Screening Guides to the Sixth Season
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Omer Fast: Nostalgia
Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Stephen Soba New York, NY 10021 Molly Gross whitney.org/press Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] NOSTALGIA, BY BUCKSBAUM AWARD-WINNER OMER FAST, RECEIVES NEW YORK DEBUT AT THE WHITNEY Nostalgia III (production still), 2009 Super 16mm film transferred to high-definition video, color, sound; 32:48 minutes Photograph by Thierry Bal; courtesy gb agency, Paris; Postmasters, New York; and Arratia, Beer, Berlin. NEW YORK, November 18, 2009 – Omer Fast: Nostalgia is a new three-part film and video installation that continues Fast's fascination with exploring configurations of fact and fiction through narrative and filmic constructions, intertwining modes of documentary and dramatization. In this exhibition, organized by Tina Kukielski, senior curatorial assistant, the work receives its New York debut at the Whitney Museum of American Art, where it will be seen from December 10, 2009, through February 14, 2010. It is presented as part of the 2008 Bucksbaum Award, conferred on Fast for significant contributions to the visual arts in the United States. Endowed by Whitney Trustee Melva Bucksbaum and her family, the Bucksbaum Award is given every two years to an artist chosen from the Museum’s Biennial exhibition. (The next recipient will be selected from among the artists in the 2010 Whitney Biennial, which opens to the public on February 25.) Nostalgia (2009) begins with a fragment from an interview between the artist and an African refugee seeking asylum in London, during which the artist/interviewer is told how the refugee built a trap for catching a partridge back home in his native Nigeria. -
Contempoary & African Art Collection
CONTEMPOARY & AFRICAN ART COLLECTION El Anatsui Old Man’s Cloth 2003 Aluminum and copper wire 192 × 216 in. (487.7 × 548.6 cm) Museum purchase, funds provided by friends of the Harn Museum 2005.37 El Anatsui has lived and worked in Nigeria since 1975. Over the past decade, he has emerged as one of Africa’s most widely acclaimed and influential contemporary artists. Anatsui has worked in several media, but he is best known for his luminous metal sculpture constructed from recycled bottle tops. Large in scale and rich in color, these “cloths” are stunning works that suggest the power and opulence of royalty. Nonetheless, the artist’s work is deeply embedded in the challenging social conditions and political realities of Africa. Anatsui’s Old Man’s Cloth is inspired in part by kente cloth, the royal and ceremonial strip-woven cloth made by the Asante and Ewe people of Ghana and Togo. Kente cloth is hand-woven into four- to eight-inch strips that are subsequently cut into smaller pieces and sewn together to form a single cloth with a unique geometrical pattern. Color and design convey specific meanings. Anatsui uses a similar process; however, the fragments that constitute his work are the flattened tops of recycled liquor bottles created by Nigerian distilleries. Names such as Chairman, Dark Sailor, and King Salomon are printed on the labels—words that evoke and relate to the history of liquor imports by Europeans from the West Indies to Africa. The bottles recall the colonial trade in slaves and commodities. Anatsui’s eye is also on the consumerist drive of globalization and economic imbalances that leave Africa in crushing poverty and its people seeking solace in drink. -
Oral History Interview with Rackstraw Downes, 2016 April 10-11
Oral history interview with Rackstraw Downes, 2016 April 10-11 Funding for this interview was provided by the Lichtenberg Family Foundation. 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 Rackstraw Downes on April 10 and 11, 2016. The interview took place at Downes' Studio in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Rackstraw Downes and James McElhinney have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. 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 JAMES MCELHINNEY: Okay. This James McElhinney speaking with Rackstraw Downes at his home in New York on Sunday April 10, 2016. Good afternoon. RACKSTRAW DOWNES: Good afternoon to you. MR. MCELHINNEY: So you've just returned from Texas? MR. DOWNES: That is correct. MR. MCELHINNEY: How long have you been in Presidiooh ? MR. DOWNES: Well about 15 years I would say; 12 or 15 years I'm not quite certain. I could look it up and figure it out. MR. MCELHINNEY: Not just, but a while at this point. MR. DOWNES: A while, yes many winters; I go only in the winter for five months. MR. MCELHINNEY: That's a wonderful part of the country; I don't think many people go there; it's near Big Bend and— MR. -
Plimack Mangold Selected Biography
