John Murphy B

Total Page:16

File Type:pdf, Size:1020Kb

John Murphy B John Murphy b. 1945, St Albans, UK Solo Exhibitions 1971 Serpentine Gallery, London 1972 Museum of Modern Art, Oxford 1973 Jack Wendler Gallery, London 1975 "Selected Works", Museum of Modern Art, Oxford 1976 "Nature Morte, Collected Works", The New Gallery, Institute of Contemporary Art, London "An Art of Exchange. Featuring `The Picture Frame' or Egg Note'", Barry Barker Gallery, London 1977 "The Work of Art Is... A.J. J.M.", Barry Barker Gallery, London 1978 Galerie Arno Kohnen, Dusseldorf 1979 "Desire Not Geometry", Barry Barker Gallery, London 1980 "Lesson on Money", Art Projects, Melbourne "Objects of Desire", Piwna, Warsaw 1981 "John Murphy", Arts Council of Northern Ireland Gallery, Belfast (exh cat) 1982 "(D)(E)(L)(T)(A)", The Orchard Gallery, Derry, Northern Ireland 1983 "The Nocturnal Inscription Represents... ", Vereniging voor het Museum van Hedendaagse Kunst, Gent 1984 "Beyond the Fixing of Appearances", Serpentine Gallery, London 1985 "Stuck in the Milky Way", Lisson Gallery, London (exh cat) 1987-88 Whitechapel Art Gallery, London (exh cat) 1988 Arnolfini Gallery, Bristol (exh cat) "Instruments of Attack", Galerie Yvon Lambert, Paris Galeria Marga Paz, Madrid 1989 "Phoenix, Sagitta, Horologium, Reticulum, Libra, Ursa Major", Asher/Faure Gallery, Los Angeles 1990 "Silent Vertigo", Lisson Gallery, London (exh cat) "Inaugural Violence", Christine Burgin and John Weber Galleries, New York (exh cat) 1992 "Remains To Be Seen", Project Room, John Weber Gallery, New York "No Representation, No Intention, No Trace", Galerie Yvon Lambert, Paris "The Sense of Resemblance", Lisson Gallery, London "The Tone That Calls the Song", Galerie Bruges la Morte, Bruges 1996 Lisson Gallery, London “A Portrait of the Artist as a Deafman”, Douglas Hyde Gallery, Dublin (exh cat) “Navigating in Madness”, Galerie de Luxembourg, Luxembourg (exh cat) 1997 Villa Arson, Nice (exh cat) 1998 “A Different Constellation”, Galerie Yvon Lambert, Paris “On the Incline of Our Tongue”, Galerie Erna Hécey, Luxembourg 2003 “The Way Up and The Way Down”, Southampton City Art Gallery and Museum, Southampton (exh cat) “Of Voyages”, Galerie Erna Hécey, Luxembourg 2004 ‘Something for the Eye’, The Regency Town House, Hove, Centre of Contemporary Visual Arts, University of Brighton 2004-5 ‘And Things Throw Light of Things’, Ikon Gallery and Barber Institute, Birmingham (exh cat) 2005 ‘…Mirror’, Sleeper, Edinburgh ‘Up or Down it’s All the Same In Gent or Venice.) Het Kabinet, Gent 2006 (Between the Acts) Lisson Gallery, London ‘…the stench of shit…’, Galerie Erna Hecey, Brussels 2007 ‘…the stench of shit…’, MOca Maas at Jan van Eyck Academie, Masstricht Group Exhibitions 1965 "Young Contemporaries", F.B.A. Galleries, London (exh cat) 1966 "Young Contemporaries", F.B.A. Galleries, London (exh cat) 1968 "Young Contemporaries", Royal Institute Galleries, London (exh cat) 1969 "Younger Generation" (travelled to Washington, Philadelphia, Houston) "Big Paintings for Public Places", Royal Academy of Arts, London 1971 "London Now in Berlin", Akademie der Kunste, Berlin (exh cat) 1972 "[Drawing]", Museum of Modern Art, Oxford (exh cat) 1974 "Tables", Garage Art Limited, London 1975 "Contemporary Art Society Recent Acquisitions", Gulbenkian Hall, Royal College of Art Gallery, London 1976 "Eight British Artists", C A Y C, Buenos Aires 1976-77 "Artists Books" (organized by the Arts Council of Great Britain) (exh cat) (travelled to Brighton