienna where 500 of the words and phrases were read aloud.
    [Show full text]
  • Betty Tompkins
    [email protected] — WWW.RODOLPHEJANSSEN.COM 1/7 Betty Tompkins Biography Born 1945 in Washington D.C. USA Lives and works in New York and Mt. Pleasant, PA USA Selected solo and two-person exhibitions 2021 - Women Words, rodolphe janssen, Brussels, Belgium (forthcoming) - Betty Tompkins. Raw Mayerial, MO.CO., Montpellier, France 2019 - TALKING TALKING TALKING, Freehouse, London, UK - GIRL ON GIRL, Helmuts Art Club, Vienna, Austria - FUCK PAINTINGS, ETC , J Hammond Projects, London, UK 2018 - Will She Ever Shut Up?, P·P·O·W, New York, NY USA - Betty Tompkins : Women Words, WAAP, Wil Aballe Art Projects, Vancouver, Canada - rodolphe janssen, Brussels, Belgium - Betty Tompkins & Jean-Baptiste Bernadet, Ribordy Contemporary, Geneva, Switzerland 2017 - Betty Tompkins, Kunstraum Innsbruck, Innsbruck, Austria - The project room at Marlborough Gallery, New York, NY USA - Virgins, P·P·O·W, New York, NY USA - Jean Baptiste Bernadet & Betty Tompkins, Hasley Mckay Gallery, East Hampton, NY USA - Sex Works / WOMEN Words: Words, Phrases and Stories, Gavlak Gallery, Palm Beach, FL USA 2016 - Sex Works / WOMEN Words: Words, Phrases and Stories, Gavlak Gallery, Los Angeles, CA USA - WOMEN Words Phrases and Stories, FLAG Art Foundation, New York, NY USA 2015 - Real Ersatz, BHQFU, New York, NY USA [email protected] — WWW.RODOLPHEJANSSEN.COM 2/7 2014 - Art Basel Feature, Galerie Rodolphe Janssen, Basel, Switzerland - Paintings & Works On Paper 1972-2013, Sarah Gavlak Gallery, Palm Beach, FL USA 2013 - Woman Words, Dinter Fine Art, project room
    [Show full text]
  • Professional Experience Academic Experience
    Renée Vara 141 Wooster Street, Suite 4D New York, NY 10012 P: 917-921-1708 [email protected] Professional Experience Vara Global Fine Arts, LLC, New York 2003-Present Founder & CEO • Founder and lead expert of private advisory, curatorial, and collection management firm providing advice to foundations and private/corporate collectors as a full-service alternative to dealers and consultants. • Act as a lead expert to provide holistic and long-term advice for collections requiring historical expertise and care with art market objectivity in collecting postwar and contemporary art. • Provide full service collection management including acquisitions, deaccession, tracking, cataloging, appraising, insuring, risk management, vetting of outside purchases, scholarly research, conservation, collection documentation and installation for new and existing collections specializing in postwar, contemporary and emerging art. • Act as Court Expert in contemporary art legal cases including: issues of attribution, valuation and VARA (Visual Artists Rights Act). • Act as an agent to collectors: negotiate purchases and sales of art and design, including the proper valuation, review of contract terms, auction estimates, catalogue profile, marketing strategy and fee structure. • Advise and review all museum loan requests, forms and transport specifications including proper insurance coverage. • Advise emerging & established artists estates: valuation, outreach, authenticity, conservation, scholarship & archiving standards Academic Experience New York University,
    [Show full text]