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VIDEO" Nov 6 Sun 8 :00 PM GREY HAIRS + REAL SEVEN Nov 27 Sun 8 :00 PM DAVE OLIVE "RUNNING" Mr
Nov 5 Sat 2 :30 PM WILLIAM WEGMAN Nov 26 Sat 2 :30 PM "SHORT STORY VIDEO" Nov 6 Sun 8 :00 PM GREY HAIRS + REAL SEVEN Nov 27 Sun 8 :00 PM DAVE OLIVE "RUNNING" Mr . Wegman appeared on the Tonite Show last summer . Now he works at home in his Dave Olive lives in North Liberty, Iowa, own color studio . He will be premiering where he teaches elementary school . videotapes produced at his color studio and at WGBH Boston . JOE DEA "Short Stories" Nov 12 Sat 2 :30 PM KIT FITZGERALD Nov 13 Sun 8 :00 PM JOHN SANBORN Mr . Dea is a cartoonist who works in video . N r "EXCHANGE IN THREE PARTS" He lives in Hartford, Connecticut . recently completed at TV Laboratory at WNET 8 Channel 13 and currently showing in the tenth Dec 3 Sat 2 :30 PM JUAN DOWNEY 2W Bienale du Paris . Dec 4 Sun 8 :00 PM "MORE THAN TWO" QQ An experience in audio video stereo perception cc ~ Kit ON Z Fitzgerald and John Sanborn have been artist and an account of a video expedition to a OY in residence at ZBS Media and the TV Lab of WNET primitive tribe in South America : The Yanomany . cc cc Y Channel 13 and are currently involved in the o 0.0 Cn >- s International TV Workshop . Their work will be ]sec 10 Sat 2 :30 PM MARILYN GOLDSTEIN 9 W3(L W V O broadcast this season over Public TV . "Voice of the Handicapped" 0 W "Video Beats Westway" a 0 HZ a a OW Nov 19 Sat 2 :30 PM STEINA a W= W Nov 20 Sun 8 :00 PM "Snowed-in Tape and Other Work - 1977" Dec 11 Sun 8 :00 PM LYNDA BENGLIS / STANTON KAYE a 0 "How's Tricks?" Z c 0>NH . -
Reinventing, Downtown
Reinventing, Downtown By XICO GREENWALD | June 24, 2017 Abstract Expressionists Willem de Kooning, Jackson Pollock and Franz Kline urged a pair of friends to start an art gallery. Tibor de Nagy and John Bernard Myers followed their advice and, in 1950, on East 53rd Street, they opened the Tibor de Nagy Gallery. MEDRIE MACPHEE A Dream of Peace, 2017 oil and mixed media on canvas, 60 x 78 inches In the years to come, Mr. Myers and Mr. de Nagy would exhibit works by a number of second-generation Abstract Expressionists, including Alfred Leslie, Grace Hartigan, Robert Goodnough and Helen Frankenthaler. They also showed figurative paintings by the likes of Larry Rivers, Jane Freilicher, Fairfield Porter and Red Grooms. And Tibor de Nagy editions, the gallery’s book imprint, published poetry by Frank O’Hara, John Ashbery, Barbara Guest and others. Mr. Myers left the gallery in 1970. By that time, Tibor de Nagy had relocated to the 57th Street gallery district. When Mr. de Nagy died in 1993, he bequeathed his business to two young gallery assistants, Eric Brown and Andrew Arnot. Over the next 24 years, Mr. Arnot and Mr. Brown built on the gallery’s legacy together, exhibiting New York School pictures alongside works by select contemporary artists influenced by New York School poets and painters. But in the fast-paced New York art world, perhaps the only constant is change. Mr. Brown departed from the gallery this year. And now Mr. Arnot has relocated Tibor de Nagy to the Lower East Side, partnering with Betty Cuningham Gallery in a space-sharing agreement. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
RON GORCHOV BIOGRAPHY Born in Chicago, Illinois In
RON GORCHOV BIOGRAPHY Born in Chicago, Illinois in 1930; lives and works in Brooklyn, New York 1950-51 University of Illinois, Urbana, Illinois 1948-50 Art Institute of Chicago, Chicago, Illinois 1948-50 Roosevelt College 1947-48 University of Mississippi, Oxford, MS SOLO EXHIBITIONS 2019 Ron Gorchov: The Shade Between, Maruani Merceir, Brussels (11/14– 12/21/2019) Ron Gorchov: at the cusp of the 80s, paintings 1979–1983, Cheim & Read, New York (9/26–11/15/2019) Ron Gorchov, Modern Art, London (4/5–5/11/2019) 2018 Ron Gorchov, Galerie Max Hetzler, Berlin, Germany (3/14–4/14/2018) Ron Gorchov: New Works, Maruani Mercier, Paris, France (10/16–11/17/2018) Theogony According to Ron Gorchov, Thomas Brambilla, Bergamo, Italy (11/24/2018–1/18/2019) 2017 Ron Gorchov, Maruani Mercier, Knokke, Belgium (4/1–8/5/2017) Ron Gorchov, Cheim & Read, New York (2/16–3/25/2017) 2016 Ron Gorchov: Works from the 1970s, Vito Schnabel Projects, 360 West 11th St., New York (11/10–12/17/2016) Ron Gorchov: Stacks, ADAA: The Art Show, Park Avenue Armory, New York (3/1–3/6/2016) Ron Gorchov: Concord, Vito Schnabel Gallery, St. Moritz, Switzerland (3/12–4/10/2016) 2015 Ron