University, Sussex; Arnolfini, Bristol; Institute of Contemporary Art, London; Ferins Art Gallery, Hull; Ibis Gallery, Leamington Spa and Turpike Gallery, Leigh) 1978-79 "The Mechanised Image", (organized by the Arts Council of Great Britain) (exh cat) (travelled to Portmouth Museum and Art Gallery; Sheffield Graves Art Gallery; Ferins Art Gallery, Hull; Camden Arts Centre, London; Hatton Gallery, Newcastle; Aberdeen Art Gallery, Aberdeen and Ulster Museum, Belfast) "Art: -Museum des Geldes", Stadtische Kunsthalle, Dusseldorf (exh cat) (travelled to Stedelijk Van Abbemuseum, Eindhoven and Centre Georges Pompidou, Paris) 1979 "Lang'uages", Third Eye Centre, Glasgow (selected by Rudi H. Fuchs) (organized by The Arts Council of Great Britain) (exh cat) Museum Dhondt-Dhaenens, Deurle (organized by the Vereniging voor het Museum van Hedendaagse Kunst) (exh cat) "Europa '79. Kunst der 80er Jahre", IX Internationalen Kunstlerkongresse, Stuttgart (exh cat) "Kunstlerbucher", Galerie Lydia Megert, Bern 1980 "British Art 1940-80", Hayward Gallery, London 1981 "The Second International Drawing Triennale", Wroclaw, Poland (exh cat) "Through the Summer", Lisson Gallery, London 1982 "British Drawing", Hayward Gallery, London (exh cat) "Collazione Inglese", Scuola di San Pasquale, Venice (exh cat) 1984 "Through the Summer", Lisson Gallery, London "Lili Dujourie, John Murphy, Jan Vercruysse", Lisson Gallery, London 1984-85 "The British Art Show: Old Allegiances and New Directions 1979-1984", (organized by The Arts Council of Great Britain) (exh cat) (travelled to City of Birmingham Museum and Art Gallery and Ikon Gallery, Birmingham; Royal Scottish Academy, Edinburgh; Mappin Art Gallery, Sheffield; Southampton Art Gallery, Southampton) 1985 "L'Indifférent", John Hansard Gallery, Southampton (exh cat) ″Who's Afraid of Red, Yellow and Blue", Arnolfini Gallery, Bristol (exh cat) 1986 "Falls the Shadow. Recent British and European Art. The Hayward Annual", Hayward Gallery, London (organized by The Arts Council of Great Britain) (exh cat) "Aperto 86", XLII Biennale di Venezia, Venice (exh cat) "Ooghoogte Van Abbemuseum 1936-1986", Stedelijk Van Abbemuseum, Eindhoven (exh cat) 1987-88 "Quatrièmes Ateliers Internationaux des Pays de la Loire", Abbaye Royale de Fontevraud, Fontevraud (exh cat) (travelled to PARC, Nantes; Musée d'Art et d'Archéologie, Roche-Sur-Yvon; Palais des Congrés, Mans; Palais des Congrés, Saint-Jean-De-Monts; Office Social et Culturel, Château-Gontier) "The Analytical Theatre: New Art from Britain", (organized by Independent Curators Incorporated, New York) (exh cat) (travelled to The Akron Art Museum, Ohio; Alberta College of Art Gallery, Alberta; University Art Museum, California; Institute of Contemporary Art, Philadelphia) "Made in London", Jack Shainman Gallery, Washington DC, and New York "Twentieth Anniversary Exhibition", Lisson Gallery, London 1988 "British Art: The Literate Link", Asher/Faure Gallery, Los Angeles (exh cat) "Something Solid", The Cornerhouse, Manchester (exh cat) "Vanitas", Norwich School of Art Gallery, Norwich (exh cat) 1989 "Blasphemies, Ecstasies, Cries", Serpentine Gallery, London (exh cat) "Unstable Universe", Asher/Faure Gallery, Los Angeles 1990 "Four British Artists", John Weber Gallery, New York "Now for the Future. Purchases for the Arts Council Collection since 1984", Hayward Gallery, London "DE PICTURA", Galerie Bruges la morte, Bruges (exh cat) 1991 John Weber Gallery, New York "Les Couleurs de l'argent", Musée de la