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Interviste E Conversazioni
Interviews with Michelangelo Pistoletto Marcello Venturoli, Dialogo con Pistoletto, in “Tutti gli uomini dell’arte”, Milano, 1968 Guido Boursier, Far scattare nella gente meccanismi di liberazione, in “Sipario”, n. 276, Milano, April 1969 Germano Celant, Intervista con Michelangelo Pistoletto, Genova, February 1971, in Germano Celant, “Michelangelo Pistoletto”, catalogue of the exhibition, Palazzo Grassi, Venezia, 1976 (Ed. Electa) Achille Bonito Oliva, Michelangelo Pistoletto, Torino 1972, in “Enciclopedia della parola. Dialoghi d'artista. 1968-2008”, ed. Skira, Milano 2008 Mirella Bandini, Torino 1960-73, in “Nac”, n. 3, Bari, March 1973, re- published in Mirella Bandini, “1972 - Arte Povera a Torino”, Allemandi Editore, Torino, 2002 Mirella Bandini, Il significato di Gallizio per la nuova generazione, in “Pinot Gallizio e il laboratorio sperimentale d’Alba”, catalogue of the exhibition, Galleria Civica d’Arte Moderna, Torino 1974 Umberto Allemandi, Specchio delle mie brame, in “Bolaffi Arte”, anno VII, n. 57, Milano, February - March 1976 Francesco Prestipino, Viaggio nelle stanze di Michelangelo Pistoletto, in “Le Arti”, anno XXVI, n. 4, Milano, April 1976 l.k.. Un palcoscenico tutto bianco, in “La Repubblica”, Roma, 10 June 1977 Giuseppe Risso, Pistoletto. Datemi uno specchio, in “Gazzetta del Popolo”, Torino, 4 May 1978 no author (the name of the author of the interview is not mentioned in the publication, henceforth abbreviated n.a.), Pistoletto an 14 Orten in Berlin, transcript of the conference/debate with Pistoletto at Hochschule der Künste, 3 November 1978, in “Kunstmagazin”, n. 4, Mainz, 1978 Anne Livet, An Interview with Maynard Jackson and Michelangelo Pistoletto, in “Contemporary Art/Southeast, Volume II, n. 2, Michelangelo Pistoletto in the South”, Atlanta 1979 Michael Auping, Venus of the rags, 18 December 1979, Berkeley, in 30 years interviews and outtakes, ed. -
CV Photo/Ciel Variable, Montreal, No
A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University, -
Richard Prince Born in 1949, in the Panama Canal Zone, USA Biography Lives and Works in Upstate New York, USA
Richard Prince Born in 1949, in the Panama Canal Zone, USA Biography Lives and works in upstate New York, USA Solo Exhibitions 2019 'Richard Prince: Portrait', Museum of Contemporary Art Detroit, Detroit, USA 2018 'Richard Prince - Works from the Astrup Fearnley Collection', Astrup Museet, Olso, Norway 'Untitled (Cowboy)', LACMA, Los Angeles, USA 2017 'Super Group Richard Prince', Galerie Max Hetzler, Berlin, Germany 'Max Hetzler', Berlin, Germany 2016 The Douglas Blair Turnbaugh Collection (1977-1988)’, Edward Cella Art & Architecture, Los Angeles, USA Sadie Coles, London, UK 2015 'Original', Gagosian Gallery, New York, USA 'New Portraits', Blum & Poe, Tokyo, Japan 2014 'New Figures', Almine Rech Gallery, Paris, France 'It's a Free Concert', Kunsthaus Bregenz, Austria 'Canal Zone', Gagosian Gallery, New York, USA 2013 Sadie Coles, London, UK 'Monochromatic Jokes', Nahmad Contemporary, New York, USA 'Protest Paintings', Skarstedt Gallery, London, UK 'Untitled (band', Le Case d'Arte, Milan, Italy 'New Work', Jürgen Becker, Hamburg, Germany 'Cowboys', Gagosian, Beverly Hills, USA 2012 ‘Prince / Picasso’, Museo Picasso Malaga, Spain 'White Paintings', Skarstedt Gallery, New York, USA 'Four Saturdays', gagosian Gallery, New York, USA '14 Paintings', 303 Gallery, New York, USA 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris [email protected] 2011 - ‘The Fug’, Almine Rech Gallery, Brussels, Belgium Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles ‘Covering Pollock’, The Guild Hall Museum, East Hampton, USA [email protected] -
Die Holzschnitte, 2016 Ashley Bickerton: Ornamental
6 AGENDA woxx | 27 03 2020 | Nr 1573 EXPO EXPO Feeling lousy in confinement? What about taking a trip to an art gallery in funky Beverly Hills? It’s possible with Nathaniel Mary Quinn’s “Hollow and Cut” at the Gagosian Gallery. Online-Ausstellungen Keith Haring. The Alphabet, 2018 Anselm Kiefer, 2014 U-Bahn-Bilder, Gemälde, Zeichnungen Malerei und Skulpturen, und Skulpturen, Albertina, Wien Royal Academy of Arts, London www.albertina.at/ausstellungen/haring/ www.royalacademy.org.uk/exhibition/ anselm-kiefer Life with Basquiat intimate photos of Caribpolitan artist Anselm Kiefer: Jean-Michel Basquiat by Alexis Adler, Die Holzschnitte, 2016 curated by Shelley V. Worrell Grafiken, Albertina, Wien artsandculture.google.com/exhibit/life- www.albertina.at/exhibitions/anselm- with-basquiat/JgJScHMWjY2bKA kiefer-the-woodcuts/ Liebe Leser*innen, Louise Lawler: Ashley Bickerton: Why Pictures Now Durch die Schließung sämtlicher Ornamental Hysteria, 2017 Fotografien, Materialbilder und öffentlicher