Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art
“Graphicstudio: Uncommon Practice at USF” is the most ambitious and comprehensive show to feature works from the workshop since the survey exhibition of the early years of Graphicstudio at the National Gallery of Art in Washington D.C. in 1991. The exhibit features forty-five years of more than 110 original works by an international array of 45 of the 108 artists who have worked in residence at Graphicstudio.
On view February 1 through May 18, 2014, this exhibition was co-organized by the Tampa Museum of Art and the USF Contemporary Art Museum and curated by Jade Dellinger.
Highlighting both technical and conceptual breakthroughs, the exhibition includes seminal works spanning Graphicstudio’s forty-five year history (by Robert Rauschenberg, Jim Rosenquist, Ed Ruscha, Allan McCollum, Louise Bourgeois, Jim Dine, and others) with some of its most recent collaborative endeavors by (Christian Marclay, Mark Dion, Teresita Fernández, Los Carpinteros, and Trenton Doyle Hancock).
According to Margaret Miller, the Director of Institute for Research in Art – Contemporary Art Museum and Graphicstudio, the exhibition is an opportunity for viewers to see a survey of works that represent leading international artists and affirms that printmaking is a primary medium for many contemporary artists. The exhibition chronicles several aesthetic and technical conversations among artists of different generations. Often times, it is the invention of a new technology that transfixes the artists in residence. As former director, Alan Eaker noted, “It has always been the primary concern of Graphicstudio to make art that was phenomenal and along the way develop the technology to accomplish it.”
Founded in 1968 as a non-profit, university-based, collaborative art making facility, Graphicstudio remains unique in its commitment to aesthetic and technical research in the visual arts. Leading artists are invited to work in the state-of-the-art studios in collaboration with expert artisans to create works on paper – including lithographs, etchings, photogravures, digital images, books – and sculpture multiples in a variety of materials.
Chuck Close Self Portrait/Photogravure, 54 1/4″ x 40 5/8″ (2005) copyright USF Graphicstudio Photo: Will Lytch Vic Muniz Jorge photogravure on silk colle 52 1/4″ x 41 1/2″ 2003 copyright USF Graphicstudio Photo: Will Lytch Christian Marclay Actions: Skutch! Splash! (No.1) hand painting by artist with screenprint copyright USF Graphicstudio Photo: Will Lytch Courtesy of the artist and Marianne Boesky Gallery, NY copyright Diana-Al-Hadid Photo: Jason Wyche “Graphicstudio: Uncommon Practice at USF” February 1, 2014 – May 18, 2014 Tampa Museum of Art Tampa, Florida
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Profile 111 Christopher Williams: The Production Line of Happiness at the Art Institute of Chicago
With a career spanning 35 years, Christopher Williams (born 1956) now stands as one of the leading contemporary artists engaged in photography. Deeply invested in the techniques and history of photography, Williams is just as profoundly committed to contemporary art as a forum for intellectual inquiry and thoughtful opposition—resisting, for example, a capitalist society in which photographs typically act as agents of consumer spectacle. Through exacting mimicry—and stunningly beautiful images—Williams’s work has subtly questioned the conventions of photojournalism, picture archives, fashion, and commercial imaging. This exhibition—a multipart installation conceived by the artist that spans three gallery spaces on three floors of the museum—is Williams’s first retrospective. It also marks a homecoming for the artist, who had his first-ever museum showing in 1982 at the Art Institute.
The survey begins with films from Williams’s studies at the California Institute of the Arts, where he earned his MFA in 1981 and took classes with John Baldessari and Michael Asher. Alongside the films and SOURCE (1981), Williams’s first mature work, is a classic early piece, Angola to Vietnam* (1989), shown in its 27-part entirety, as well as works of the 1990s, mainly from For Example: Die Welt ist schön (1993–2001), an eight-year project inspired in part by the 1920s photographs of Albert Renger-Patzsch. This part of the exhibition is presented in the photography galleries in the historic building, which the artist is transforming through interventions to the modular wall system.
The Modern Wing’s Bucksbaum Gallery for Photography displays a single photograph, a key piece in which Williams first made clear his conception of photographs as a form of installation art, Bouquet for Bas Jan Ader and Christopher d’Arcangelo (1991). Extensive selections from Williams’s ongoing project, For Example: Dix-huit Leçons sur la société industrielle (begun in 2004), are presented in the architecture and design galleries on the second floor of the Modern Wing.
After its debut at the Art Institute, the exhibition will travel to the Museum of Modern Art, New York, and the Whitechapel Gallery, London.
