2½ Dimensional: Film Featuring Architecture
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THE MUSEUM OF MODERN ART’S PERFORMANCE EXHIBITION SERIES CONTINUES WITH U.S. PREMIERE OF MARK LECKEY IN THE LONG TAIL Performance 5: Mark Leckey October 1, 2, and 3, 2009, 8:00 p.m. The Abrons Arts Center at the Henry Street Settlement, 466 Grand Street, New York, NY NEW YORK, September 2, 2009—The Museum of Modern Art presents the North American premiere of Mark Leckey in the Long Tail (2009), a performance-based work presented in a theater for performing arts at the Abrons Arts Center on October 1, 2, and 3, 2009, at 8:00 p.m. Throughout the performance—which is part lecture, part monologue, and part living sculpture— Leckey (British, b. 1964) engages the topics of television and broadcasting history, from the BBC (British Broadcasting Corporation) to the icon of Felix the Cat, while simultaneously addressing the “Long Tail” theory of internet-based economics. Performance 5: Mark Leckey is organized by Klaus Biesenbach, Chief Curator, with Jenny Schlenzka, Assistant Curator for Performance, Department of Media and Performance Art, The Museum of Modern Art. The work made its debut earlier this year at the Institute of Contemporary Arts, London. Mark Leckey in the Long Tail is a multimedia lecture delivered by the artist in an installation resembling the soundstage of a movie. Incorporating a series of props—a blackboard, a desk, a lectern—the performance involves a live reconstruction of the first television broadcast, with Leckey moving between props and locations throughout. At the start of the lecture Leckey begins at the podium, demonstrating how a doll of Felix the Cat became the first image of the twentieth century transmitted into public consciousness and how, for Leckey, the figure becomes the embodiment of the Long Tail phenomenon of the twenty-first century. -
ARTWRITE Diversity In
ARTWRITE INDIA, DiversityARTWRITE PAKISTAN In Art EX. USSR LATIN EXPANSION, 1989 + AMERICA ITING SE IB LE H C X T E I O N N O I V T A A MIDDLE L T I EAST D E A R CIRCUIT OF EXCHANGE MEDIATED T P CENTRE I O R E N T I H N G U O R H T S E R T N E C CHINA AFRICA SOUTH EAST ASIA ARTWRITE: Diversity in Arts ISSN: 1441 - 5712 Special Acknowledgements Jia Guo Joanna Mendelssohn Sub Editor - Ai Weiwei’s Work by Xi Fu Chinese Translation team 4A Gallery PDF Team Museum of Contemporary Art Tamara Dean Yasmin Haas David McNeill Co-Sub Editor - Lupin the Phantom Thief in the Arts: Ruban Nielson (of the Mint Chicks) Banksy by Kim Young-Gu Powerhouse Museum Dr Gene Sherman Edwina Hill Ken and Julia Yonetani Sub Editor - Perpetual Volunteers by Martina Baroncelli Sonic Youth Sub Editor - Benjamin Armstrong by Iris SiYi Shen Gabrielle Wilson Image Captioning team Elinor King Artwrite Team Whip Martina Baroncelli Shanjun Mao Co Editor - For Children Sub Editor - On Censorship: moral panic in art Sub Editor - China and Revolution by Qian Zhao Copywright team Genevieve Barry Chinese Translation Team Sub Editor - A Coming Together of Disparate Forces: career lessons from Dr Gene Sherman by Kim Goodwin Susan Packham Sub Editor - A NSW Aboriginal Art Gallery Sub Editor - What does it mean to be Australian? by Catherine Birrell by Jun Woo Do Sub Editor - Bubble Wrapping Community Arts Sub Editor - Global Warming CAN be Over: by Edwina Hill the art of Ken Yonetani by Vi Girgis Sub Editor - On Censorship: Moral Panic in Art by Qian Zhao Emma Pike Co Editor – Contents -
Annual Report 2010-2011 Contents
Annual Report 2010-2011 Contents 3 Foreword – Julia Somerville, Chairman of the Advisory Committee 5 Director’s Report – Penny Johnson 14 Advisory Committee members and GAC staff 15 Acquisitions 24 Annex 1 – List of works lent to public exhibitions 27 Annex 2 – List of long-term loans outside Government Our aim is to improve the quality of life for all through cultural and sporting activities, support the pursuit of excellence, and champion the tourism, creative and leisure industries. 2 Foreword As you will see from the Director’s comprehensive account of the GAC’s year it’s been an exceptionally busy one. A change of Government meant a change of aesthetic choices in Whitehall. Ministers came and went making their selections with the expert help of Penny Johnson and her team. It was striking how many of the incoming politicians had a clear vision of what they wanted. We were pleased by the degree of the ministers’ enthusiasm for, and appreciation of, the Collection and its role. One way or another, our public profile is increasing and the work towards publication of the first book on our role and history, beautifully illustrated, has been going apace. So, too, the plans for our rolling exhibition at the Whitechapel Gallery - which will be going on tour afterwards to Birmingham and Belfast - giving the wider public an opportunity to see what we are about. Inevitably, given the stringent economic times, there was no commissioning for new buildings. And there was a small reduction in our budget. Like everyone else, we are having to stretch our resources to go further. -
