MARCH 31 | 2018 Art Basel in Hong Kong
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Nathaniel Mary Quinn
NATHANIEL MARY QUINN Press Pack 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM NATHANIEL MARY QUINN BORN 1977, Chicago, IL Lives and works in Brooklyn, NY EDUCATION 2002 M.F.A. New York University, New York NY 2000 B.A. Wabash College, Crawfordsville, IN SOLO EXHIBITIONS 2019 Madison Museum of Art, Madison, WI (forthcoming) 2018 The Land, Salon 94, New York, NY Soundtrack, M+B, Los Angeles, CA 2017 Nothing’s Funny, Rhona Hoffman Gallery, Chicago, IL On that Faithful Day, Half Gallery, New York, NY 2016 St. Marks, Luce Gallery, Torino, Italy Highlights, M+B, Los Angeles, CA 2015 Back and Forth, Rhona Hoffman Gallery, Chicago, IL 2014 Past/Present, Pace London Gallery, London, UK Nathaniel Mary Quinn: Species, Bunker 259 Gallery, Brooklyn, NY 2013 The MoCADA Windows, Museum of Contemporary and African Diasporan Arts Brooklyn, NY 2011 Glamour and Doom, Synergy Gallery, Brooklyn, NY 2008 Deception, Animals, Blood, Pain, Harriet’s Alter Ego Gallery, Brooklyn, NY 2007 The Majic Stick, curated by Derrick Adams, Rush Arts Gallery, New York, NY The Boomerang Series, Colored Illustrations/One Person Exhibition: “The Sharing Secret” Children’s Book, The Children’s Museum of the Arts, New York, NY 2006 Urban Portraits/Exalt Fundraiser Benefit, Rush Arts Gallery, New York, NY Couture-Hustle, Steele Life Gallery, Chicago, IL 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 2004 The Great Lovely: From the Ghetto to the Sunshine, curated by Hanne -
For Immediate Release
For immediate release WARHOL: Monumental Series Make Premiere in Asia Yuz Museum Presents in Shanghai ANDY WARHOL, SHADOWS In collaboration with Dia Art Foundation, New York “I had seen Andy Warhol shows,but I was shocked when seeing more than a hundred of large paintings ! I felt so much respect for Warhol then and I was totally emotional in front of these Shadows: the first time shown as a complete piece as the original concept of Warhol. ” - Budi Tek, founder of Yuz Museum and Yuz Foundation -- -“a monument to impermanence” made by the “King of Pop”; - the most mysterious work of Warhol that offers profound and immersive experiences; - another ground-breaking one-piece work after the Rain Room at Yuz Museum; an important work from the collection of Dia Art Foundation; - Asian premiere after touring world’s top museums New York Dia: Beacon, Paris Museum of Modern Art and Bilbao Guggenheim; - a conversation between 1970s’Shadows and young artists of OVERPOP after 2010 -- Yuz Museum is proud to organize for the first time in Asia, the Chinese premiere of Shadows by Andy Warhol: “a monument to impermanence” (Holland Cotter, New-York Times). Shadows is valued as the most mysterious work by Andy Warhol, the most influential artist of the 20th century, “the King of Pop”, that shows the unknown side of the artist. The exhibition is presented in collaboration with the globally acclaimed Dia Art Foundation, New York. It opens at Yuz Museum, Shanghai on Saturday, 29th October, 2016. In 1978, at age 50, Andy Warhol embarked upon the production of a monumental body of work titled Shadows with the assistance of his entourage at the Factory. -
Blinky Palermo.Pdf
Blinky Palermo To the People of New York City September 15, 2018–March 9, 2019 Dia:Chelsea 545 West 22nd Street New York City www.diaart.org Blinky Palermo To the People of New York City To the People of New York City is Blinky Palermo’s last work. It was completed in 1976 upon the artist’s return to Germany, following a three-year stay in New York City. The title for this painting in multiple parts is derived from a simple dedication, “To the people of N.Y.C.,” inscribed on the backs of the work’s forty aluminum panels. In scale, size, chromatic variation, and structure, To the People of New York City is unparalleled in the artist’s oeuvre. Palermo died suddenly in 1977 and was never able to oversee a public installation of this work. However, he left detailed instructions for To the People of New York City’s arrangement in the form of sixteen preparatory studies (presented here in an adjacent gallery). The last of these sketches illustrates each of the painted panels in sequential order, providing a codex for this immersive installation. Each of To the People of New York City’s fifteen sections consists of one to four rectilinear metal panels with variable space between the set, such that the distance between the panels of the groupings must be equal to their respective width. Part VI is the only exception to this rule. It includes two panels that directly abut each other to form the illusion of a single panel. The dimensions of the panels fluctuate from about 8¼ by 6¼ inches to 49¼ by 43¼ inches to 39½ by 78¾ inches, so that the installation can be expanded or contracted to be shown in different spaces while maintaining its internal logic. -
Primordial Beginnings December 1, 2020 – January 9, 2021
