DOCSLIB.ORG

Creative Capital Awardees 2000–2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creative Capital Awardees 2000–2015 CREATIVE CAPITAL AWARDEES Craig Baldwin | Amy Belk and Matt Porterfield | Roddy Bogawa PERFORMING ARTS | Kyle Abraham | luciana achugar | Johnson, Olga Koumoundorous, Rodney McMillian and Matthew 2000–2015 | Steven Bognar | Bill Brown | Ellen Bruno | Brad Butler | Byron Au Yong and Aaron Jafferis | Homer Avila | Marc Sloly | Xenobia Bailey | Conrad Bakker | James Bidgood | Robert Bahar and Almudena Carracedo | Lucien Castaing-Taylor Bamuthi Joseph | Mason Bates and Anne Patterson | Sujata Sanford Biggers | Erika Blumenfeld | Susie Brandt | A.K. and Véréna Paravel | Anita Chang | Erica Cho | Portia Cobb | Bhatt | Lisa Bielawa and Susan Narucki | Jesse Bonnell | Burns | Chris Burnett and Michael Rees | Juli Carson and EMERGING FIELDS | Cory Arcangel | Betty Beaumont | Cindy Adam Cohen | Jem Cohen | Martha Colburn | Erin Cosgrove Djola Branner | Ronald Brown | Tony Brown and Kari Margolis Bruce Yonemoto | Heather Cassils | Carolina Caycedo | Gaye Bernard and Joseph Hammer | Natalie Bookchin | Sawad | Sam Cullman and Marshall Curry | Cherien Dabis | Bill Daniel | Taylor Ho Bynum | Wally Cardona | Nick Cave | Nora Chan | Patty Chang | Bruce Chao | Mel Chin | Susanne Brooks | Luca Buvoli | Laura Carton | Josely Carvalho | | Carl Deal and Tia Lessin | Ricardo Dominguez | Todd Downing Chipaumire | Jace Clayton | Grisha Coleman | Jane Comfort Cockrell and Ted Purves | Liz Cohen | Tony Cokes and Marc Center for Land Use Interpretation | Juan William Chávez | | Sandi DuBowski | James Duesing | Paula Durette | Eric Dyer | Complex Movements | Steve Cuiffo, Trey Lyford and Geoffrey Pierson | Mike Crane | SuttonBeresCuller | Nancy Davidson Julia Christensen | Maya Churi | Patrick Clancy | Brody | Daniel Eisenberg | Edgar Endress and Lori Lee | Rodney Sobelle | Fred Curchack | Lisa D’Amour and Katie Pearl | | Danielle Dean | Elena Del Rivero | Abigail DeVille | Peggy Condon | Cesar Cornejo | Alison Cornyn and Sue Johnson | Evans | Kevin Jerome Everson | Jeanne Finley and John Muse Corey Dargel | Degenerate Art Ensemble | DD Dorvillier | Diggs | Chris Doyle | Dyke Action Machine (DAM!) | Sam James Coupe | Critical Art Ensemble | Beatriz da Costa | | Yance Ford | James Fotopoulos | Jennifer Fox | Brian Frye | Faye Driscoll | Michelle Ellsworth | Brian Freeman | Janie Easterson | Kianga Ford | LaToya Ruby Frazier | Maria Design 99 | Hasan Elahi | eteam | Fallen Fruit | Futurefarmers Sergio De La Torre and Vicky Funari | Joe Gibbons | Jacqueline Geiser | Queen GodIs | Joe Goode | Chris Green | Miguel Gaspar | Theaster Gates | Matthew Geller | Mariam Ghani | | Ghana ThinkTank | Leah Gilliam | Nick Hallett and Shana Goss | Brent Green | Sam Green | Vanalyne Green | Sonali Gutierrez | Joanna Haigood | Carl Hancock Rux | David Jeffrey Gibson | Ken Gonzales-Day | Maria Elena Gonzalez | Moulton | Tana Hargest | Tale of Tales | Kelly Heaton | Gulati | Barbara Hammer | Christopher Harris | Lynn Hershman Hancock | Trajal Harrell | Rennie Harris | Headlong Dance Eric Gottesman | Joseph Grigely | Annie Han and Daniel Catherine Herdlick | Shih Chieh Huang | Jessica Irish | Leeson | Cristina Ibarra | Kenneth Jacobs | Jon Jolles | Theater | Shelley Hirsch | Danny Hoch | Dan Hurlin | Vijay Mihalyo | Pablo Helguera | Taraneh Hemami | Tahir Hemphill Natalie Jeremijenko | Lisa