1 2021 SYLVIA PLIMACK MANGOLD SELECTED BIOGRAPHY 1938 Born in New York 1956-1959 Cooper Union, New York 1959-1961 BFA, Yale University, New Haven, CT The artist lives and works in Washingtonville, NY AWARDS 1974 National Endowment for the Arts Fellowship 2006 Edwin P. Palmer Memorial Prize, National Academy Museum, New York 2009 William A. Paton Prize, National Academy Museum, New York Cooper Union President's Citation for Art, New York ONE-PERSON EXHIBITIONS 2021 Sylvia Plimack Mangold: The Pin Oak, 1985-2015, Krakow Witkin Gallery, Boston 2018 Sylvia Plimack Mangold: Winter Trees, Brooke Alexander, New York 2017 Summer and Winter, Alexander and Bonin, New York 2016 Sylvia Plimack Mangold: Floors and Rulers, 1967-76, Craig F. Starr Gallery, New York 2012-2013 Sylvia Plimack Mangold: Landscape and Trees, Norton Museum of Art, West Palm Beach, FL 2012 Recent Works, Alexander and Bonin, New York 2007 Sylvia Plimack Mangold, Alexander and Bonin, New York; Annemarie Verna Galerie, Zürich 2003 Sylvia Plimack Mangold: recent paintings and watercolors, Alexander and Bonin, New York 2000 Sylvia Plimack Mangold, Alexander and Bonin, New York 1999 Sylvia Plimack Mangold: Trees, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY 1997 New Paintings and Watercolors, Annemarie Verna Galerie, Zürich 1995 Sylvia Plimack Mangold, Paintings, 1990-1995, Brooke Alexander, New York 1994-1996 The Paintings of Sylvia Plimack Mangold, Albright-Knox Art Gallery, Buffalo, NY; Wadsworth Atheneum, Hartford, CT; Blaffer Art Museum, University of Houston; -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
FOR IMMEDIATE RELEASE “An Exchange With
c FOR IMMEDIATE RELEASE “An Exchange with Sol LeWitt” A two-part exhibition presented by Cabinet and MASS MoCA Curated by Regine Basha Cabinet: January 21, 2011 – March 5, 2011 (opening reception Thursday, January 20, 7–9 pm) MASS MoCA: January 23, 2011 – March 31, 2011 (opening reception Saturday, January 22, 7–9 pm) Paul Ramirez Jonas, Boarding Pass, 2010. Courtesy Paul Ramirez Jonas. Although celebrated for the revolutionary role he played in the development of both Conceptualism and Minimalism, Sol LeWitt was also renowned for his exchanges of artwork with various artists throughout his lifetime. For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. In addition to encouraging the circulation of artworks through a gift economy that challenged the art world’s dominant economic model, LeWitt’s exchanges with friends and strangers have the same qualities of generosity and risk that characterized his work in general. In the spirit of continuing the artist’s lifelong philosophy of open exchange, and in conjunction with the “LeWitt Wall Drawing Retrospective” on view at MASS MoCA through 2033, MASS MoCA and Cabinet present “An Exchange with Sol LeWitt”—a curatorial project initiated by independent curator Regine 300 Nevins Street Brooklyn New York 11217 Tel: +1 718 222 8434 Fax: +1 718 222 3700 www.cabinetmagazine.org Basha. The two-part exhibition will be on view at Cabinet from January 21 through March 5, 2011 and in MASS MoCA’s Prints and Drawings Gallery from January 23 through March 31, 2011. -
SPELGBTQ Resource Guide
SPELGBTQ Resource Guide Spring 2019 ARTISTS Braden Summers // Portraits, Culture // slrlounge.com/love-equal-braden-summers Braden Summers is a photographer who aims to capture dignified representations of LGBT people all over the world. Citing media misrepresentation of the LGBT community as a catalyst for his recent work, Summers’ “All Love is Equal” showcases love instead of stereotype. Cassils // Self-Portraits, Performance // cassils.net/about-2/ Cassils is an American artist who draws on “conceptualism, feminism, body art, and gay male aesthetics”, in order to “construct a visual critique around ideologies and histories.” Cassils uses live performance, film, sound, sculpture, and photography as a way to use the human body as a vehicle for social sculpture. Catherine Opie // Portraits, Self-Portraits, Landscape // art21.org/artist/catherine-opie/ Opie is an American photographer who uses portraiture and landscape as a way to investigate “the ways in which photographs both document and give voice to social phenomena in America today.” Chad States // Portraits, Multimedia // chadstates.com/ Chad States is an American photographer that explores masculinity by working with subjects he contacts through online platforms such as Craigslist. State’s interdisciplinary work examines the complex systems that produce myriad complex answers to the question, “Are you masculine?” Chloe Meynier // Portraits // chloemeynier.com/ After completing a PhD in Cognitive Psychology, Chloe Meynier began their photography practice as their “way to actively contribute to society.” In their work they use self-portraiture as a methodology to “explore different societal issues like violence against women, women's roles, and gender identity issues.” Claude Cahun // Self-Portraits // moma.org/learn/moma_learning/claude-cahun Born on the Isle of Jersey, artist and writer Claude Cahun created provocative self-portraits that explore the complex relationship between photography, identity, and representation. -
Oral History Interview with Robert Mangold, 2017 November 16