FOR IMMEDIATE RELEASE Robert Smithson Primordial Beginnings December 1, 2020 – January 9, 2021 Galerie Marian Goodman, Paris and Holt/Smithson Foundation are pleased to announce the first exhibition of Robert Smithson at the Gallery, open from December 1, 2020 to January 9, 2021. Born in Passaic, New Jersey, Robert Smithson (1938-73) recalibrated the possibilities of art. For over fifty years his work and ideas have influenced artists and thinkers, building the ground from which contemporary art has grown. Primordial Beginnings will investigate Smithson’s exploration of, as he said in 1972, “origins and primordial beginnings, […] the archetypal nature of things.” This careful selection of works on paper will demonstrate how Smithson worked as, to use his words, a geological agent. He presciently explored the impact of human beings on the surface of our planet. The earliest works are fantastical science-fiction landscape paintings embedded in geological thinking. These rarely seen paintings from 1961 point to his later earthworks and proposals for collaborations with industry. Between 1961 and 1963 Smithson developed a series of collages showing evolving amphibians and dinosaurs. Paris in the Spring (1963) depicts a winged boy atop a Triceratops beside the Eiffel Tower, while Algae Algae (ca. 1961-63) combines paint and collage turtles in a dark green sea of words. For Smithson, landscape and its inhabitants were always undergoing change. In 1969 he started working with temporal sculptures made from gravitational flows and pours, thinking through these alluvial ideas in drawings. The first realized flow was Asphalt Rundown, in October 1969 in Rome, and the last, Partially Buried Woodshed, on the campus of Kent State University in Ohio in January 1970. -
Calder / Miró Constellations
For Immediate Release Calder / Miró Constellations Pace Gallery Acquavella Galleries 32 East 57th Street, New York 18 East 79th Street, New York April 20 – June 30, 2017 April 20 – May 26, 2017 Joint Opening Reception: Wednesday, April 19, 5:30–8 p.m. New York—Pace Gallery and Acquavella Galleries are pleased to announce "Calder / Miró: Constellations," featuring the Constellations series of Alexander Calder and Joan Miró, respectively. The distinct yet complementary presentations illuminate the startling affinities between the two artists, who at the time the series were created, were separated by the Atlantic during World War II and unable to communicate. Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series—neither of which were actually named "Constellations" by the artists themselves. Calder: Constellations will be on view from April 20 through June 30 at Pace Gallery, 32 East 57th Street, and Miró: Constellations will be on view from April 20 through May 26 at Acquavella Galleries, 18 East 79th Street. A joint opening reception will be held on Wednesday, April 19 from 5:30 to 8 p.m. at both galleries. "This exhibition will be a landmark, both in our history of documenting the achievements of Alexander Calder and in our long and productive relationship with the Acquavella Galleries," says Marc Glimcher. "The two artists tapped into a powerful artistic current, which allowed them to create these unique but resonant series, while they were totally isolated from each other. -
Lucas Samaras New York City, No-Name, Re-Do, Seductions
For Immediate Release Lucas Samaras New York City, No-Name, Re-Do, Seductions 510 West 25th Street, New York September 15 – October 21, 2017 Opening Reception: Thursday, September 14, 6 – 8 p.m. New York—Pace Gallery is pleased to announce Lucas Samaras: New York City, No-Name, Re-Do, Seductions, an exhibition of new work by the artist encompassing 184 photographs in a seven-room installation. The artist’s thirty-fifth exhibition with Pace, New York City, No-Name, Re-Do, Seductions will be on view from September 15 to October 21, 2017, at 510 West 25th Street, and an opening reception will be held on Thursday, September 14 from 6 to 8 p.m. Pace will publish a catalogue that includes a new text by Samaras to accompany the exhibition. In his over 50-year career, Lucas Samaras has pursued a wildly diverse, post-modern practice—creating drawings, furniture, paintings, installations, jewelry, sculptures, and photographs. His work in photography began with his pioneering AutoPolaroid and Photo-Transformation self-portraits, made between 1969 and 1976, which feature his costumed or disguised self as the subject and were often manipulated with added colors or abstracted renditions of his own body. Samaras’s experimentation with photography has evolved throughout his career as new technologies have emerged, and, since the early 2000s, he has focused on digital photography and video. Using Photoshop to further manipulate and challenge the representative nature of the medium, Samaras’s photographs present distorted images of everyday subjects and continue his practice of blurring the boundaries between art and life. -
