Matt Lipps CV
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Robert Heinecken CV 2021
R O B E R T H E I N E C K E N Born 1931 in Denver, CO; Died 2006 in Albuquerque, NM EDUCATION 1959 BA University of California, Los Angeles 1960 MA University of California, Los Angeles SELECT SOLO EXHIBITIONS 2019 Robert Heinecken: Mr. President… Mr. President…, Rhona Hoffman Gallery, Chicago, IL 2016 Robert Heinecken, Petzel Gallery, New York, NY 2015 Robert Heinecken, Capitain Petzel, Berlin, Germany 2014 Robert Heinecken: Lessons in Posing Subjects, WIELS Contemporary Art Centre, Brussels, Belgium Robert Heinecken: Object Matter, The Museum of Modern Art, New York, NY; Traveled to Hammer Museum, Los Angeles, CA Robert Heinecken: Lessons in Psoding Subjects, WIELS Contemporary Art Centre, Brussels, Belgium I Am Involved in Learning to Perceive and Use Light, Petzel Gallery, New York, NY 2013 Sensing the Technological Banzai, Cherry and Martin, Los Angeles, CA Newswomen Corresponding, Marc Selwyn Fine Art, Los Angeles, CA Robert Heinecken: Le Paraphotographe,Musee d’art modern et contemporain, Geneva, Switzerland 2011 Robert Heinecken: Copywork, Friedrich Petzel Gallery, New York, NY Robert Heinecken: Object Matter, Cherry and Martin, Los Angeles, CA and Marc Selwyn Fine Art, Los Angeles, CA 2008 Robert Heinecken, Marc Selwyn Fine Art, Los Angeles, CA Robert Heinecken: Dream/Circles/Cycles, Rhona Hoffman Gallery, Chicago, IL 2007 Robert Heinecken 1932–2006: Sex and Food, a Memorial Exhibition, Museum of Contemporary Photography, Chicago, IL Image as Object, Andrew Roth Gallery, New York, NY 2006 Robert Heinecken: Magazines, Smart Museum -
Architectonic Forms MAURIZIO ANZERI: Lay It on the Line
FOR IMMEDIATE RELEASE For all inquiries, please contact Irene Fung: [email protected] www.hainesgallery.com DARREN WATERSTON: Architectonic Forms MAURIZIO ANZERI: Lay it on the Line January 6 – February 25, 2017 Press Preview: Thursday, January 5, 5:00 pm Opening Reception: Thursday, January 12, 5:30 pm to 7:30 pm Haines Gallery is pleased to present two concurrent solo exhibitions, featuring new and recent works by Darren Waterston and Maurizio Anzeri. Architectonic Forms is New York-based artist Darren Waterston’s ninth solo exhibition with Haines Gallery, and follows his nationally touring installation Filthy Lucre, a reimagining of James McNeil Whistler’s eccentric masterwork of deco- rative art, the Peacock Room. Exhibited for the first time on the West Coast, Waterston’s newest body of work continues to explore the coalescence between painting and architecture in Western art history, while reflecting the artist’s sustained interest in the allegorical, alchemical and apocalyptic. In Architectonic Forms, Waterston draws directly from devotional architectural Darren Waterston, Triptych (twilight) and Predella, both 2014 structures such as Renaissance altarpieces, confessional screens and Gothic Oil on wood panel, 80 x 131 inches; 21.5 x 83.5 inches partitions, reinterpreting them as magnetic and even menacing painterly objects. Familiar religious iconography is transformed into apocalyptic land- scapes, gestural flourishes and paint-scarred surfaces characteristic of Waterston’s work. The centerpiece of the exhibition, Triptych (twilight), 2014, is based on Matthias Grünewald’s sixteenth century masterpiece, The Isenheim Altar, and casts a spectral halo from the back of its hinged panels. At once intriguing and foreboding, the works hint at something darker lurking beneath their surfaces and demonstrate paradoxical ideas of attraction and revulsion. -
February/March 2014
The PHOTO REVIEW NEWSLETTER February / March 2014 Robert Heinecken Cybill Shepherd/Phone Sex. 1992, dye bleach print on foamcore, 63"×17”. (The Robert Heinecken Trust, Chicago; courtesy Petzel Gallery, New York. © 2013 The Robert Heinecken Trust) At the Museum of Modern Art, New York Exhibitions PHILADELPHIA AREA Germán Gomez “Deconstructing Cities and Duos,” Bridgette Mayer Gallery, 709 Walnut St., Philadelphia, PA 19106, 215/413– Alien She Vox Populi, 319 N. 11th St., 3rd fl., Philadelphia, PA 8893, www.bridgettemayergallery.com, T–Sat 11–5:30 and by 19107, 215/23 8-1236, www.voxpopuligallery.org, T–Sun 12–6, appt., through February 22. March 7 – April 27. Includes photography. Graffiti, Murals, and Tattoos “Paired,” Bucks County Project Artists of a Certain Age Philadelphia Episcopal Cathedral, Gallery, 252 W. Ashland St., Doylestown, PA 18901, 267/247- 3723 Chestnut St., Philadelphia, PA 19104, 267/386-0234 x104, 6634, www.buckscountyprojectgallery.com, Th–F 12–4, F–Sat daily 10–4 and by appt., through February 28. Includes photogra- 1–5, March 8 – April 6. phy by William Brown and Arlene Love. David Graham “Thirty-Five Years / 35 Pictures,” Gallery 339, Donald E. Camp/Lydia Panas/Lori Waselchuk “Humankind,” 339 S. 21st St., Philadelphia, PA 19103, 215/731-1530, www.gal- Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041, lery339.com, T–Sat 10–6, through March 15. 