Jevbratt | Harrell Fletcher and Lauren Kelley | Maryam Keshavarz | Braden King | Lewis Iyer and Mike Ladd | Jon Jang | John Jasperse | Joan | Wayne Hodge | Fred Holland | Martha Jackson Jarvis | Miranda July | Kenjji and Kito Jumanne-Marshall | Eduardo Klahr | Klip Collective | Andy Kropa | Penny Lane | Brad Jeanrenaud and Alessandro Moruzzi | Emily Johnson | Daniel Wendy Jacob | Jennie C. Jones | Titus Kaphar | Shannon Kac | Brian Knep | Heidi Kumao | Suzanne Lacy | Jae Rhim Lichtenstein and Vernon Reid | Lily & Honglei | Billy Luther | Alexander Jones | Robert Karimi | Gulgun Kayim | Zoë Kennedy | Jon Kessler | Max King Cap | Hirokazu Kosaka | Lee | George Legrady | Golan Levin | Sharon Lockhart | Shola Lynch | James Lyons | Jake Mahaffy | Jeff Malmberg Keating and Jeffrey Rusch | Lisa Kron | Heidi Latsky | John Caroline Lathan-Stiefel | Deborah Lawrence | Simone Leigh | Jane Marsching | Jennifer and Kevin McCoy | Ali Momeni | and Chris Shellen | Tara Mateik | Mayer\Leyva | Rachel Leaños | Ledoh | Dohee Lee | Young Jean Lee | Ralph Zoe Leonard | Phillip Andrew Lewis | Zhi Lin | Kalup Linzy | MTAA + RSG | Prema Murthy | Mark Napier | Angel Nevarez Mayeri | Cat Mazza | Leslie McCleave | Nina Menkes | Jon Lemon | Locust | Los Angeles Poverty Department | James Catherine Lord | Jeannette Louie | Mary Lucier | Narcissister and Valerie Tevere | Sheryl Oring | Richard Pell | Sabrina Moritsugu | Bill Morrison | Chris Munch | Spencer Nakasako Luna | Taylor Mac | David Isaacson and Mickle Maher | | Beverly McIver | Kay Miller | Naeem Mohaiemen | Franco Raaf | Roya Rastegar | REDUX | Laurie Jo Reynolds | Susan | Lotfy Nathan | Diane Nerwen | Zach Niles and Banker White Barak Marshall, Margalit Oved Marshall and Tamir Muskat | Mondini-Ruiz | Matthew Moore | Eric Leshinsky and Zach Robb | Chemi Rosado-Seijo | Stephanie Rothenberg | Steve | Pat O’Neill | Carlo Ontal | Akosua Adoma Owusu | Lorelei Bob Massey and David W. Wilson | Miwa Matreyek | Richard Moser | Carlos Motta | My Barbarian | Brittany Nelson | Rowell | Gregory Sale | Marie Sester | Mark Shepard | John Pepi | Brian Pera | Shawn Peters | Leighton Pierce | Suzan Maxwell | Neal Medlyn | Sarah Michelson | Bebe Miller | Mark Newport | Lorraine O’Grady | Ruben Ochoa | Jeanine Simon, Jr. | SIMPARCH | Miriam Simun | Karolina Sobecka Pitt | Laura Poitras | Anayansi Prado | Rick Prelinger | Joanna Mondo Bizarro | Meredith Monk | Jennifer Monson | Tracie Oleson | Karyn Olivier | Jyung Mee Park | William Pope.L | | Eddo Stern | subRosa | Amelia Kirby, Donna Porterfield and Priestley | Michael Rakowitz | Jennifer Reeder | Patrick Jolley Morris | Richard Move | David Neumann and Richard Sylvarnes Gala Porras-Kim | Postcommodity | The Propeller Group | Nick Szuberla | The Yes Men | Helen Thorington | Elaine Tin and Reynold Reynolds | Alex Rivera | Michael Robinson | Mark | Ken Nintzel | Tere O’Connor | Cynthia Oliver | Jarrad Powell Angela Reginato | Artemio Rodriguez | Teri Rofkar | Paul Nyo | Sam Van Aken | Paul Vanouse | Matias Viegener | Elijah Rosenberg | Jay Rosenblatt | Jon Rubin | David Russo | Radiohole | Red Dive | Daniel Roumain | David Rousseve Rucker | Jason Salavon | Connie Samaras | Beatriz Santiago Stephen Vitiello | Marek Walczak and Martin Wattenberg | | Ry Russo-Young | Eric Saks | Scott Saunders | Luke Savisky | Rude Mechs | Amelia Rudolph | Rafael Sanchez | Secos & Muñoz | Joseph Scanlan | Carrie Schneider | Joseph Allison