Poste, Paris, (exh cat) "Rimbaud Centenary Exhibition", Plymouth Arts Centre, Plymouth 1992 "Les Collections du Fonds Régional d'Art Contemporain des Pays de la Loire au Musée des Beaux-arts de Nantes", Musée des Beaux-arts de Nantes "Drawings", Galerie Bruges la Morte, Bruges 1993 "Out of Sight, Out of Mind", Lisson Gallery, London "The Sublime Void, On the Memory of the Imagination", Koninklinjk Museum voor Schone-Kunsten, Antwerp, (exh cat) "New Painting", Chapter, Cardiff "Paintings From the Saatchi Collection", Mead Gallery 1994 "Paula Rego, John Murphy, Avis Newman", Saatchi Gallery, London (exh cat) 1995 “Das Abenteuer Der Malerei”, Kunstverein für die Rheinlande und Westfalen,Düsseldorf andWürttembergischen Kunstverein, Stuttgart (exh cat) 1997 “A Conversation Piece”, with Juliâo Sarmento, Museum of Modern Art, Oxford (exh cat) 1998 “A Vendre”, Galerie Erna Hecey, Luxembourg 1999 “Larmes Blanches, Hommage a James Lee Byars”, FRAC Haute Normandie, Sauttevile / Lès Rouen, France 2000 “Aquisitions from the late 90s”, Tate Britain, London Galerie Erna Hecey, Luxembourg “A Shot in the Head”, Lisson Gallery, London 2001 “East Wing Collection No. 05 Looking éWith/Out”, Courtauld Institute of Art, London <<Nouveau Regard>>, Musée des Beaux-Arts de Nantes, France 2002 “Stanze del cammino di mezzo”, curated by Rita Selvaggio, Casa Masaccio, San Giovanni Valdarno, Italy “Le Regard de l’Autre. Dialogue entre les collections du Frac-Normandie et du Musée des Beaux-Arts de Rouen”, Musée des Beaux-Arts de Rouen, France ‘Cantos’ Casino Luxembourg-Form D’Art Contemporain, Luxembourg 2005 ‘Strange, Familiar and Unforgotten / 2’ Galerie Erna Hécy, Brussels ‘I wish…’ Engholm Engelhorn Galerie, Vienna 2007 ‘Salon Nouveau’, Engholm Engelhorn Galerie, Vienna Selected Bibliography: Books and Catalogues 1965 Young Contemporaries. F.B.A. Galleries, London (exh cat) 1966 Young Contemporaries. F.B.A. Galleries, London (exh cat) 1968 Young Contemporaries. Royal Institute Galleries, London (exh cat) 1971 London Now in Berlin. Akademie der Kunste, Berlin (exh cat) 1972 [Drawing]. Museum of Modern Art, Oxford (exh cat). Text by Peter Ibsen. 1976 Artists Books. The Arts Council of Great Britain, London (exh cat) 1978 The Mechanised Image. The Arts Council of Great Britain, London (exh cat) Museum des Geldes. Stadtische Kunsthalle, Dusseldorf (exh cat) 1979 Lang'uages. Arts Council of Great Britain, London (exh cat). Text by Rudi H. Fuchs. Europa '79. Kunst der 80er Jahre. IX Internationalen Kunstlerkongresse, Stuttgart (exh cat) 1981 The Second International Drawing Triennale. Wroclaw, Poland (exh cat)
Recommended publications
  • Education Resource
    EDUCATION RESOURCE REGIONAL TOUR BROKEN HILL REGIONAL ART GALLERY, NSW 29 NOVEMBER 2014 - 22 FEBRUARY 2015 WESTERN PLAINS CULTURAL CENTRE, NSW 18 APRIL 2015 - 31 MAY 2015 TOOWOOMBA REGIONAL GALLERY, QLD 15 JUNE 2015 - 2 AUGUST 2015 CABOOLTURE REGIONAL ART GALLERY, QLD 5 MARCH 2016 - 7 MAY 2016 ABOUT THIS RESOURCE This resource is designed to enhance the visitor experience of the Objects & Energies exhibition. It provides strategies and suggestions for avenues of investigation for the three artists and their works. Designed primarily for teachers and their school groups, the resource focuses on each of the artists with critical/historical and artmaking suggestions for primary and secondary students. Additionally this resource is useful for non-school visitors hoping to gain a greater insight into the themes of the exhibition, and can be used