610/525-0272, www.mainlineart.org, M–Th 10–8, F–Sun 10–4, through March 20. Reception, Friday, February 21, 6–8 PM. Panel Jefferson Hayman Wexler Gallery, 201 N. 3rd St., Philadelphia, Discussion and Book Signing, Wednesday, March 19, 6–8 PM. -
Marian Goodman Gallery Gabriel Orozco
MARIAN GOODMAN GALLERY GABRIEL OROZCO Born: Jalapa, Veracruz, Mexico, 1962 Education: Escuela Nacional de Arte Plasticas, U.N.A.M., Mexico City, Mexico, 1981-1984 Circulo de Bellas Artes, Madrid, Spain, 1986-1987 Awards: Honoris Causa Award, University of the Arts, Havana, Cuba, 2015 Residency, Domaine de Chaumont-sur-Loire, Loire, France, 2014-2015 BlueOrange Prize, German Cooperative Banks, Deutsche Volksbanken and Raiffeisenbanken, 2006 DAAD Artist in Residence, Berlin, Germany, 1995 Salón Nacional de Artes Plásticas, Secció Espacios Alternativos, Museo de Arte Moderno, Mexico City, Mexico, 1987 SELECTED SOLO EXHIBITIONS 2019 Gabriel Orozco, Chantal Crousel, Paris, France Gabriel Orozco, Rat Hole Gallery, Tokyo, Japan 2018 Gabriel Orozco, Marian Goodman Gallery, New York 2017 Gabriel Orozco, Chantal Crousel Gallery, Paris Gabriel Orozco, Kurimanzutto, Mexico City, Mexico 2016 Gabriel Orozco, White Cube, Hong Kong Gabriel Orozco, Aspen Art Museum, Colorado Orozco Garden, South London Gallery, London 2015 Gabriel Orozco: Inner Cycles, Museum of Contemporary Art Tokyo (MOT), Tokyo, Japan Gabriel Orozco, Marian Goodman Gallery, London Visible Labor, Rat Hole Gallery, Tokyo, Japan 2014 Gabriel Orozco: Natural Motion, Moderna Museet, Sweden Gabriel Orozco Fleurs fantômes, Domaine de Chaumont-sur-Loire, France (through 2016) Gabriel Orozco, Marian Goodman Gallery, New York 2013 Gabriel Orozco: Natural Motion, Kunsthaus Bregenz, Bregenz, Austria Thinking in Circles, Fruitmarket Gallery, Edinburgh Art Festival Exhibition, Edinburgh, United -
Roe Ethridge Biography
G A G O S I A N Roe Ethridge Biography Born in 1969, Miami, FL. Lives and works in New York, NY. Education: 1995 BFA in Photography, The College of Art, Atlanta, GA. Solo Exhibitions: 2021 Roe Ethridge: Beach Umbrella. Gagosian, Park & 75, New York, NY. 2020 Roe Ethridge: Orange Grove. Andrew Kreps, online. Roe Ethridge: Old Fruit. Gagosian, 976 Madison, New York, NY. 2019 Roe Ethridge: Sanctuary 2. Andrew Kreps, New York, NY. Roe Ethridge: Sanctuary. Gagosian, Hong Kong. 2017 Roe Ethridge: Innocence II. Gagosian Beverly Hills, Los Angeles, CA. Roe Ethridge: American Spirit. Andrew Kreps, New York, NY. 2016 Roe Ethridge: Nearest Neighbor. FotoFocus Biennial, Contemporary Arts Center, Cincinnati, OH. Shelter Island. Gladstone Gallery, Brussels, Belgium 2015 Double Bill (with Andy Harman and special guest Louise Parker). greengrassi, London, England. 2014 Roe Ethridge: Sacrifice Your Body. Andrew Kreps Gallery, New York, NY. Roe Ethridge: Sacrifice Your Body. Capitain Petzel, Berlin, Germany. 2013 Roe Ethridge. Gagosian Gallery, Beverly Hills, CA. A Moveable Feast. Campo Presti, Paris, France. 2012 Studio Street. Mai 36 Galerie, Zurich, Switzerland. The Ceremony and the Spirit (in collaboration with Zin Taylor). La Loge, Brussels, Belgium. Interiors. Gladstone Gallery, Brussels, Belgium. Roe Ethridge (curated by Anne Pontégnie). Le Consortium, Dijon, France. Traveled to Museum Leuven, Leuven, Belgium. Roe Ethridge – Selected Works. Charles Riva Collection, Brussels, Belgium. 2011 Le Luxe II BHGG. Gagosian Gallery, Beverly Hills, CA. Le Luxe. Andrew Kreps Gallery, New York, NY. 2010 4th Floor. greengrassi, London, England. 2009 Sunset Studio. Gladstone Gallery, Brussels, Belgium. Goodnight Flowers. Rat Hole Gallery, Tokyo, Japan. 2008 Roe Ethridge: Rockaway Redux. -
Hank Willis Thomas
Goodman Gallery Hank Willis Thomas Biography Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. Thomas has exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. Artist Statement Hank Willis Thomas is an American visual photographer whose primary interested are in race, advertising and popular culture. -