und privater Kulturinstitu- mixed-media art, Installationen, Museum of Modern Art, tionen, fällt das kulturelle Leben kom- Newport Street Gallery, London New York plett aus. Besser gesagt, es wurde ins www.newportstreetgallery.com/ www.moma.org/calendar/ Internet verlegt. Wir haben denn auch exhibition/ashley-bickerton/ exhibitions/1646 die virtuellen Welten abgegrast um ei- nige Perlen zu finden: Live-Streams aus den Wohnzimmern der Künstler*innen, Basquiat. Boom for Real, 2018 Nathaniel Mary Quinn: virtuelle Ausstellungsrundgänge, Seri- Malerei, Zeichnungen und Skulpturen, Hollow and Cut, 2019 en. Darüber hinaus geben wir ihnen Schirn Kunsthalle, Frankfurt Malerei, Gagosian, Beverly Hills Tipps wie Sie online die besten gratis www.schirn.de/basquiat/digitorial/de/ gagosian.com/exhibitions/2019/ E-Books finden können – gesetzt den kunstliegt-auf-der-strasse nathaniel-mary-quinn-hollow-and-cut Fall, Sie gehören zur Minderheit derer, die ihre gesamte Bibliothek schon gelesen haben. -
The Work of Giorgos Kontis (B.1981 Athens) Focuses on Abstract Painting and on Its Function As an Image
The work of Giorgos Kontis (b.1981 Athens) focuses on abstract painting and on its function as an image. It becomes a contemplation on the autonom! the painted image gains, triggering #uestions on authenticity and the artistic agency. Giorgos studied at the Athens $chool of %ine Arts, at the Academ! of &isual Arts (Ad'K) in Munich and at the Uni*ersity of Arts (UdK) in 'erlin. +e did a (%A at $t.Joost Academ! in 'reda" -etherlands, and he holds a practice based .h/ in Painting" from the 0oya 1ollege of Art in 2ondon" on the notion of Authenticity. +e li*es and works in 'erlin and Athens. $o o $hows 3419 Mother Tongue" 1ru5 Galerie" Athens, Greece. 1urated b! Katerina -ikou The Threatening Image" Ph/ &i*a 65hibition" +ockne! Galler!" 01A, 2ondon" UK 3417 Ian Kiaer Presents Giorgos Kontis" Ian Kiaer8s studio, 'ow Arts 2ondon" UK 3419 0" Galerie Kunstbuero, &ienna Art %oundation (with Just :uist)" &ienna" Austria 341; Winter Kept Us Warm" 6urocontrol +ead#uarters, 'russels, 'elgium Let Gooo project" 0uimte 1aesuur" Middelburg" -etherlands. 1urated b! Just :uist 3414 Kaplanon < Galler!" Athens, Greece Group $hows 3434 The Space of Emplacement (works from the 1hristos 1hristofis 1ollection)" $tudio53 Galler!" Athens, Greece Art-Athina !"nline E#ition$" 1ru5 Galerie" Athens" Greece -ationa Theatre of -orthern Greece" 65hibition accompan!ing the pla! =The 'irds” %uarantine E&hi'ition !"nline$" $tudio53 Galler!" Athens, Greece. 1urated b! /ionisis 1hristophilogiannis, $otirios 'ahtsetzis, 2!dia Pribisova" -icolas &am*ouklis In Praise of Sha#ows" Ione and Mann Galler!" 'elgra*ia 2ondon" UK Someone Else)s *ostalgia" 1ru5 Galerie" Athens" Greece. -
Artnet May 17, 2011 an Interview with Ashley Bickerton EDEN's
Artnet May 17, 2011 An Interview with Ashley Bickerton EDEN’S ANTI-HERO By Emily Nathan Back in 1993, Ashley Bickerton (b. 1959) abandoned his prominent position in the New York art scene, set up shop on the island of Bali, and never came back. Surprising though the move might seem -- and Bickerton remains a player in contemporary art -- island living was a part of his history. The son of renowned linguist Derek Bickerton, who studied creoles and pidgins, the artist’s childhood was spent in places where “they spoke English funny,” from Barbados to Hawaii. Following his graduation from Cal Arts in 1982, he arrived in New York to attend the Whitney Independent Studies Program, and quickly rose to fame as one of the “Fantastic Four” -- along with fellow Neo-Geo artists Jeff Koons, Peter Halley and Meyer Vaisman -- in the wake of a seminal exhibition at Sonnabend Gallery. It was simply a return to form, then, when the 1987 Black Monday market crash prompted his escape from East Village celebrity to a storied if remote Indonesian isle. His early New York works were high-tech "commodity sculptures,” integrating corporate logos and commercial hardware into strange, machine-like objects that were, at heart, expressions of his manic surfer passions. But once he hit Bali, the beachcomber in him took over, and the nuts and bolts and digital read-outs were replaced by chunks of coral, bottle tops, worn flip-flops and all manner of flotsam and jetsam. Complementing this abundance of Edenic ephemera was the artist’s taste for high- key hyperrealism -- a kind of painting esthetic familiar from any boardwalk airbrush booth, though often enough pushed to a wacky extreme -- and these days, he frequently depicts a cobalt-skinned character he calls the Blue Man. -
Guide to the Colin De Land and Pat Hearn Library Collection MSS.012 Hannah Mandel; Collection Processed by Ann Butler, Ryan Evans and Hannah Mandel
CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Colin de Land and Pat Hearn Library Collection MSS.012 Hannah Mandel; Collection processed by Ann Butler, Ryan Evans and Hannah Mandel. This finding aid was produced using ArchivesSpace on February 06, 2019 . Describing Archives: A Content Standard Guide to the Colin de Land and Pat Hearn Library Collection MSS.012 Table of Contents Summary Information ................................................................................................................................................ 3 Biographical / Historical ............................................................................................................................................. 5 Scope and Contents ................................................................................................................................................. 6 Arrangement .............................................................................................................................................................. 6 Administrative Information ......................................................................................................................................... 7 Related Materials ...................................................................................................................................................... 7 Controlled Access Headings .................................................................................................................................... -
Ashley Bickerton
DİRİMART SEPTEMBER 3 – OCTOBER 3, 2015 ASHLEY BICKERTON Walls and Paintings Painting Thing No.3, 2015 Oil and acryclic on digital print on jute with artist designed frame 122x122x13.5 cm Walls and Paintings, the first solo exhibition of Ashley Bickerton at Dirimart, can be visited between September 4th – October 3rd. A selection of the artist’s latest works will be featured in the exhibition. The artist will be present in the opening cocktail to be held on September 3rd at 19:00. Bickerton is associated with the art movement of the 1980’s titled “Neo-Geo” which included artists such as Jeff Koons and Peter Halley. He moved to the Indonesian Island of Bali in 1993 from New York and his work has come to be influenced by his location. His early works were high-tech “commodity sculptures” where he used mostly corporate-logos, referring to the consumerism of the age. Working through photography, mixed media assemblages and painting, his practice has problematized traditional forms through exploring contemporary art with surreal grotesque figures and abstractions in order to question what represents “western” and “non- western”. He has experimented on the coexistence of the figurative and the abstract and he refers to his treatment as, ”biomorphic abstraction”. His figures mostly include floral, colorful thick globs of paint and exaggeratedly primitive, digitally manipulated expressions of women mounted on wood, fiberglass or clay. The autobiographical elements of his work are clearly visible in his over-exoticized figures and colours. The exhibition at Dirimart will include his most recent body of work and it will bring together abstract and flashy digital print forms on jute ending with artist made frames and neon, silver and gold rock-like formations of epoxy resin, fiberglass and plywood. -
Editions 1986 - 2021 1986 Editions
EDITIONS 1986 - 2021 1986 EDITIONS IAN ANÜLL Pile-Face Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’800.- MARC CAMILLE CHAIMOWICZ Haunted * Sometimes * Regrets * Perhaps Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. Sold out Les soeurs folles Edition du Centre genevois de gravure contemporaine, Genève, 1986. CHF. 3’000.- the two prints La grande fenêtre Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’200.– per print Les jardins botaniques d’Adelaide I Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’500.– per print Les jardins botaniques d’Adelaide II Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’500.– per print Les enfants prodigues I Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Les enfants prodigues II Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Après Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Cuivre-Zinc Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’200.– per print La première des deux sœurs Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’000.– per print La deuxième des deux sœurs Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’000.– per print Pour Balthazar Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 800.– per print A Search Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 800.– per print La première aquatinte Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. -
Part 3: Rebirth Partner