Wiese | Quintan Ana Wikswo | LITERATURE | Jeffery | Jeffrey Scher | Lee Anne Schmitt | Dan Schneidkraut | Mojados | Sophiline Shapiro | Susan Simpson | Tommy Smith Schneider | Dread Scott | Anna Sew Hoy | Paul Shambroom Renard Allen | Jessica Anthony | Paul Beatty | Jen Bervin | Norbert Shieh | Peter Sillen | Cauleen Smith | Philip Solomon and Reggie Watts | Elizabeth Streb | Sekou Sundiata | The | Amie Siegel | Lisa Sigal | Katrin Sigurdardottir | Arthur Kenny Fries | Alan Gilbert | Christian Hawkey | Ben Marcus | Daniel Sousa | Stacey Steers | Alex Stikich | Deborah TEAM | Makeda Thomas | Tamango | Basil Twist | Donna Simms | Kerry Skarbakka | Jim Skuldt | Lili Kaneem Smith | Bernadette Mayer | John McManus | Maggie Nelson | Stratman | Elisabeth Subrin | Jesse Sugarmann | Christopher Uchizono | Tory Vazquez | Arturo Vidich | Ricki Vincent | Wakka | Bently Spang | Mary Ellen Strom | Eve Sussman | Noelle Srikanth Reddy | Sharifa Rhodes-Pitts | Rebecca Solnit | Sullivan | T. Kim-Trang Tran | Ela Troyano | Naomi Uman | Wakka Productions | Holcombe Waller | Deke Weaver | Kristina Tan | Christine Tarkowski | Kerry Tribe | Mark Tribe | Trimpin Cole Swensen | Deb Olin Unferth | MOVING IMAGE | Peggy Edin Velez | Glenda Wharton | Chel White | Christopher Wilcha Wong | Nami Yamamoto | Yasuko Yokoshi | Pamela Z | Wu Tsang | Ivan Velez | Joan Waltemath | Women | Ahwesh | Natalia Almada | Michael Almereyda | Usama | Travis Wilkerson | David Wilson | Eric Wolf | Julie Wyman | VISUAL ARTS | D. Jabari Anderson, Jamal Cyrus, Kenya Evans Kristine Woods | lauren woods | Lynne Yamamoto | Amy Yao Alshaibi | Cam Archer | Ina Archer | Kenseth Armstead | Jake Yuzna | Caveh Zahedi | Marina Zurkow | and Robert Pruitt | Janine Antoni | Edgar Arceneaux, Vincent | Mario Ybarra, Jr. | Emna Zghal | Mel Ziegler From the beginning, Creative Capital differed from other gift- ARCH GILLIES AND JOEL WACHS 4 Creative Capital invests in artists who shape the future. A COMMITMENT TO ADVENTUROUS ARTISTS exchange organizations in the arts in several respects. For one, Drawing on venture capital concepts, we surround adventurous we make a multiyear commitment to the artists we support, and CAULEEN SMITH 6 artists in all disciplines with the tools they need to realize we provide advisory services and professional assistance along BECOMING A BETTER CITIZEN their visions and build sustainable practices. Through our with financial support. We encourage artists to take themselves LISA KRON 8 awards program, Creative Capital has committed $35 million seriously as professionals, asking how they value their time, THE FOUNDATION THAT WOULDN’T STOP CALLING in tailored, multi-year financial and advisory support to if they have insurance on their studios, and other important RUBY LERNER 10 over five hundred groundbreaking artists. Our Professional questions that
Load more

Recommended publications
  • Subrosa Tactical Biopolitics