Oral history interview with Robert Mangold, 2017 November 16 Funding for this interview was provided by Janice Oresman. 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 Robert Mangold, conducted by Christopher Lyon for the Archives of American Art, at the artist's studio in Washingtonville, New York on November 16, 2017. This transcript has been reviewed and edited by Robert Mangold and Christopher Lyon. Their corrections and emendations appear below in brackets with initials. The 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 CHRISTOPHER LYON: This is Christopher Lyon. I am with Robert Mangold in his studio in Washingtonville, New York. It's November 16, 2017. Good morning, and thank you for doing this. ROBERT MANGOLD: Well, good morning to you. CHRISTOPHER LYON: So, just to reiterate, I would like to keep the ball in your court as much as possible. What I find fascinating and hope we can talk about from various angles is your investigation, your exploration, whatever the best word would be, of how paintings communicate, in terms of all their parameters: color, scale, line, and so on. You've looked at a whole range of perceptual issues in relation to your work, but at the same time, you explored at great depth the many ways that the physical manifestation of a painting can be expressive. -
The Politics of Urban Cultural Policy Global
THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12. -
Catherine Opie
CATHERINE OPIE: PORTRAITS AND LANDSCAPES OPENS MAY 16 NEW WORK BY THE SEMINAL AMERICAN PHOTOGRAPHER INCLUDES PORTRAITS OF MATTHEW BARNEY, KARA WALKER, JOHN BALDESSARI, JONATHAN FRANZEN, DIANA NYAD, AND MIRANDA JULY Columbus, OH—January 22, 2015—Opening in May, the Wexner Center for the Arts will present Catherine Opie: Portraits and Landscapes, an exhibition of approximately 50 recent works by the influential American photographer. Featuring formal portraits of Opie’s family and friends and nearly abstract views of landscape, the series draws upon the traditions of classical painting and the artist’s longstanding interest in American nature photography. Among the portraits’ subjects—“friends and people that I admire,” according to Opie—are visual artists Kara Walker, Matthew Barney, John Baldessari, Glenn Ligon, performers Elizabeth Streb, Ron Athey, Miranda July, Olympic athlete Diana Nyad, and writers Hamza Walker, Hilton Als, and Jonathan Franzen. Opie will also adapt one of the landscapes featured in the show so that it will fully cover the Catherine Opie, Mary, 2012 30-foot-long wall adjacent to the Wexner Center’s café. Pigment print 33 x 25 in. Organized by Wexner Center Curator at Large Bill Horrigan, © Catherine Opie, Image Courtesy of the exhibition unites various elements of Opie’s practice, Regen Projects, Los Angeles highlighting the particularities of portraiture along with the ethereal space of abstracted landscapes. The portraits, which employ classical compositions, theatrical lighting, and saturated color to render the faces and expressions of the subjects in intimate detail, hint at a tension between interior realities and external presentations. In contrast to the personal quality of the portraits, the series’ abstracted landscape photographs articulate space as a haze of blurred light and color. -
Rackstraw Downes
RACKSTRAW DOWNES 1939 Born in Kent, England 1961 BA in English Literature, Cambridge University, England 1961-62 English-Speaking Union Traveling Fellowship 1963-64 BFA and MFA in Painting, Yale University, New Haven, Connecticut 1964-65 Post-Graduate Fellowship. University of Pennsylvania 1967-79 Teaches painting at the University of Pennsylvania 1969 Marjorie Heilman Visiting Artist, Swarthmore College, Swarthmore, Pennsylvania 1971 Yaddo Residence Fellowship 1974 Ingram Merrill Fellowship 1978 CAPS 1980 National Endowment for the Arts Grant 1989 Academy-Institute Award, American Academy and Institute of Arts and Letters 1998 John Simon Guggenheim Memorial Fellowship 1999 Inducted into the American Academy and Institute of Arts and Letters 2009 Delivered Ninth Annual Raymond Lecture for the Archives of American Art 2009 The John D. and Catherine T. MacArthur Foundation Fellowship The artist lives and works in New York City and Presidio, Texas Solo Exhibitions 2018 Rackstraw Downes, Betty Cuningham Gallery, New York, NY, Sept 5-Oct 14 2014 Rackstraw Downes, Betty Cuningham Gallery, New York, NY, April 3- May 3 2012 Rackstraw Downes, Betty Cuningham Gallery, New York, NY, Oct. 11 – Nov. 24 2010-11 Rackstraw Downes: Onsite Paintings, 1974–2009, The Parrish Art Museum, Southampton, New York; travels to: Portland Museum of Art, Portland, ME; Weatherspoon Art Museum, Greensboro, NC Rackstraw Downes: Under the Westside Highway, The Aldrich Contemporary Art Museum, Ridgefield, CT 2010 Rackstraw Downes: A Selection of Drawings 1980-2010, Betty -
Unpacking My Collection
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Unpacking My Collection Newell Marcel Harry University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Harry, Newell Marcel, Unpacking My Collection, Doctor of Creative Arts thesis, School of the Arts, English & Media, University of Wollongong, 2019. https://ro.uow.edu.au/theses1/794 Research Online is the open access institutional repository for the University of Wollongong.