Gorchov, curated by Vito Schnabel, Sotheby’s S|2, London (2/5– 3/27/2015) Ron Gorchov – Recent Works, Thomas Brambilla, Bergamo, Italy (3/21– 6/30/2015) 2014 Ron Gorchov: Serapis, Contemporary Art Museum, St. Louis, Missouri (1/24–4/13/2014) Entrance, Cheim & Read, Unlimited, Art Basel, Basel, Switzerland (6/19– 6/22/2014) 2013 Ron Gorchov, 39 Great Jones, New York (1/1–3/1/2013) Ron Gorchov, Lesley Heller Workspace, New York (9/8–10/13/2013) Ron Gorchov, Monsieur X., Vito Schnabel, New York (10/4–11/3/2013) Ron Gorchov, Galerie Forsblom, Helsinki, Finland (10/25–11/17/2013) 2012 Ron Gorchov, Cheim & Read, New York (3/29–4/28/2012) Ron Gorchov: Recent Paintings, Galerie Richard, New York (10/13–11/17/2012) 2011 Ron Gorchov. -
Betty Parsons Heated Sky Alexander Gray Associates Gray Alexander Betty Parsons: Heated Sky February 26 – April 4, 2020
Betty Parsons Sky Heated Betty Parsons: Heated Sky Alexander Gray Associates Betty Parsons: Heated Sky February 26 – April 4, 2020 Alexander Gray Associates Betty Parsons in her Southold, Long Island, NY studio, Spring 1980 2 3 Betty Parsons in her Southold, Long Island, NY studio, 1971 5 Introduction By Rachel Vorsanger Collection and Research Manager Betty Parsons and William P. Rayner Foundation Betty Parsons’ boundless energy manifested itself not only in her various forms of artistic expression—paintings of all sizes, travel journals, and her eponymous gallery— but in her generosity of spirit. Nearly four decades after Parsons’ death, her family, friends, and former colleagues reinforce this character trait in conversations and interviews I have conducted, in order to better understand the spirit behind her vibrant and impassioned works. Betty, as I have been told was her preferred way to be addressed, was a woman of many actions despite her reticent nature. She took younger family members under her wing, introducing them to major players in New York’s mid-century art world and showing them the merits of a career in the arts. As a colleague and mentor, she encouraged the artistic practice of gallery assistants and interns. As a friend, she was a constant source of inspiration, often appearing as the subject of portraits and photographs. Perhaps her most deliberate act of generosity was the one that would extend beyond her lifetime. As part of her will, she established the Betty Parsons Foundation in order to support emerging artists from all backgrounds, and to support ocean life. After her nephew Billy Rayner’s death in 2018, the Foundation was further bolstered to advance her mission. -
Extended Sensibilities Homosexual Presence in Contemporary Art
CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr. -
Is Marina Abramović the World's Best-Known Living Artist? She Might
Abrams, Amah-Rose. “Marina Abramovic: A Woman’s World.” Sotheby’s. May 10, 2021 Is Marina Abramović the world’s best-known living artist? She might well be. Starting out in the radical performance art scene in the early 1970s, Abramović went on to take the medium to the masses. Working with her collaborator and partner Ulay through the 1980s and beyond, she developed long durational performance art with a focus on the body, human connection and endurance. In The Lovers, 1998, she and Ulay met in the middle of the Great Wall of China and ended their relationship. For Balkan Baroque, 1997, she scrubbed clean a huge number of cow bones, winning the Golden Lion at the Venice Biennale for her work. And in The Artist is Present 2010, performed at MoMA in New York, she sat for eight hours a day engaging in prolonged eye contact over three months – it was one of the most popular exhibits in the museum’s history. Since then, she has continued to raise the profile of artists around the world by founding the Marina Abramović Institute, her organisation aimed at expanding the accessibility of time- based work and creating new possibilities for collaboration among thinkers of all fields. MARINA ABRAMOVIĆ / ULAY, THE LOVERS, MARCH–JUNE 1988, A PERFORMANCE THAT TOOK PLACE ACROSS 90 DAYS ON THE GREAT WALL OF CHINA. © MARINA ABRAMOVIĆ AND ULAY, COURTESY: THE MARINA ABRAMOVIĆ ARCHIVES / DACS 2021. Fittingly for someone whose work has long engaged with issues around time, Marina Abramović has got her lockdown routine down. She works out, has a leisurely breakfast, works during the day and in the evening, she watches films. -
RON GORCHOV Works from the 1970S November 10 - December 17, 2016