Fachhochschule Aachen, Fachbereich Gestaltung, Studiengang: Visuelle Kommunikation, Fotolabor für Studenten, Boxgraben 100, Aachen, November 8, 2010, 2010. The Museum of Modern Art, New York, Committee on Photography Fund. © Christopher Williams. Bergische Bauernscheune, Junkersholz, Leichlingen, September 29, 2009. The Museum of Modern Art, New York, Committee on Photography Fund. © Christopher Williams. Christopher Williams. Pacific Sea Nettle, Chrysaora Melanaster, Long Beach Aquarium of the Pacific, 100 Aquarium Way, Long Beach California, July 9, 2008. Collection of Constance R. Caplan. © Christopher Williams. Bouquet for Bas Jan Ader & Christopher D’Arcangelo, 1991. Lorrin and Deane Wong Family Trust, Los Angeles. © Christopher Williams.
Christopher Williams: The Production Line of Happiness January 25, 2014 – May 18, 2014 The Art Institute of Chicago Chicago, IL
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Ultra Thin Profile: 102UT Type: Ultra Thin Gallery Frames Wood & Finish: ash wood frame with black finish (extra gloss) Purchasing Option: joined wood frame with matching splines Framing Advice: fitting gallery frames Observing Vermont Architecture Middlebury College Museum of Art
Observing Vermont Architecture features some one hundred photographs by Curtis B. Johnson selected to accompany the newly published Buildings of Vermont co-authored by Johnson and Glenn M. Andres. Curated by the authors, the exhibition celebrates an architectural heritage that has made Vermont the only state in the Union to be designated in its entirety as a national treasure by the National Trust for Historic Preservation.
Beyond Vermont’s famously wonderful and evocative meeting houses and barns, its villages, cities, and landscapes present a remarkably intact and comprehensive microcosm of the American building experience from revolutionary times to the present. Major national and regional architects and talented master builders have drawn upon the state’s abundant building materials—wood, stone, brick, marble, slate, and granite—to create structures in high style as well as regional vernaculars. The buildings may be more modest in scale and pretension than those found elsewhere, but they are of no lesser quality, and they and their settings are often better preserved. They represent technical limitations and innovations, and they chronicle social and economic developments. Mainstream or idiosyncratic, they also embody a story of Vermont’s regional values, cultural imagery and local ambitions.
The study from which they have been drawn is part of a national series, The Buildings of the United States, sponsored by the Society of Architectural Historians. Twenty years in the making, it represents a culling of some forty thousand buildings on the State and National Registers to arrive at approximately six hundred and fifty examples that can tell the built story of the state from its earliest days to the present. They have been selected to represent Vermont’s every region, historic period, and genre of building—from the grand to the humble.
Crossett Library, 1957—59, Pietro Belluschi with Carl Koch and Associates; Sasaki Associates, landscape, North Chittenden Roller Mills, Bennington. (Photo: Curtis 1856—1885, Jericho village. Johnson) (Photo: Curtis Johnson) Grassemount, 1804, John Johnson and Abram Stevens; 1824, 1856 additions, Immaculate Heart of Mary, Burlington. (Photo: Curtis 1892, George Guernsey, City of Johnson) Rutland. (Photo: Curtis Johnson)
Hewett Barn, 1859, Justin Downtown City of Rutland, Bugbee (builder), Pomfret. 1852—1930. (Photo: Curtis (Photo: Curtis Johnson) Johnson) “Observing Vermont Architecture” January 7, 2014 – March 23, 2014 Middlebury College Museum Of Art Middlebury, VT METRO GALLERY FRAME
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The Sochi Project: An Atlas of War and Tourism in the Caucasus at DePaul Museum of Art Photographer Rob Hornstra and journalist Arnold van Bruggen are documenting the rapidly-changing region around Sochi, a former Soviet resort on the Black Sea, which is preparing to host the 2014 Winter Olympics. The exhibition at the DePaul Art Museum shows extraordinary photos, together with interviews and films, recording a complicated mix of parallel realities as a massive but temporary international event descends and disappears.
Sochi is the Florida of Russia, but cheaper. It is famous for its subtropical vegetation, hotels and sanatoria. People from all over the Soviet Union associate the coastal city with beach holidays and first loves. The smell of sunscreen, sweat, alcohol and roasting meat pervades the air. Nothing happens here in the winter. But that’s about to change. The Winter Games are coming to town.
The ice skating venues in the old summer capital of Sochi resemble spaceships that have landed on the coast. The most expensive road in the world now links these venues with the ski resorts in the mountains. The Games in Sochi are the most expensive ever organised. But the workers at the bottom of the food chain are rarely paid. Local residents are sceptical.