Drawings from the Marron Collection to Be Copresented by Acquavella
Drawings from the Marron Collection to be copresented by Acquavella Galleries, Gagosian, and Pace Gallery at Pace’s space in East Hampton August 12–20, 2020 Pace Gallery, 68 Park Place, East Hampton, New York Ed Ruscha, Red Yellow Scream, 1964, tempera and pencil on paper, 14 3/8 × 10 3/4 inches (36.5 × 27.3 cm) © Ed Ruscha August , Acquavella Galleries, Gagosian, and Pace Gallery are pleased to announce a joint exhibition of works on paper from the esteemed Donald B. Marron Collection, belonging to one of the twentieth and twenty-first century’s most passionate and erudite collectors. The exhibition will be on view August –, , at Pace’s recently opened gallery in East Hampton, New York. In a continuation of the three galleries’ partnership with the Marron family to handle the sale of the private collection of the late Donald B. Marron, this intimate presentation offers a glimpse into the coveted Marron estate of over masterworks acquired over the course of six decades. The exhibition will feature almost forty works on paper including sketches and studies as well as fully realized paint and pastel pieces. Works on view range from early modern masterpieces by Henri Matisse, Raoul Dufy, and Fernand Léger; to nature studies by Ellsworth Kelly and an exemplary acrylic from Paul Thek’s final series; to contemporary pieces by Mamma Andersson, Leonardo Drew, Damien Hirst, Jasper Johns, and Brice Marden, among others. A focused presentation on Ed Ruscha’s typographic and image-based drawings and a selection of his inventive artist’s books will round out the exhibition. -
Nancy Holt, Sun Tunnels .Pdf
Nancy Holt Sun Tunnels, 1973–76 Internationally recognized as a pioneering work of Land art, Nancy Holt’s “The idea for Sun Tunnels became clear to me while I was in the desert watching notes Sun Tunnels (1973–76) is situated within a 40-acre plot in the Great Basin the sun rising and setting, keeping the time of the earth. Sun Tunnels can exist 1. Nancy Holt, “Sun Tunnels,” Artforum 15, no. 8 (April 1977), p. 37. 2. Ibid., p. 35. Desert in northwestern Utah. Composed of four concrete cylinders that are only in that particular place—the work evolved out of its site,” said Holt in a 3. Ibid. 18 feet in length and 9 feet in diameter, Sun Tunnels is arranged on the desert personal essay on the work, which was published in Artforum in 1977.1 She floor in an “x” pattern. During the summer and winter solstices, the four tunnels began working on Sun Tunnels in 1973 while in Amarillo, Texas. As her ideas Nancy Holt was born in 1938 in Worcester, Massachusetts, and was raised align with the angles of the rising and setting sun. Each tunnel has a different for the work developed, Holt began to search for a site in Arizona, New Mexico, in New Jersey. In 1960 she graduated from Tufts University in Medford, configuration of holes, corresponding to stars in the constellations Capricorn, and Utah. She was specifically looking for a flat desert surrounded by low Massachusetts. Shortly after, she moved to New York City and worked as an Columba, Draco, and Perseus. -
In 1979, the Museum of Modern Art in New York Presented a Modest
In 1979, the Museum of Modern Art in New York presented a modest exhibition called “Sound Art.” The museum’s small media art gallery could only accommodate one artwork at a time, so the three works in the show, by Maggi Payne, Connie Beckley, and Julia Heyward, took turns on display. “‘Sound art’ pieces are more closely allied to art than to music, and are usually presented in the museum, gallery, or alternative space,” the exhibition’s curator, Barbara London, said in a statement at the time. In essence, London had helped define a medium that was newly emergent back then, but her explanation offered few parameters—which was exactly the point. Anything aural— radio art, spoken word poetry, the chiming of clocks, even silence itself—was game. The 1983 show “Sound/Art” at the SculptureCenter in New York City helped expand the canon of sound artists, and since then, new technologies have brought in new artists, who have helped make the medium one of the defining ones for right now. Below, a look back at 11 essential sound artworks. Luigi Russolo, Gran Concerto Futuristico (1917) Luigi Russolo is may be best known as a painter associated with the Futurist movement in Italy, but he’s also considered one of the first experimental noise artists, if not the very first one altogether. He invented and built acoustic noise-generating devices called Intonarumori (meaning “noise makers” in Italian) inspired by the factory clatter and the booming of guns from World War I. In 1913, he released the manifesto The Art of Noises, in which he argued that the evolution of the urban industrial soundscape has necessitated new approaches to music. -
Hyperobjects for Artists