as a support to the accompanying catalogue. Further reading suggestions and a glossary are provided at the back of the resource, with associated in-text words underlined. National Art School Gallery Forbes Street Darlinghurst NSW 2010 T (02) 9339 8744 W www.nas.edu.au Museums & Galleries of NSW Museums & Galleries of NSW Level 1, The Arts Exchange, 10 Hickson Road The Rocks NSW 2000 T (02) 9252 8300 F (02) 9252 9866 W www.mgnsw.org.au Museums & Galleries of NSW is assisted by the NSW Government through Arts NSW and by the Australian Government through the Australia Council, its arts funding and advisory body. This project is supported by an Artist or Curator in Residence grant. The Artist or Curator in Residence Grant Program is assisted by the Copyright Agency Limited’s Cultural Fund, and is managed by Museums & Galleries of NSW.
    [Show full text]
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • Matts Leiderstam CV WL 30.1.20
    Matts Leiderstam, 1956 Born in Gothenburg (SE), lives in Stockholm http://www.mattsleiderstam.com/ Education: 1974-77 Pottery apprentice, Rörstrands AB, Lidköping (SE) 1977-81 B.A of Art Education, University College of Arts, Crafts and Design, Stockholm (SE) 1984-89 M.A, Valand, University of Gothenburg College of Art, Gothenburg (SE) 1986 Royal College of Art, The Printmaking Department, London (GB) 2002-06 Ph.D. in Fine Arts, Malmö Art Academy, Lund University (SE) Residencies: 2006 International Residence at Couvents des Recollets, Paris, France 2005 Cove Park, Scotland 2004-05 IASPIS’s studio, Stockholm, Sweden 2001 CEPA Gallery, Buffalo, USA 1999 Villa Saint Clair, Sète, France 1996-97 IASPIS’s studio, London, UK 1992 The Swedish Art Grants Committee’s Studio Residency in Montréal, Canada Grants: 2019 3 year grant for artistic research, Swedish Research Council Solo Exhibitions 2018 Stefan Karlssons museum för dålig konst, Gothenburg (SE) Panels, Andréhn-Schiptjenko, Stockholm (SE) 2017 Matts Leiderstam, Panels, Wilfried Lentz Rotterdam (NL) 2016 First Seen at the Lentz Collection, Collectorspace, Istanbul (TR) 1989, Andréhn-Schiptjenko, Stockholm (SE) 2015 The Common, Lund City Art Collection, Lunds Konsthall (SE) 2014 Life Masks, Wilfried Lentz, Rotterdam (NL) 2013 Andréhn-Schiptjenko, Stockholm (SE) 2012 Platsens själ, Artipelag, Värmdö, Stockholm (SE) 2011 Seen from Here, Kuntsi Museum of Modern Art, Waasa (FI) After Image, Wilfried Lentz Rotterdam (NL) 2010 Seen from here, Kunsthalle, Duesseldorf (DE) Seen from here, Malmö Art
    [Show full text]
  • N.Paradoxa Online Issue 4, Aug 1997
    n.paradoxa online, issue 4 August 1997 Editor: Katy Deepwell n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 4, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue4.pdf August 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk The following article was republished in Volume 1, n.paradoxa (print version) January 1998: N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 2 List of Contents Editorial 4 VNS Matrix Bitch Mutant Manifesto 6 Katy Deepwell Documenta X : A Critique 9 Janis Jefferies Autobiographical Patterns 14 Ann Newdigate From Plants to Politics : The Particular History of A Saskatchewan Tapestry 22 Katy Deepwell Reading in Detail: Ndidi Dike Nnadiekwe (Nigeria) 27 N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian 35 Diary of an Ageing Art Slut 44 n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 3 Editorial, August 1997 The more things change, the more they stay the same or Plus ca change..