Art 142: the History of Photography Unit 8: Mass Media and Marketing Mass Media and Marketing
Art 142: The History of Photography Unit 8: Mass Media and Marketing Mass Media and Marketing The end of WWI propelled a period of experimentalism in photography that shattered the Victorian conventions and generated a new, modern covenant with the social world. Mass Media and Marketing Dada and After ● “Dada, a nonsensical sounding word chosen by a group of writers, artists and poets ● Identifies a new emerging art movement able to express despair brought on by WWI and break conventions and intellectual barriers ● Christian Schad, German artist associated with Zurich Dada group made, “Schadographs”. ● May have been referencing both “Shadowgraphs or the german word, “Schaden” which means damaged evoking the Dada sense of things falling apart. Christian Schad, Schadograph 24b, c. 1920. Gelatin silver print. Mass Media and Marketing Dada and After ● Berlin Dada group more political than Zurich group and wanted to make social statements. ● Adopted photomontage as a key medium, a “paste picture” or Klebebild finished as a photograph Hannah Höch, Schnitt mit dem Küchenmesser Dada durch die letzte weimarer Bierbauchkulturepoche Deutschlands (Cut with the Kitchen Knife Dada through the last Weimar Beer Belly Cultural Epoch of Germany), 1919. Photomontage. Nationalgalerie Staatliche Museen, Preussischer Kulturbesitz, Berlin. Mass Media and Marketing Dada and After ● Hannah Höch and Raoul Hausmann were two of the earliest dadaists to make photomontages ● Höch engaged the theme of New Woman, images juxtaposed traditional roles of women with symbols of modernity ● Hausmann, one of the few communists that insisted on women’s equality in any new society. Hannah Höch, Denkmal I: Aus einem ethnographischen Museum (Monument 1: From an Ethnographic Museum), 1924. -
Responses to the RFI
Embarcadero Historic District Request for Interest Responses to the RFI 1 Port of San Francisco Historic Piers Request for Interest Responses Table of Contents Contents #1. Ag Building / Ferry Plaza: Ferry Plaza 2.0 ................................................................................................................................................................. 4 #2. Red and White Excursions ..................................................................................................................................................................................... 31 #3. Piers 38-40: Restaurants and Recreation At South Beach ..................................................................................................................................... 34 #4. Heart of San Francisco Gondola ............................................................................................................................................................................. 47 #5. The Menlo Companies ........................................................................................................................................................................................... 50 #6. The International House of Prayer For Children ................................................................................................................................................... 53 #7 Plug and Play SF (Co-working space for startups) .................................................................................................................................................. -
Oral History Interview with Kenneth Josephson, 2015 September 29-30
Oral history interview with Kenneth Josephson, 2015 September 29-30 Funding for this interview was provided by the Terra Foundation for American Art. 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 Kenneth Josephson on September 29, 2015. The interview took place in Josephson's home and studio in Chicago, IL, and was conducted by Lanny Silverman for the Archives of American Art, Smithsonian Institution. This interview is part of the the Archives of American Art's Chicago's Art-Related Archival Materials: A Terra Foundation Resource. Josephson has reviewed the transcript and has made corrections and emendations. 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 This is track one. LANNY SILVERMAN: This is Lanny Silverman for the Smithsonian Institute's Archives of American Art. I'm interviewing Kenneth Josephson and it's September 29, 2015. [END OF joseph15_1of2_sd_track01_r] This is track two. LANNY SILVERMAN: All right. So I guess the first question is the big one—where were you born and when? KENNETH JOSEPHSON: July 1, 1932, in Detroit, Michigan. LANNY SILVERMAN: Ah. And when you were in Detroit, Michigan, what was your family like? KENNETH JOSEPHSON: Oh, my family—I had a brother, two years older than I. And my parents—my father, his work history, he was in the Army for a while after the First World War. -