More than five years have passed since Abkhazia officially gained independence in 2008, but almost nothing in the country has changed. The Olympics have had no impact on tourism and the leadership appears to want to do little about it. A few new houses, roads, schools and amenities have been built, but otherwise Abkhazia seems to stand still – as Sochi 2014 approaches.
In the run-up to the Olympic Games, security forces have been given a free hand in the North Caucasus. An attack in Sochi has to be avoided at all cost. Human rights organisations and lawyers are working overtime. Young men in particular are kidnapped, disappear or are thrown in jail on trumped-up charges. Terrorists commit seemingly random attacks on police and civilians.
All the test events and championships in Sochi have been declared successful. The stadiums are finished. Let the Games begin! But with only months to go before the opening ceremony, reports have surfaced that North Caucasian militants in Syria are being urged to return home and continue fighting in Russia and Sochi. Campaigns have been launched around the world in protest against Putin’s repressive government. Human rights activists are calling for demonstrations at the Olympics themselves to protest new Russian laws on homosexuality. Cracks are beginning to appear in Putin’s prestige project.
“The Sochi Project: An Atlas of War and Tourism in the Caucasus” January 9, 2014 – March 23, 2014 DePaul Art Museum, Chicago, IL
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Thin Profile: 102 Type: Thin Gallery Frame Wood & Finish: maple wood frame with black opaque finish Purchasing Options: joined wood frame with splines Framing Advice: fitting gallery frames Laurie Frick: Walking, Eating, Sleeping
Laurie Frick opens an exhibit at the Marfa Contemporary Gallery “Walking, Eating, Sleeping” and it takes an obsessive, quantitative look at daily life, drawing on Frick’s background in engineering and technology.The artwork of Laurie Frick explores the intersection of technology and creativity as the artist herself adopts a daily regimen of self-tracking that measures her activities and body. In doing so, she shapes a vocabulary of pattern used to construct her intricately hand- built works and installations. Her quantifiable patterns, like her heart rate, the duration of her sleep or body weight are some of the metrics that inspire her colorful and complex works. “Numbers are abstract concepts but we recognize pattern intuitively. I’m experimenting with wall size patterns that anticipate the condition of our daily-selves. Very soon walls and spaces we occupy will be filled with easy to decode patterns – a visual record of how we feel, stress level, mood, bio-function captured, digitally recorded and physically produced using 3D printers and lasercutters. Human data portraits transcribed as pattern from the all the sensor data collected about us.Will it kill the mystery of being human, simply magnify our defects or will sensors and a mass of measurements acknowledge and present patterns of self- examination that lure us into a future of self-quantification that is irresistible?” Laurie Frick is a TED Award winner.
Laurie Frick: Walking, Eating, Sleeping September 10 – Janaury 3, 2014 Artist Talk Sunday Oct 13 at 11.30 am Marfa Contemporary Marfa, TX 79843
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Audubon and the Art of Birds
The Bell Museum will debut Audubon and the Art of Birds, an exhibition that explores the human fascination with birds, and showcases one of the museum’s most valuable treasures: a double-elephant folio edition of John James Audubon’s Birds of America. The rare collection of hand-colored engravings was donated to the Bell Museum in 1928.
John James Audubon (1785-1851) is one of the most enduring figures in American art and culture. His biography reads like a romantic novel. Born the illegitimate son of a French sea captain in what is now Haiti, he was raised in France during the years of revolution. As a young man he came to America to seek his fortune on the western frontier. After years of struggle and business failure, Audubon decided to devote his life on his true passion, the painting of birds. In 1820, at age 35, he set out to paint every bird in America, life-size and in color.
Today, Audubon is synonymous with birds and the conservation of nature. His images revolutionized the way we view birds and the natural world. Before Audubon, artists depicted animals either as allegorical figures, or as stiff, dead specimens. Audubon’s birds are not only technically superb, with every feather and scale delineated, they reveal birds as living, dynamic creatures whose intrinsic beauty and vitality are worthy of study and preservation. Today, artists and naturalists continue to find inspiration in his work and life, and his prints are as popular as ever.
This exhibition focuses on the masterwork of American art, science and conservation – Audubon’s the Birds of America. Organized around a series of themes, the show compares the naive drawings of early naturalists such as Mark Catesby and Alexander Wilson, to the brilliant colors of Francois Levaillant’s engravings and the lavish publications by John Gould. During the 20th Century artists such as Louis Agassiz Fuertes, Francis Lee Jaques, and Roger Tory Peterson took bird art in new directions. The human fascination with birds continues today, and the show includes works by a select group of living artists, such as Lars Jonsson and Walton Ford, whose work is inspired by Audubon’s example.