RON GORCHOV Works from the 1970s November 10 - December 17, 2016 (New York, NY) This November, Vito Schnabel Projects is pleased to present an exhibition of ten paintings from the 1970s by Ron Gorchov. The artist deploys shaped canvases suggestive of shields, with doubled biomorphic forms in a bilaterally symmetrical format, as in archetypal work like Brother (1972) and Arena (1977). Gorchov’s works descend from experiments in shaped canvases from the 1960s pioneered by artists such as Frank Stella, Ellsworth Kelly, Elizabeth Murray, Richard Tuttle, David Novros, and Blinky Palermo. The earliest work in this exhibition, Set (1971) with its stack of shaped “crown” canvases, clearly demonstrates Gorchov’s place among these innovators. At the same time, Gorchov remained close to leading figures within the established New York School, and was a friend of Mark Rothko; in fact, the first of his shaped canvases was made in what had been Rothko’s studio, although he distances himself from the notion that he was ever a later avatar of the New York School: “For one thing, I never wanted to be a second or third generation artist of any kind. Also, I think painting, per se, is an ideal way to criticize the work you already admire because that way Set, 1971 Oil on canvas you can take the best things in it and try to make your 1 1 150 x 149 /2 x 19 /4 inches (381h x 379.73w x 48.9d cm) work to be the next consequential step.”1 Rob Storr writes in “Old Master Ron”: “Tamper the grid and ease the boundaries of shapes loosely teethed to it and— almost self-protectively—the senses awaken, the imagination comes alive.”2 The artist’s use of the shield as a governing form in his work is exemplary as a sensory and imaginative trope, one that is both literal (the shape) and figurative (the association). -
Notes, Copies and Masterpieces Anna Ostoya Exhibition January 8
The word Autopis is an invented term open to interpretation. In different languages it can bring diverse associations, such as the notion of something self-written or mobile, a urinal, an autopsy, or utopia. The term ‘auto’ suggests a thing or phenomena that is one's own, by oneself or spontaneous and by itself and automatic. The words notes, copies and masterpieces considered in relation to Autopis, have shifting meanings, and imply a loosening of the conventional system of cultural evaluation. The works in the exhibition can be understood as objects to be approached in an inventive way rather then being viewed in the light of existing definitions. 1 UNTITLED III (PLATFORM) 6 × 220 × 280 cm, MDF, acrylic, table, chairs The work takes shape of a minimalist sculpture and functions as a platform for a gallery office. The boundaries between gallery - idealized place devoted to the presentation and contemplation of art and the office space are blurred. The work exposed in the middle of white cube, spatially and conceptually understood as center of information, planning and management, becomes utilitarian object, which questions the autonomy of art. Notes, Copies and Masterpieces 2 PRIMARY STRUCTURE WITH A PLANT (THE PLANT AS A METAPHOR IN Anna Ostoya GEORGE ORWELL AND OTHER CONTEXTS) 162 × 55 × 35 cm, MDF, acrylic, electric mechanism, pot plant Exhibition January 8 through A potted plant emerges from a white box of human proportions and February 19, 2011 perches for a few seconds on its top like a sculpture on a plinth. Soon after it slowly disappears into the pedestal and the box becomes once again an indefinite object: a minimalist sculpture, a plinth, or a piece of furniture. -
Dana Hoey, Miss Tessa 1, 2015, Archival Inkjet Print, 17 X 22', Ed. 3
Dana Hoey, Miss Tessa 1, 2015, archival inkjet print, 17 x 22’, ed. 3. Repeat Pressure Until Curated by Sheilah Wilson OpeninG Saturday, May 21 6-9pm May 21-June 19 Catherine Cartwright, Moyra Davey, Stacy Fisher, Hilary Harnischfeger, Pati Hill, Dana Hoey, Vera Iliatova, Hein Koh, Dani Leventhal, Carolyn Salas, Kim Waldron, Carmen Winant OrteGa y Gasset Projects is pleased to present Repeat Pressure Until, a material investigation into the spaces between the recognizable and the unknown. Artists in the show use inhaBitation and over-inhaBitation of both material and societal norms to transform perception and offer new proposals. We cannot avoid the material, social, and cultural worlds we live in. Utilizing understood reference points becomes radical because it implies that all knowns have the potential to be made strange. There is a space opened up when testing limits of ideas or materials. Insistence both