Hyperobjects for Artists A reader, edited by Timothy Morton and Laura Copelin with Peyton Gardner Table of Contents: 01 Timothy Morton 02 Brenda Hillman * 03 Ester Partegas 04 Kim Stanley Robinson 05 Heather Davis 06 TVGOV 07 Joan Naviyuk Kane * 08 Charles Mary Kubricht 09 Marc von Schlegell 10 Olafur Eliason * 11 Ester Partegas 12 Candice Lin 13 Joan Naviyuk Kane 14 Beatriz Cortez * 15 Ester Partegas 16 Lynn Xu 17 Jennifer Walshe 18 Timothy Donnelley 19 Ursula K. Le Guin 20 Kathelin Gray Contributors Acknowledgements Sources and Copyright *Artworks Chapter One Timothy Morton Hyperobjects and Creativity A hyperobject is a name I invented for something that is so vastly distributed in time and space, relative to the observer, that we might not think it’s even an object at all. It’s good to have a word for things that are now only too thinkable, if not totally visible—global warming, radiation, the biosphere… Words enable you to think. Stabilizing all kinds of intense and novel feelings and sensations in a word allows for a release of (creative) energy, because you don’t have to keep on figuring the basic coordinates out—you have a word, which means things are capable of being figured out, seen… This doesn’t make everything all right, of course, but it does mean that the way you undergo the gigantic things that structure your life, from hurricanes to the mass mobilization algorithms we call social media (a phrase that begins to sound like “military intelligence”), doesn’t take up all your spare psychic processing power. -
Wexner Center for the Arts, the Multidisciplinary Contemporary Art Laboratory at the Ohio State University
Kelly Kivland named Chief Curator & Director of Exhibitions May 6, 2021—Columbus, OH—Beginning August 2, 2021, Kelly Kivland will be the Chief Curator & Director of Exhibitions for the Wexner Center for the Arts, the multidisciplinary contemporary art laboratory at The Ohio State University. Kivland comes to the center from Dia Art Foundation in New York, where as Curator she has been integral in guiding the programmatic vision across multiple spaces. She’s been with the foundation since 2011, having worked her way up over the past decade from the position of Curatorial Associate. At Dia, Kivland has organized exhibitions, led commissions, and produced public programs such as the Artists on Artists Lecture series. Her curatorial work there includes solo exhibitions and projects focused on Nancy Holt, Isabel Lewis, Steve Paxton, and Joëlle Tuerlinckx, as well as upcoming single-artist shows at Dia with Maren Hassinger and Joan Jonas. Recent projects include the acclaimed installation Party/After-Party by Carl Craig, as well as the digital commission May amnesia never kiss us on the mouth by Basel Abbas and Ruanne Abou-Rahme. Kivland has authored numerous essays, catalogues, and other publications in conjunction with these efforts. She has also overseen partnerships to steward two permanent works of Land Art that are part of Dia's collection: Nancy Holt’s Sun Tunnels and Robert Smithson’s Spiral Jetty. Throughout Kivland’s career are instances of the curator expanding her collaborations with artists practicing in a variety of disciplines, along with numerous stints as a guest critic, juror, lecturer, and panelist. She’s worked with organizations and institutions in the US and abroad including the Electronic Arts Intermix (EAI); the Pew Center for Arts & Heritage, and the Walker Art Center; and is currently on the board of the biannual journal Fence. -
Qiu Xiaofei Fade Out
Qiu Xiaofei Fade Out Itaewon-ro 262, Yongsan-gu, Seoul 11 December 2018 – 23 February 2019 Opening Reception: Tuesday 11 December, 5 – 7 p.m. Seoul—Pace is honored to announce Fade Out, a solo exhibition of work by Chinese artist Qiu Xiaofei. Qiu held his first Korean exhibition at Seoul’s Doosan Art Center in 2009. Now, a decade later, the artist will display a new series of work through which he has continued his exploration and contemplation of the art of painting. The exhibition will be on view from December 11, 2018 through February 23, 2019, with an opening reception in the presence of the artist on the evening of December 11, from 5:00 to 7:00 PM. A representative figure of China's New Generation artists, Qiu Xiaofei takes a cognitive approach to painting, focusing on the effects that color and visual images have on the mind and consciousness. Unlike other recent exhibitions of the artist’s work, Fade Out is a structured presentation: four gray- green toned oil paintings, placed among several small-format landscapes and works on paper, are arranged along six powder blue walls, the color of which gradually deepens as if the light is slowly moving across the space. Two pieces, Farewell 1 and Farewell 2, occupy the focal point of the exhibition hall; in these paintings, enigma-like figures and landscapes emerge from the gloom. The small landscape paintings interspersed between them, Evening Mist and Afterglow, provide viewers with anchor points for mood, and also hint at the sunlight’s gradual retreat.