Mark Leckey + Alessandro Raho We Transfer
Press release MARK LECKEY + ALESSANDRO RAHO WE TRANSFER September 11 – November 1, 2015 Press conference: Wednesday, September 9, 2015, 11 a.m. Opening: Thursday, September 10, 2015, 7 p.m. We Transfer, Mark Leckey’s first solo show in Austria, focuses on the notion of transformation, conver- sion, transcendence. The simultaneity of different modes of existence (virtual vs. real), or of conscious- ness, that is significant for the present networked digital era is an issue inherent in a number of works by this British artist, whom the Guardian recently labelled ‘the artist of the YouTube generation.’ Leckey counters the view that smart technologies and an ever denser network of algorithms increasingly ratio- nalises us users and transforms us into inhuman cyborgs with an alternative account: the network and its coordinates, he proposes, in fact engender a chaotic irrationalism, an unconscious. Everyone has his or her own individual—and, as the artist puts it, “autistic”—grid in which images, information, and recol- lections are stored. Selected images from Mark Leckey’s personal grid are on display in the Secession’s main gallery. Short animations flicker across ten LED screens in endless loops—fluid visual ‘teasers’ such as a scene from Disney’s Pinocchio, a drag queen, the full moon, an ecstatically dancing teenager, a map visualizing Great Britain’s nocturnal illumination, a blown-up RGB grid, a figure that seems to mutate into an amor- phous body… One recurrent motif is the dot, surfacing variously as the red, green, and blue points of light in the LED display’s matrix, marks on the light pollution map, the circular disk of the moon, the raster dots of a print, or a fabric pattern. -
SIMON STARLING: at TWILIGHT (AFTER W. B. YEATS' NOH REINCARNATION) FRIDAY, OCTOBER 14, 2016—SUNDAY, JANUARY 15, 2017 Members' Opening: Thursday, October 13, 7:30 PM
SIMON STARLING: AT TWILIGHT (AFTER W. B. YEATS' NOH REINCARNATION) FRIDAY, OCTOBER 14, 2016—SUNDAY, JANUARY 15, 2017 Members' Opening: Thursday, October 13, 7:30 PM At the height of WWI, poet W. B . Yeats collaborated with members of the avant garde to stage his Japanese noh inspired dance play At the Hawk's Well (1916). To mark its centennial, Turner Prize winner Simon Starling reinterprets this production in an exhibition that illustrates the impact of noh on Western Modernism. Newly created masks, costumes, and a dance on video are paired with works by the 20th-century masters connected to Yeats' play, bringing to life Starling's irrepressible inventiveness. This exhibition was organized by Japan Society in collaboration with The Common Guild (Glasgow, Scotland). EXHIBITION-RELATED PROGRAMMING: LECTURE Simon Starling Friday, October 14, 6:30 PM Buy Tickets ART & DESIGN Art Fall Preview: From East Coast to West Coast. From Concrete to Ethereal By MARTHA SCHWENDENER | SEPT. 16, 2016 SIMON STARLING: AT TWILIGHT Oct. 14-Jan. 15, Japan Society Gallery A Turner Prize-winning artist turns the Japan Society into an immersive multimedia environment. Noh, the traditional Japanese theater using masks, is joined with “At the Hawk’s Well” (1916), a play by the Irish writer W. B. Yeats set in the middle of World War I. japansociety.org. Schwendener, Martha, “Art Fall Preview”, New York Times, September, 18, 2016, AR 90 ART & DESIGN A Fiery Splash in the Rockaways and Twists on Film at the Whitney By ROBIN POGREBIN MAY 26, 2016 Japan Society Show When the Turner Prize-winning artist Simon Starling was preparing the piece he would exhibit at the Hiroshima City Museum of Contemporary Art five years ago, he learned about masked Japanese Noh theater, which inspired W. -
Curating Archives, Archiving Curating
Curating Archives, Archiving Curating Georgia, Nayia Yiakoumaki Thesis submitted for the degree of Doctor of Philosophy in Fine Art Goldsmiths, University of London Octo ber 2009 The work presented in the thesis is the candidate's own. Abstract This thesis investigates the concept of archives and their role as a source for curatorial work practice. It starts with an examination of Jacques Derrida's concept of the archive in order to claim that every reading of the archive alters the archive. It examines the curating of archive material and compares it to a historiographical operation upon the archive itself. Moreover, it describes curating from the archive as a process concomitant with the three main constituents of Paul Ricoeur's historiography: 'The Documentary Phase', 'Explanation/ Understanding' and 'The Historian's Representation', as developed in Memory, History, Forgetting (2004). From the conceptualisation of this tripartite process the thesis proceeds by arguing that the curatorial practice on archives is an expansive gesture that opens their contents to numerous interpretations. The Whitechapel Gallery Archive is introduced as the case study here. More specifically, the thesis analyses archival material pertaining to Pablo Picasso and the painting Guernica, which was exhibited at the Whitechapel Gallery in 1939. The series of events to which this archive material refer, have been reactivated through artist Goshka Macuga's 2009 commission The Nature of the Beast at the Whitechapel. The thesis proves that a curator working through archival material permanently alters the constitution of the archive, as well as the subsequent interpretations of its material. Moreover, it is argued that the curator's intervention in the archive should be re-deposited within it as a means for the archive's potential expansion. -