    14 Common Knowledge and Political Love subRosa . the body has been for women in capitalist society what the factory has been for male waged workers: the primary ground of their exploitation and resistance, as the female body has been appropriated by the state and men, and forced to function as a means for the reproduction and accumulation of labor. Thus the importance which the body in all its aspects—maternity, childbirth, sexuality—has acquired in feminist theory and women’s history has not been misplaced. silvia federici (2004, p. 16) Under capitalism, femininity and gender roles became a “labor” function, and women became a “labor class.”1 On one hand, women’s bodies and labor are revered and exploited as a “natural” resource, a biocommons or commonwealth that is fundamental to maintain- ing and continuing life: women are equated with “the lands,” “mother-earth,” or “the homelands.”2 On the other hand, women’s sexual and reproductive labor—motherhood, pregnancy, childbirth—is economically devalued and socially degraded. In the Biotech Century, women’s bodies have become fl esh labs and Pharma-commons: They are mined for eggs, embryonic tissues, and stem cells for use in medical, and therapeutic experiments, and are employed as gestational wombs in assisted reproductive technologies (ART). Under such conditions, resistant feminist discourses of the “body” emerge as an explicitly biopolitical practice.3 subRosa is a cyberfeminist collective of cultural producers whose practice creates dis- course and experiential knowledge about the intersections of information and biotechnolo- gies in women’s lives, work, and bodies. Since the year 2000, subRosa has produced a variety of performances, participatory events, installations, publications, and Web sites as (cyber)feminist responses to key issues in bio- and digital technologies.
    [Show full text]
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Dlkj;Fdslk ;Lkfdj
    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.
    [Show full text]
  • CCA Wattis Institute for Contemporary Arts Presents: Abbas Akhavan: Cast for a Folly May 9 Through July 27, 2019 Curated by CCA Wattis Institute Curator Kim Nguyen
    CCA Wattis Institute for Contemporary Arts presents: Abbas Akhavan: cast for a folly May 9 through July 27, 2019 Curated by CCA Wattis Institute curator Kim Nguyen Akosua Adoma Owusu: Welcome to the Jungle May 9 through July 27, 2019 Curated by CCA Wattis Institute curator Kim Nguyen Above: Abbas Akhavan, Study for a Garden: Fountain (installation view, Delfina Foundation, London), 2012. Oscillating water sprinkler, pump, hose, pvc pond liner, water, dimensions variable. Courtesy of Catriona Jeffries, Vancouver. Photo: Christa Holka. Below: Akosua Adoma Owusu, Split Ends, I Feel Wonderful, 2012 (still). 16mm film transfer to video, 4 mins. Courtesy of the artist. San Francisco, CA—March 12, 2019—CCA Wattis Institute for Contemporary Arts proudly presents two new solo exhibitions, Abbas Akhavan: cast for a folly and Akosua Adoma Owusu: Welcome to the Jungle. For multi- disciplinary artist Abbas Akhavan, this exhibition is his first U.S. solo show and the culmination of his year as the 2018–2019 Capp Street Artist-in- Residence. Ghanaian-American filmmaker Akosua Adoma Owusu will present a medley of her films in an installation format—new territory for Owusu—in which two of her films will have their institutional premiere at CCA Wattis. Although these are two independent shows, both artists navigate histories, identities, politics, and materiality through distinct international lenses. “We are thrilled to present the newest works by each of these incredible artists,” says Kim Nguyen, CCA Wattis Institute curator and head of programs. “Abbas Akhavan’s time and attention to place made him a perfect fit for the Capp Street residency, where he can really delve into the ethos of San Francisco and its communities.