    [Show full text]
  • Middle Gate II – the Story of Dymphna EN 15.09–04.11.2018
    Middle Gate II – The Story of Dymphna EN 15.09–04.11.2018 1 Middle Gate II – The Story of Dymphna 15.09–04.11.2018 2 Glossary 7 Introduction 10 Little Dove (To Dymphna) Lenny Peeters 14 Pilgrimage Vincent Van Menen 20 Artists 22 The Crown & Migration 58 The Sword & Sexual Violence 118 The Devil & Madness 168 The Book & Spirituality 212 Colofon Dr. Frits Sano, photograph on glass, photograph supposedly taken by dr. Paul Sano (collection Guy Rombouts) 4 5 Introduction Middle Gate II 15.09–04.11.2018 With the exhibition Middle Gate (2013), Painting by Luc Tuymans and Narcisse Jan Hoet returned to his origins, Tordoir, and the first chapter of Anselm announcing he wanted to depart from Franke’s Animism project. Yet central the middle gate. As did the exhibition, to all this is the figure of Jan Hoet, who that activated art’s potentiality and with Chambres d’Amis changed the idea offered immediate added value to both of what an exhibition can be. Earlier, he people and society. had already curated ground-breaking overviews like Aktuele kunst in België: Middle Gate testified of a love of art – inzicht/overzicht, overzicht/inzicht by effectively departing from works of art [Contemporary Art in Belgium: Insight/ that had been chosen for their intensity Overview, Overview/Insight] or Art in – and a high degree of casualness. This Europe after 1968. After Chambres also translated itself organisationally, d ‘Amis he would also take on with a problem solving attitude as Documenta IX. permanent alternative to a monetised operation that is based on professional, Let us continue to include Middle market and marketing mechanisms.
    [Show full text]
  • Autobiographical in the Oeuvre Of
    CALIFORNIA STATE UNNERSITY, NORTHRIDGE LONGING FOR MAMAN: AUTOBIOGRAPHICAL IMAGES IN THE OEUVRE OF LOUISE BOURGEOIS A the is . ubmitted jn partial fulfillment of the requirement for the degree of Master of Alts in Art Hi tory by Karen Jo Schifmao December 2003 DEDICATION For Norman and Jonathan lll ACKNOWLEDGEMENTS It has been a privilege to learn and write about the work of Louise Bourgeois. I never would have embarked upon this task without the support of many people. First, I would like to acknowledge my mother, Gloria Derchan, who introduced me to the subject of art history back in 1973 when we both began taking classes at Los Angeles Valley College, and who also has instilled in me an appreciation for aesthetics. I thank my father, Harold Derchan, who always encouraged my educational endeavors and taught me to have perseverance and determination. I thank my brother, Randall Derchan, who so patiently assisted me with the desktop publishing of this document, and my sister, Patti Meiselman, who always supports me. I thank my fellow art history graduate students, colleagues, and professors at the university, who have served as mentors and supporters throughout these past years, most especially, Professor Trudi Abram, Nina Berson, Anna Meliksetian, and Rachel Pinto. I thank my thesis committee members for their help and guidance. Firstly, Professor Jean-Luc Bordeaux, who has taught me to recognize and focus on the formal qualities in art, and to keep my knowledge base in the fi eld as broad as possible. Special thanks go to Professor Kenon Breazeale who has served on my committee since its inception.