strengthens through emphasis and falls apart through over-repetition. The gendered female Body is presented as Benignly understandable and simultaneously profane. The object is holding or is held. Dominant can Be overthrown. (Although unnerving, it is made palatable because it is beautiful and the chaos is momentary.) Artists in the show suggest ways for us to live inside the known world, while suBverting these knowns through the act of placing pressure. This exertion of energy can create new forms and functions out of recognizable tropes and materials. Artists use photography, painting, drawing, video, and sculpture as tactics towards newly imagined versions of that which we know. They shoot arrows of violence, oBsession, re-imagined sexuality, kinship, and motherhood into anything in the world around us to which the arrow can cling. -
Mind Over Matter Artforum, Nov, 1996 by Hans-Ulrich Obrist
http://findarticles.com/p/articles/mi_m0268/is_n3_v35/ai_18963443/ Mind over matter ArtForum, Nov, 1996 by Hans-Ulrich Obrist At the Kunsthalle Bern, where Szeemann made his reputation during his eight-year tenure, he organized twelve to fifteen exhibitions a year, turning this venerable institution into a meeting ground for emerging European and American artists. His coup de grace, "When Attitudes Become Form: Live in Your Head," was the first exhibition to bring together post-Minimalist and Conceptual artists in a European institution, and marked a turning point in Szeemann's career - with this show his aesthetic position became increasingly controversial, and due to interference and pressure to adjust his programming from the Kunsthalle's board of directors and Bern's municipal government, he resigned, and set himself up as an Independent curator. If Szeemann succeeded in transforming Bern's Kunsthalle into one of the most dynamic institutions of its time, his 1972 version of Documenta did no less for this art-world staple, held every five years in Kassel, Germany. Conceived as a "100-Day Event," it brought together artists such as Richard Serra, Paul Thek, Bruce Nauman, Vito Acconci, Joan Jonas, and Rebecca Horn, and included not only painting and sculpture but installations, performances, Happenings, and, of course, events that lasted the full 100 days, such as Joseph Beuys' Office for Direct Democracy. Artists have always responded to Szeemann and his approach to curating, which he himself describes as a "structured chaos." Of "Monte Verita," a show mapping the visionary utopias of the early twentieth century, Mario Merz said Szeemann "visualized the chaos we, as artists, have in our heads. -
Sigmar Polke
© Kenny Schachter / ROVE Projects LLP Published by ROVE Projects LLP, 2011 First Edition of 1000 copies ISBN 978-0-9549605-3-7 All rights reserved. No part of this catalogue may be reproduced, stored in a retrieval system or transmitted Curated by Adrian, Kai and Kenny Schachter in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise without prior permission from the publisher and artist. The artist retains copyright on all photographs, drawings, notes and text reproduced in this catalogue, except where otherwise noted. All photography except cover and pages 27, 29, 30, 32, 33, 39, 40, 48, 54, 57, 60, 75 - 79 by Caspar Stracke and Gabriela Monroy Graphic Design by Gabriela Monroy. Printed in the United Kingdom by Colourset Litho Ltd. Kenny Schachter ROVE Projects LLP Lincoln House 33-34 Hoxton Square London N1 6NN United Kingdom For all enquiries please contact: [email protected] +44 (0)7979 408 914 www.rovetv.net Kenny Schachter ROVE 2012 Stuart Gurr, Rachel Harrison, Ricci Albenda, Rob Pruitt, Brian Clarke, Zaha Hadid, Tracey Emin, Damien Hirst, Keith Tyson, Barry Reigate, Robert Chambers, Maria Pergay, Arik Levy, Martin Usborne, Tom Dixon, Vito Acconci, Franz West, George Condo, Josh Smith, Joe Bradley, Paul Thek, Sigmar Polke, William Pope.L, Marc Newson, Richard Artschwager, Peter Hujar, Misaki Kawai, Brendan Cass, Richard Woods, Donald Baechler, Keith Coventry, Lars Whelan, Hester Finch, Cain Caser, Muir Vidler, Jasper Joffe & Harry Pye, John Isaacs, Keith Coventry, Marianne Vitale, Simon English, Rod Clark, Mary Heilmann, and Adrian, Kai, Gabriel, Sage and Kenny Schachter, Ilona Rich, Kevbe Otobo, Tom Gould, Harry Rüdham, Alfie Caine, George Morony, Eleni Khouri, Tom Harwood, Ollie Wink, Antonia Osgood, Louis Norman, Matilda Wyman, Jessy Wyman, Katie Wyman, Calum Knight, Eugenie Clive-Worms, Emmanuelle Zaoui and Savannah Murphy.