    [Show full text]
  • The Kitchen Presents a New Performance by Miranda July
    Press Contact: Rachael Dorsey tel: 212 255-5793 ext. 14 fax: 212 645-4258 [email protected] For Immediate Release The Kitchen presents a new performance by Miranda July New York, NY, January 3, 2007 - The Kitchen presents a new performance by filmmaker, performance artist, and writer Miranda July titled THINGS WE DON'T UNDERSTAND AND DEFINITELY ARE NOT GOING TO TALK ABOUT. This new work is a tale of heartbreak and obsession so familiar you could tell it yourself. In fact, each night July employs members of the audience to help her reveal the humor and terror that are at the heart of intimacy, betrayal, and creativity. As in her earlier productions, July utilizes video and music, and plays multiple characters. The performances will take place at The Kitchen (512 West 19th Street) on Thursday, March 1 through Sunday, March 4 at 8pm. Tickets are $15. THINGS WE DON'T UNDERSTAND AND DEFINITELY ARE NOT GOING TO TALK ABOUT, with music composed by Jon Brion (Eternal Sunshine of the Spotless Mind, Punch-Drunk Love), has been performed at The Steve Allen Theater (Los Angeles) and Project Theater Artaud/San Francisco Cinematheque, and offers insight into July’s filmmaking process; her next feature film revolves around the same themes and characters. Most recently, she is best known as the writer and director of her award-winning feature length film Me and You and Everyone We Know (2005). July first received critical acclaim in New York for her performances at The Kitchen, The Swan Tool (2001) and Love Diamond (2000). About the Artist Miranda July is a filmmaker, performing artist and writer.
    [Show full text]
  • “My Personal Is Not Political?” a Dialogue on Art, Feminism and Pedagogy
    Liminalities: A Journal of Performance Studies Vol. 5, No. 2, July 2009 “My Personal Is Not Political?” A Dialogue on Art, Feminism and Pedagogy Irina Aristarkhova and Faith Wilding This is a dialogue between two scholars who discuss art, feminism, and pedagogy. While Irina Aristarkhova proposes “active distancing” and “strategic withdrawal of personal politics” as two performative strategies to deal with various stereotypes of women's art among students, Faith Wilding responds with an overview of art school’s curricular within a wider context of Feminist Art Movement and the radical questioning of art and pedagogy that the movement represents Using a concrete situation of teaching a women’s art class within an art school environment, this dialogue between Faith Wilding and Irina Aristakhova analyzes the challenges that such teaching represents within a wider cultural and historical context of women, art, and feminist performance pedagogy. Faith Wilding has been a prominent figure in the feminist art movement from the early 1970s, as a member of the California Arts Institute’s Feminist Art Program, Womanhouse, and in the recent decade, a member of the SubRosa, a cyberfeminist art collective. Irina Aristarkhova, is coming from a different history to this conversation: generationally, politically and theoretically, she faces her position as being an outsider to these mostly North American and, to a lesser extent, Western European developments. The authors see their on-going dialogue of different experiences and ideas within feminism(s) as an opportunity to share strategies and knowledges towards a common goal of sustaining heterogeneity in a pedagogical setting. First, this conversation focuses on the performance of feminist pedagogy in relation to women’s art.