BRITISH JOURNAL of AMERICAN LEGAL STUDIES VOLUME 1 - ISSUE 1 Spring 2012
School of Law BRITISH JOURNAL OF AMERICAN LEGAL STUDIES VOLUME 1 - ISSUE 1 Spring 2012 ARTICLES Gruesome Spectacles: The Cultural Reception of Botched Executions in America, 1890-1920 Austin Sarat et al Feminist Engagement and the Museum Yxta Maya Murray The Long Shadow of Racial Profiling Sora Y Han Dispelling the Fog about Direct Taxation James R Campbell A Lockean Argument against the Death Penalty Vernon Thomas Sarver, Jr Sexual Misconduct with Congregants or Parishioners: Crafting a Model Statute Bradley J B Toben and Kris Helge The Conflicted Constitution: The Textual Absolutism of Justices Black and Thomas versus the Balanced Restraint of Justices Frankfurter and Breyer Zachary Baron Shemtob (Pro)motion to dismiss?: Constitutional Tort Litigation and Threshold Failure in the War on Terror Matthew Windsor Reading Between the Lines: Statutory Silence and Congressional Intent under the Antiterrorism Act Jesse D H Snyder ISSN 2049-4092 (Print) BRITISH JOURNAL OF AMERICAN LEGAL STUDIES Volume 1 - Editorial Board Editor-in-Chief: Dr Anne Richardson Oakes, Birmingham City University Associate Editors Student Editorial Assistants 2011-2012 Sarah Cooper, Birmingham City University Naomi Barnes Harpreet Kaur Dr Haydn Davies, Birmingham City University Nicole Bones Katie Layton Hannah Gorman, Birmingham City University Elizabeth Buck Athina Ouranidou Prof Julian Killingley, Birmingham City University Sophie Ferrier Christopher Reading Gareth Lee, Birmingham City University Daniel Gough Alice Storey Dr Jon Yorke, Birmingham City University -
Commentaries on the Turner Prize by Leslie Gillon
The Uses of Reason in Critical Judgement: Commentaries on the Turner Prize by Leslie Gillon A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire March 2016 University of Central Lancashire STUDENT DECLARATION FORM Concurrent registration for two or more academic awards *I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution __________________________________________________________________ Material submitted for another award *I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work __________________________________________________________________ Signature of Candidate ________________Les Gillon____________ Type of Award ____PhD__________________________________________________ School ____Humanities and Social Sciences_________________________ Abstract Through an analysis of critical reviews and other commentaries on the annual Turner Prize shortlist exhibitions, I examine a philosophical problem which has put into question the rational basis for evaluation in art criticism: the lack of any agreed criteria for the evaluation of artworks. This problem has been most often addressed within philosophical aesthetics through two contrasting approaches: the attempt to formulate evaluative criteria, and the denial that such criteria are either possible or necessary. My response to this meta-critical issue is an interdisciplinary study, in the form of an analysis of published commentaries on the Turner Prize, that examines theories of critical evaluation against an empirical investigation of actual critical practice. The Turner Prize has a number of advantages as a case study. -
The Turner Prize 8
ART HISTORY REVEALED Dr. Laurence Shafe This course is an eclectic wander through art history. It consists of twenty two-hour talks starting in September 2018 and the topics are largely taken from exhibitions held in London during 2018. The aim is not to provide a guide to the exhibition but to use it as a starting point to discuss the topics raised and to show the major art works. An exhibition often contains 100 to 200 art works but in each two-hour talk I will focus on the 20 to 30 major works and I will often add works not shown in the exhibition to illustrate a point. References and Copyright • The talks are given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • The notes are based on information found on the public websites of Wikipedia, Tate, National Gallery, Oxford Dictionary of National Biography, Khan Academy and the Art Story. • If a talk uses information from specific books, websites or articles these are referenced at the beginning of each talk and in the ‘References’ section of the relevant page. The talks that are based on an exhibition use the booklets and book associated with the exhibition. • Where possible images and information are taken from Wikipedia under 1 an Attribution-Share Alike Creative Commons License. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 ART HISTORY REVEALED 1. Impressionism in London 1. -