The exhibition assembles over 100 prints, drawings and paintings; including a selection of newly conserved original double-elephant folio engravings from the Birds of America, and 60 to 70 works by other artists from the 1500s to the present day. The artworks are complimented with displays of antique illustrated books, specimens and artifacts, interpretive panels, hands-on exhibits and activities on bird biology. The exhibition draws upon the collections of the Bell Museum, University of Minnesota Libraries, Minneapolis Institute of Arts, Woodson Art Museum, Cornell Laboratory of Ornithology, Academy of Natural Sciences, National Museum of Wildlife Art and individual collectors and artists.
Audobon and Art of Birds October 5, 2013 to January 19, 2014 and February 1 to June 8, 2014* Bell Museum of Natural History , University of Minnesota
October 4, 2014 – Jan. 4, 2015 National Museum of Wildlife Art Jackson, WY
May 15 – July 26, 2015 Sam Noble Museum Univ. of Oklahoma, Norman, OK
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Kenneth Josephson at Stephen Daiter Gallery in Chicago
Kenneth Josephson has been a tireless pioneer of conceptual art photography since the late 1950s. He is the product of a rigorous education that began with the inspiration of the visionary Minor White at the Rochester Institute of Technology and culminating with his graduate studies under the renown teaching team of Harry Callahan and Aaron Siskind at the fabled Institute of Design, Chicago. At a time when photography was just beginning to be considered seriously by the art world and the art market, Josephson was working ahead of the curve, busy laying the groundwork for conceptual approaches to the medium that would later subvert many long held notions about the place and purpose of pictorial representation.
Josephson’s early visual experiments ran the gamut of imaginative approaches and were rooted in the highest technical standards of his craft. Before others he employed the conceits of images within images and posed questions such as what is the importance and reality of the photograph itself as a physical object. In addition, Kenneth Josephson imbued his work with a signature sensibility of humor – an application that came naturally and added dimension to the artist’s highly intentioned works. There is no mistaking Kenneth Josephson artworks for those by his other conceptually driven peers and contemporaries, such as Edward Ruscha, John Baldessari and Robert Heinecken, who were content to use photographic material, often incorporated with other media, for the production of their final works. But this appropriation of imagery was peripheral to the notion of the pure photographic process – it was Josephson’s obsession with the inherent and endless possibilities within the medium that makes him unique among them, and positions him as a master.
Kenneth Josephson Colorado 1959 | Gelatin silver print | 6 x 9 in. 1959 print. Signed, dated and annotated ´59-2-9-7´ in pencil by artist on print verso Kenneth Josephson Wisconsin 1965 | Gelatin silver print | 4.69 x 6.63 in. C. 1965 print. Signed, titled, dated and annotated ’65-5-1-2′ in pencil by artist on print verso.
Kenneth Josephson Chicago 1962 | Gelatin silver print | 4.25 x 9.06 in. c. 1962 print. Signed, titled, dated and annotated ’62-2-1-11′ in pencil by artist on print verso. Been There. Done That. September 6 – November 30, 2013 Stephen Daiter Gallery Chicago, IL
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Modern Spirit: The Art of George Morrison at the Plains Art Museum
“George Morrison’s importance to our understanding of twentieth-century Native American art is unparalleled,” says Kristin Makholm, executive director of the Minnesota Museum of American Art. “This first, comprehensive retrospective of his work will reveal how visions of identity and place play an essential role in assessing American art of the 20th century and beyond.”
The Minnesota Museum of American Art launched Modern Spirit: The Art of George Morrison, an exhibition of about 80 drawings, paintings, prints, and sculptures at the Plains Art Museum in Fargo, North Dakota on June 16, 2013. Modern Spirit surveys the prolific career of George Morrison (1919–2000), a distinctive and well-loved artist whose works bring together concepts of abstraction, landscape, and spiritual reflection and draw from his physical and spiritual homelands—speaking to both American urban settings and to the solitude of Northern Minnesota.
Modern Spirit spans the entire breadth of Morrison’s oeuvre, from early figurative drawings and Regionalist paintings of the 1940s to monumental abstract landscapes and wood sculptures of the 1970s onward. Many of the works in the exhibition draw from Morrison’s early career in New York, Providence, and Provincetown and refer to important art historical movements such as Cubism, Surrealism, and Abstract Expressionism. Modern Spirit also presents Morrison’s works from the 1970s to the 1990s, which were inspired in part by the artist’s home on the north shore of Lake Superior. This body of work includes line drawings on colored papers, sketches of constellations over Lake Superior, and several paintings of forms breaking up in front of the abstracted shoreline. In terms of technique, these later paintings—quiet, lyrical, and meditative—synthesize Impressionism with Expressionism, while retaining the artist’s trademark representation of nature, land, and the horizon.