    [Show full text]
  • Astria Suparak Is an Independent Curator and Artist Based in Oakland, California. Her Cross
    Astria Suparak is an independent curator and artist based in Oakland, California. Her cross- disciplinary projects often address urgent political issues and have been widely acclaimed for their high-level concepts made accessible through a popular culture lens. Suparak has curated exhibitions, screenings, performances, and live music events for art institutions and festivals across ten countries, including The Liverpool Biennial, MoMA PS1, Museo Rufino Tamayo, Eyebeam, The Kitchen, Carnegie Mellon, Internationale Kurzfilmtage Oberhausen, and Expo Chicago, as well as for unconventional spaces such as roller-skating rinks, ferry boats, sports bars, and rock clubs. Her current research interests include sci-fi, diasporas, food histories, and linguistics. PROFESSIONAL EXPERIENCE (selected) . Independent Curator, 1999 – 2006, 2014 – Present Suparak has curated exhibitions, screenings, performances, and live music events for art, film, music, and academic institutions and festivals across 10 countries, as well as for unconventional spaces like roller-skating rinks, ferry boats, elementary schools, sports bars, and rock clubs. • ART SPACES, BIENNIALS, FAIRS (selected): The Kitchen, MoMA PS1, Eyebeam, Participant Inc., Smack Mellon, New York; The Liverpool Biennial 2004, FACT (Foundation for Art and Creative Technology), England; Museo Rufino Tamayo Arte Contemporaneo, Mexico City; Yerba Buena Center for the Arts, San Francisco; Museum of Photographic Arts, San Diego; FotoFest Biennial 2004, Houston; Space 1026, Vox Populi, Philadelphia; National
    [Show full text]
  • The Art Show 2018 Press
    DOWNLOAD HI-RES IMAGES AT: HTTP://BIT.LY/2EVIOWJ THE ART SHOW 2018 HIGHLIGHTS 303 GALLERY D8 ALTMAN SIEGEL D20 Mary Heilmann Liam Everett 303 Gallery presents a solo exhibition of Altman Siegel presents a solo booth of new works by Mary Heilmann, whose highly work by Liam Everett. Building on investiga- inventive approach to abstraction has tions explored in his 2017 solo exhibition at made her one of the foremost painters SFMOMA, Everett will present a suite of new of her generation. Recent paintings, glazed paintings that unfold interrelated systems and ceramics and an arrangement of furniture made interpretations of support. Everett’s installation by the artist appear alongside several examples will continue along these investigative threads: in these mediums from previous decades. By jux- the physical act of supporting a painting and taposing new works with historic ones, the exhibition the routine practice an artist undertakes daily, becomes a storyboard, charting the evolution of her as well as pedagogical rituals shaped through practice while allowing visitors to draw parallels across rehearsal. Focused on what he calls “systems time periods. Brightly colored chairs transform the booth of support,” Everett’s framed paintings—like into a social space akin to a living room or the artist’s studio, previous bodies of work—will implicate the floor, inviting viewers to relax and spend time in Heilmann’s world. wall and body, exposing the animate qualities of 1 3 the artworks and affirming his interest in investi- Mary Heilmann. Shadow Cup 2, 1985. Glazed ceramic, 21 ⁄4 × 24 × 1 ⁄4 in. © Mary Heilmann.
    [Show full text]
  • The Electric Mirror: Reflecting on Video Art in the 1970S
    Robyn Farrell The Electric Mirror: Reflecting on Video Art in the 1970s In 1978, artist and filmmaker Lynn to say that television was the sole The desire to experiment with the Hershman Leeson wrote that, “Much antecedent of video art, but rather electronic and visual capabilities of the urgency and inspiration of art a critical relative to the developing of television dates back to 1963 video emanates from various types of medium. Representing the first with Nam June Paik’s first televisual commercial television broadcasting.”1 generation that grew up with television, manipulation in The Exposition of Included in Gregory Battock’s the artists included in this program Electronic Music-Electronic Television critical anthology, New Artists Video, were keenly aware of a viewer’s social at Galerie Parnass in Wuppertal, West Hershman Leeson’s essay “Reflections and psychological experience while Germany. Paik’s motivation to utilize on the Electric Mirror” identified TV watching TV. Their collective works the monitor and screen as a means genres that influenced video artists, encompass the interests of this “TV to assault the image provided the and declared video as “a manifestation generation,” and at the same time, the aesthetic framework for practitioners of contemporary art.”2 She went on post-war, post-pop proclivities of a in the following decade. Works in to describe video as “the extracted changing art landscape that ranged this program operate in this vein, film of television,” and pointed to the from minimal representation and illustrating how one could change a relations between the nascent medium captured action, to technophilic inquiry viewer’s perception through video and television as inextricably linked, and appropriation.