The Turner Prize • Summary
A STROLL THROUGH TATE BRITAIN Unless otherwise mentioned all works of art are at Tate Britain. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. A History of the Tate, discussing some of the works donated by Henry Tate and others. 2. From Absolute Monarch to Civil War, 1540-1650 3. From Commonwealth to the Start of the Georgian Period, 1650-1730 4. The Georgian Period, 1730-1780 5. Revolutionary Times, 1780-1810 6. Regency to Victorian, 1810-1840 7. William Blake (1757-1827) and his Influence 8. J. M. W. Turner (1775-1851) 9. John Constable (1776-1837) 10. The Pre-Raphaelite Brotherhood, 1840-1860 11. The Aesthetic Movement, 1860-1880 12. The Late Victorians, 1880-1900 2 13. The Edwardians, 1900-1910 14. The Great War and its Aftermath, 1910-1930 15. The Interwar Years, 1930s 16. World War II and After, 1940-1960 17. Pop Art and Beyond, 1960-1980 18. Art in a Postmodern World, 1980-2000 19. The Turner Prize 20. Summary 2 THE TURNER PRIZE • Tate created the Prize in 1984 as an annual award named after J. -
Mike La-Traille 96126524 Masters by Research What Happens Between 4
Mike La-Traille 96126524 Masters by Research What happens between 4-5am? 1 | P a g e CONTENTS PAGE Abstract………………………………………………………………page 3 Research Questions…………………………………………….page 4 Rationale…………………………………………………………….page 5 Introduction……………………………………………………….page 6-10 Question One……………………………………………………..page 11-16 Question Two……………………………………………………..page 17-26 Question Three…………………………………………………..page 27-46 Installation ……………….………………………………………..page 47-59 Conclusion…………………………………………………………..page 60-67 Bibliography………………………………………………………..page 68-69 References…………………………………………………………..page 70-77 Appendices……………………………………………………….…page 78-86 2 | P a g e ABSTRACT My research involved the use of sound and the visual image, to show the development of time through a multi-screen installation that allowed the sixty minutes to unfold from a fixed camera position. The work looked at the use of multi-screen projections and what they can lend to an installation and how the audience understands them. This work also explores the idea of whether it is important to construct a narrative in an audio/visual installation for an audience or whether they would understand the concept without any manipulation. The concept of the piece is about what occurs between the hours of 4-5am. To help demonstrate my findings I decided to produce a series of films that all lasted for sixty minutes each. The films were unedited, fixed camera shots that observe the action to capture reality and never attempt to follow and construct one. I felt Andre Bazin’s technique of ‘pure cinema’ with long shots was the most appropriate way of achieving this. I believed the best way to illustrate this would be to build up the screens from a one screen painterly shot through to multi-screens progressing from a triptych to five, seven and finally a nine screen film which was full of images. -
Tate Britain
Tate Britain Becoming Modern – Art to the Present Day 14:00-14:45 Laurence Shafe 1 Becoming Modern – Art to the Present Day Becoming Modern – Art to the Present Day ..................................................................................................... 5 1890: Walter Richard Sickert (1860–1942), Minnie Cunningham at the Old Bedford, 1892, 76.5 x 63.8 cm .. 6 1900: William Orpen (1878-1931), The Mirror, 1900 ........................................................................................ 9 1910: Stanley Spencer (1891–1959), The Resurrection, Cookham, 1924-27, 274.3 x 548.6 cm .................... 12 1930: Dame Barbara Hepworth (1903-1975), Ball, Plane and Hole, 1936 ...................................................... 16 1940: Sir Jacob Epstein (1880-1959), Jacob and the Angel, 1940–41 ............................................................. 19 1940: Francis Bacon (1909-1992), ‘Three Studies for Figures at the Base of a Crucifixion’, c.1944, 94 x 73.7 cm ..................................................................................................................................................................... 22 1960: Peter Blake (b. 1932), Portrait of David Hockney in a Hollywood Spanish Interior, 1965, 182.8 x 152.8 x 2.1 cm ............................................................................................................................................................ 25 1990: Chris Ofili (b. 1968), No Woman, No Cry, 1998, oil paint, acrylic paint, graphite, polyester resin, printed paper,