28 HUO: Normally I ask two last questions but you already Hans-Ulrich Obrist, answered one of them when we did the talk at the Ser- Michelangelo Pistoletto pentine gallery. It was the question about the future. You said: ‘The future for me is not about the possession of the world; it is about making love with the world. It is our Part 3: Rebirth partner. If you make love with the world, you have to love humanity. If you love humanity, you love yourself.’ But the question you have not answered yet is my recurrent ques- tion about unrealized projects, projects that were too big to realize, or too small to realize. When I asked you this question for the last time, in 1996, you answered with a very empty space you wanted to insert into a city. It was a cage—you wanted an empty cage in a city. That was your as yet unrealized project. MP: I did realise it. It was exhibited, and it is called Free Space. It is free for everybody and can be everybody’s space. It was good as the work was carried out by the occupants of a prison in Milan. I said: I want to do a work with you that brings you out of the prison. But this ‘outside of prison’ was in the centre of the prison. It was a free cage for everybody, because your mind should be free. And this is the cage that opens your mind. And they understood. They were very happy to do it. -
Ashley Bickerton
Ashley Bickerton Born in 1959, Barbados, West Indies Lives and works in Kuta Bali, Indonesia EDUCATION 1982 BFA, California Institute of the Arts, Valencia, CA, USA 1985 Whitney Museum Independent Studies Program, New York. SOLO EXHIBITIONS (SELECTED) 2017 The FLAG Art Foundation, New York, NY Ashley Bickerton, Newport Street Gallery, London, United Kingdom 2016 Wall-Wall, Norton Gallery, Los Angeles, CA Wall-Wall, Tripoli Gallery, Southampton, NY 2015 Walls and Paintings, Dirimart Gallery, Istanbul, Turkey 2014 Junk Anthropologies, Gajah Gallery, Singapore 2013 Mitochondrial Eve.Viral Mother, Lehmann Maupin, New York Studiolo, Zurich, Switzerland 2012 313 ART PROJECT, Seoul 2011 Nocturnes, Lehmann Maupin, New York 2009 Recent Wurg, White Cube, London 2008 Lehmann Maupin Gallery, New York 2006 Lehmann Maupin Gallery and Sonnabend Gallery, New York Singapore Tyler Print Institute, Singapore 2004 Sonnabend Gllery, New York 2001 …in paradise, White Cube, London 2000 NEG (no limits events gallery), Milan, Italy 1999 Sonnabend Gallery, New York 1997 White Cube, London Back to the Wall, Sonnabend Gallery, New York Ashley Bickerton Palacete del Embarcadero. Autoridad Portuaria de Santander Spain 1993 Recent Work, La Jolla Gallery, Quint Krichman Projects Sonnabend Gallery, New York 1992 Galerie Yvon Lambert, Paris 1991 Sonnabend Gallery, New York 1990 Donald Young Gallery, Chicago, IL 1989 Sonnabend Gallery, New York 1988 Sonnabend Gallery, New York Daniel Weinberg Gallery, Los Angeles, CA 1987 International With Monument, New York Donald Young Gallery, Chicago, IL 1986 International With Monument, New York Cable Gallery, New York 1984 Artists Space, New York White Columns, New York 34, Seongbuk-ro 31-gil, Seongbuk-gu, Seoul, Korea T. -
Magiciens De La Terre and Multiple Histories of Curating Global Art in Paris
Magiciens de la Terre and Multiple Histories of Curating Global Art in Paris by Caitlin Elizabeth Duerler A thesis submitted to the School of Art, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Art History Chair of Committee: Sandra Zalman Co-Chair of Committee: Rex Koontz Committee Member: Alison de Lima Greene University of Houston May 2020 Copyright 2020, Caitlin Elizabeth Duerler DEDICATION This thesis is dedicated to my two blessings, Miguel and Pappas Chávez. iii ACKNOWLEDGEMENTS I would like to extend gratitude to individuals and institutions which support me during my thesis project. First and foremost, I would like to thank my thesis advisor Dr. Zalman for her valuable guidance and compassion. I also must thank Dr. Koontz and Alison de Lima Greene for serving on my committee and providing indispensable advice. Other individuals who supported me during this time include my graduate cohort, Hector Garcia, Tori Nerey and Sheila Scoville and honorary grad student Gilbert Baca. I am also grateful for the art history faculty in the School of Art, the Art and Architecture library, the archives at the Centre Pompidou and the Hirsch Library at the Museum of Fine Arts, Houston. Lastly, I am thankful for the support from my family. iv ABSTRACT Curator Jean-Hubert Martin’s 1989 exhibition Magiciens de la terre is considered the first exhibition of global contemporary art, displaying recent works by 50 Western and 50 Nonwestern artists. Most of the scholarship concerning Magiciens focuses on its legacy, including critiques of the exhibition model in addition to the show serving as a springboard for subsequent exhibitions of global contemporary art.