Part of a unique collaboration between the Minnesota Museum of American Art and Minneapolis-based Arts Midwest, which helped organize and launch the exhibition, Modern Spirit will tour to five venues across the United States before closing in May 2015: Plains Art Museum (Fargo, North Dakota); Smithsonian National Museum of the American Indian (New York, New York); Eiteljorg Museum of American Indians and Western Art (Indianapolis, Indiana); Heard Museum (Phoenix, Arizona); and the Minnesota History Center (St. Paul, Minnesota).
Cumulated Landscape, 1976, wood, 48 x 120 x 3 in. Collection Minnesota Museum of American Art. Gift of Honeywell Inc. 2000.01 Untitled, 1995, colored pencil on paper, 10 5/8 x 13 5/8 in. Collection Dr. Robert and Frances Leff Spirit Path, New Day, Red Rock Variation: Lake Superior Landscape, 1990, acrylic and pastel on paper, 22 1/2 x 30 1/8 in. Collection Minnesota Museum of American Art. Sun and River, 1949, watercolor and crayon on paper, 15 3/4 x 21 in. Copyright Plains Art Museum. From the permanent collection of the Plains Art Museum, Fargo, North Dakota.
Black and White Patterned Forms, 1952, ink on paper, 10 3/4 x 8 3/8 in. Collection Minnesota Museum of American Art. Gift of George Morrison. 96.10.14
Modern Spirit: The Art of George Morrison June 16-Sept. 1, 2013 Plains Art Museum Fargo, ND 58102
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Thin Profile: 102 Type: Thin Gallery Frame Wood & Finish: maple wood frame with clear lacquer finish Purchasing Option: joined wood frame Framing Advice: fitting gallery frames 101st CAA Book and Trade Show in New York City
We are delighted to have a booth at the College
Art Association Book and Trade Fair this year in
New York City. We have been a member of the CAA for many years and always look forward to talking with the participants of the show. If you or any or your colleagues are going to the show, please stop by our booth and say hello. We would be happy to answer any of the questions you may have regarding frames and framing exhibitions.
The details:
We are at booth 214 in Americas Hall I
The Book and Trade Fair is open to attendees from: Thursday February 14 9:00 AM to 6:00
PM, Friday February 15 9:00 AM to 6:00 PM, and Saturday February 16 9:00 AM – 2:00 PM
The following highlights some of the current exhibitions we have done with members of the
CAA community. We hope you and your colleagues have or will have a chance to see some of these exhibits.
Grey Art Gallery NYU New York, NY ” Beat Memories: The Photographs of Allen Ginsberg” January 15 – April 6, 2013
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S. Tucker Cooke Gallery The University of North Carolina, Asheville, NC
“Clarence Morgan – Images of Wonder: Recent Work” February 8 – March 4, 2013
Profile: 122 Wood: Maple Finish: 05 Pickled White with black interior Acorn Gallery Clemson University, Clemson, SC “Liminal Spaces” student exhibit January 22 – February 1, 2013
Don Russell Clayton Gallery Kennesaw State University, Kennesaw, GA
“Pedro: Menaboni’s Lost Story” January 17 – May 2, 2013
Atheneum Gallery, Sturgis Library Kennesaw State University, Kennesaw, GA
“Southern Industrial Landscapes:Photographs of the Marietta Bell Bomber Plant 1942–44″ January 17 – June 21, 2013
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Snite Museum of Art University of Notre Dame, South Bend, IN
“Lines Etched with the Weight of Life: Georges Rouault’s Miserere” January 13 – March 10, 2013
South Dakota Museum of Art, South Dakota University, Brookings, SD
“Cockerline
Collection:
Prints of the
60’s, 70’s
and 80’s” January 15 – May 12, 2013
Beat Memories: The Photographs of Allen Ginsberg
Poet, mystic, and spokesman for the Beat generation, Allen Ginsberg also photographed his friends and lovers over the years. He made albums of these photos, with elaborate hand- written captions. Allen Ginsberg’s photographs will be on view at the Grey Art Gallery at NYU from January 15 – April 6, 2013.
Beat Memories: The Photographs of Allen Ginsberg © 2012 The Allen Ginsberg LLC. All rights reserved. © 2012 The Allen Ginsberg LLC. All rights reserved. © 2012 The Allen Ginsberg LLC. All rights reserved.
“Beat Memories: The Photographs of Allen Ginsberg” January 15 – April 6, 2013 Grey Art Gallery NYU, New York, NY
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