    [Show full text]
  • A Current Listing of Contents
    WOMEN'S STUDIES LIBRARIAN EMINIST ERIODICALS A CURRENT LISTING OF CONTENTS VOLUME 16, NUMBER 2 SUMMER 1996 Published by Phyllis Holman Weisbard Women's Studies Librarian University of Wisconsin System 430 Memorial Library / 728 State Street Madison, Wisconsin 53706 (608) 263-5754 EMINIST ERIODICALS A CURRENT LISTING OF CONTENTS Volume 16, Number 2 Summer 1996 Periodical literature is the culling edge ofwomen's scholarship, feminist theory, and much ofwomen's culture. Feminist Periodicals: A Current Listing of Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals; and to provide the requisite bibliographic information should a reader wish to subscribe to a journal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table ofcontents pages from current issues ofmajor feministjournals are reproduced in each issue ofFeminist Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the following information on each journal: 1. Year of first publication. 2. Frequency of publication. 3. U.S. subscription price(s).
    [Show full text]
  • Mother Tongue Film Festival
    2016–2020 Mother Tongue Film Festival Five-Year Report RECOVERING VOICES 1 2 3 Introduction 5 By the Numbers 7 2016 Festival 15 2017 Festival 25 2018 Festival 35 2019 Festival 53 2020 Festival 67 Looking Ahead 69 Appendices Table of Contents View of the audience at the Last Whispers screening, Terrace Theater, Kennedy Center. Photo courtesy of Lena Herzog 3 4 The Mother Tongue Film Festival is a core to the Festival’s success; over chance to meet with guest artists and collaborative venture at the Smithso- time, our partnerships have grown, directors in informal sessions. We nian and a public program of Recov- involving more Smithsonian units and have opened the festival with drum ering Voices, a pan-institutional pro- various consular and academic part- and song and presented live cultural gram that partners with communities ners. When launched, it was the only performances as part of our festival around the world to revitalize and festival of its kind, and it has since events. sustain endangered languages and formed part of a small group of local knowledge. The Recovering Voices and international festivals dedicated We developed a dedicated, bilingual partners are the National Museum of to films in Indigenous languages. (English and Spanish) website for Natural History, the National Museum the festival in 2019, where we stream of the American Indian, and the Cen- Over its five editions, the festival has several works in full after the festival. ter for Folklife and Cultural Heritage. grown, embracing a wide range of And, given the changing reality of our Through interdisciplinary research, audiovisual genres and experiences, world, we are exploring how to pres- community collaboration, and pub- drawing audiences to enjoy screen- ent the festival in a hybrid live/on- lic outreach, we strive to develop ef- ings often at capacity at various ven- line model, or completely virtually, in fective responses to language and ues around Washington, DC.
    [Show full text]
  • SEPTEMBER 2018 COMPLIMENTARY GUIDE Catskillregionguide.Com
    Catskill Mountain Region SEPTEMBER 2018 COMPLIMENTARY GUIDE catskillregionguide.com SPECIAL SECTION: VISIT DELAWARE COUNTY! September 2018 • GUIDE 1 2 • www.catskillregionguide.com CONTENTS OF TABLE www.catskillregionguide.com VOLUME 33, NUMBER 9 September 2018 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS Heather Rolland, Jeff Senterman & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee Justin McGowan & Isabel Cunha On the cover: Photo by Elizabeth Hall Dukin PRINTING Catskill Mountain Printing Services 4 WOODSTOCK-NEW PALTZ ART & CRAFTS FAIR DISTRIBUTION Catskill Mountain Foundation 6 MOUNTAIN TOP ARBORETUM: Labor Day Events and New Timber Frame Education Center EDITORIAL DEADLINE FOR NEXT ISSUE: September 10 The Catskill Mountain Region Guide is published 12 times a year 10 WATERSHED AGRICULTURAL COUNCIL: Celebrating 25 by the Catskill Mountain Foundation, Inc., Main Street, PO Box 924, Hunter, NY 12442. If you have events or programs that you Years of Supporting the Region’s Farm and Forest Owners would like to have covered, please send them by e-mail to tafts@ catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all VISIT DELAWARE COUNTY: correspondence. For editorial and photo submission guidelines 12 send a request via e-mail to [email protected]. The Heart of the Great Western Catskills The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered or occupied by the error.
    [Show full text]