One Moment Erica Deeman Was an Intern at Pier 24 Photography. the Next, She Was a Featured Artist There, Her Portraits of Women
One moment Erica Deeman was an intern at Pier 24 Photography. The next, she was a featured artist there, her portraits of women from the African diaspora shown in their own gallery between ones dedicated to famous photographers Robert Frank and William Eggleston. For someone who had never taken a serious picture until four years ago, having 11 oversize color prints on display at one of the largest spaces in the world dedicated to photography amounts to a Horatio Alger story, especially since her pictures were made with a borrowed camera. “This is something that I could not have imagined in this short a time frame, and at such a prestigious establishment” says Deeman, who is 39 and just two years out of the Academy of Art University. The portfolio, called “Silhouettes,” fulfilled a graduation requirement for her bachelor’s of fine arts. It was not a graduation requirement that she also work for free at a gallery, but she did, pulling a 9 to 5 shift one day a week at Pier 24. She’d been there for nine months before she brought in her portfolio to show to another gallery, after work. She had stashed the portfolio with her coat and was headed out the door when Christopher McCall, the director of Pier 24, noticed her carrying it. “I was on my way to show my portfolio to somebody, and Chris said, ‘Why don’t you show me?’” recalls Deeman, who is from industrial Nottingham, England, (Robin Hood’s hometown) and is hesitant to self-promote in the brash American way. -
Laurie Frick: Walking, Eating, Sleeping,Audubon and the Art Of
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 -
Federal Register / Vol. 62, No. 221 / Monday, November 17, 1997 / Notices
61344 Federal Register / Vol. 62, No. 221 / Monday, November 17, 1997 / Notices When completed, the interim operations outside the current boundaries. In the DEPARTMENT OF JUSTICE plan will supersede the annual interim Reclamation entered into a operations plans/advisories and will series of annual water service contracts [AG Order No. 2129±97] guide Project operations until with WID so irrigation of lands outside completion of the adjudication. At that of the district boundaries with federally Interim Guidance on Verficiation of time, the interim plan will be revised as supplied water could continue while Citizenship, Qualified Alien Status and necessary and additional NEPA issues surrounding the boundary Eligibility Under Title IV of the Personal Responsibility and Work Opportunity documentation may be required. expansion were resolved. Reconciliation Act of 1996 Dated: November 5, 1997. Reclamation and the Natural John F. Davis, Resources Department of the AGENCY: Department of Justice. Acting Regional Director. Confederated Tribes of the Umatilla ACTION: Notice of interim guidance with [FR Doc. 97±30096 Filed 11±14±97; 8:45 am] Indian Reservation (CTUIR) held public request for comments. BILLING CODE 4310±94±P meetings on November 4 and December 17, 1993, to gather comments from the SUMMARY: Title IV of the Personal public concerning the ``Proposed Responsibility and Work Opportunity DEPARTMENT OF THE INTERIOR Reconciliation Act of 1996 Boundary Changes for Irrigation (``PRWORA'') requires the Attorney Districts in the Umatilla Project, Bureau of Reclamation General, by February 1998, to Oregon.'' Key issues identified in the promulgate regulations requiring Westland Irrigation District Boundary scoping effort included Umatilla River verification that an applicant for federal Adjustment, Hermiston, OR hydrology and passage conditions for public benefits is a qualified alien AGENCY: Bureau of Reclamation, anadromous fish, Native American trust eligible to receive federal public benefits Interior.