    [Show full text]
  • 'Seth Price's Operations' by Michael Newman, From
    “Here is an operation . ” Seth Price, Was ist los? The walls of several of Seth Price’s exhibitions since 2007 have featured kite- shaped panels in what appears to be a yellow metal—“gold keys,” as the artist likes to call them—with an embossed area in black, white, or various colors, somewhat resembling a leaping figure, which in each picks out the negative shape of a hand dropping keys into another hand. These may be placed high, and are sometimes grouped to form horizontal or vertical friezes.1 The image of passing keys is an everyday gesture raised to the power of a logo, representing an interaction, which may be an exchange, the outcome of a sale or a mort- gage, the loan of a car or an apartment—intimating security, freedom, a place of one’s own. A key also has the metaphorical significance of something that unlocks and opens, lays bare, suggesting the process of interpretation that is applied to the work of art, or a body of work. But is there any meaning, any- thing hidden that needs unlocking? In much contemporary art and culture, the intensive concept of a “deep” meaning has been replaced by the extensive con- cept of networks, nodes that link to other nodes in all directions. The images in the “diamonds” come from tiny GIFs downloaded from the Internet, so the origin is a digital file obtained through a link. In the way that he explores different articulations across various mediums between source, object, and redistribution, Price has developed in an exem- plary manner the experience of an artist born in 1973, and based in New York.
    [Show full text]
  • Agnes Martin Selected Bibliography Books
    AGNES MARTIN SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2019 Hannelore B. and Rudolph R. Schulhof Collection (exhibition catalogue). Text by Gražina Subelytė. Venice, Italy: Peggy Guggenheim Collection, 2019. 2018 Agnes Martin / Navajo Blankets (exhibition catalogue). Interview with Ann Lane Hedlund and Nancy Princenthal. New York: Pace Gallery, 2018. American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 162–163, illustrated. An Eccentric View (exhibition catalogue). New York: Mignoni Gallery, 2018: illustrated. “Agnes Martin: Aus ihren Aufzeichnungen über Kunst.” In Küstlerinnen schreiben: Ausgewählte Beiträge zur Kunsttheorie aus drei Jahrhunderten. Edited by Renate Kroll and Susanne Gramatzki. Berlin: Dietrich Reimer Verlag GmbH, 2018: 183–187, illustrated. Ashton, Dore. “Dore Ashton on Agnes Martin.” In Fifty Years of Great Art Writing. London: Hayward Gallery Publishing, 2018: 53–61, illustrated. Agnes Martin: Selected Bibliography-Books and Exhibition Catalogs 2 Fritsch, Lena. “’Wenn ich an Kunst denke, denke ich an Schönheit’ – Agnes Martins Schriften.” In Küstlerinnen schreiben: Ausgewählte Beiträge zur Kunsttheorie aus drei Jahrhunderten. Edited by Renate Kroll and Susanne Gramatzki. Berlin: Dietrich Reimer Verlag GmbH, 2018: 188–197. Guerin, Frances. The Truth is Always Grey: A History of Modernist Painting. Minneapolis and London: University of Minnesota Press, 2018: plate 8, 9, illustrated. Intimate Infinite: Imagine a Journey (exhibition catalogue). New York: Lévy Gorvy, 2018: 100–101, illustrated. Martin, Henry. Agnes Martin: Pioneer, Painter, Icon. Tucson, Arizona: Schaffner Press, 2018. Martin, Agnes. “Agnes Martin: Old School.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico Books·Prestel, 2018: 44–45, illustrated.
    [Show full text]
  • UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title No such thing as society : : art and the crisis of the European welfare state Permalink https://escholarship.org/uc/item/4mz626hs Author Lookofsky, Sarah Elsie Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO No Such Thing as Society: Art and the Crisis of the European Welfare State A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Art History, Theory and Criticism by Sarah Elsie Lookofsky Committee in charge: Professor Norman Bryson, Co-Chair Professor Lesley Stern, Co-Chair Professor Marcel Hénaff Professor Grant Kester Professor Barbara Kruger 2009 Copyright Sarah Elsie Lookofsky, 2009 All rights reserved. The Dissertation of Sarah Elsie Lookofsky is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2009 iii Dedication For my favorite boys: Daniel, David and Shannon iv Table of Contents Signature Page…….....................................................................................................iii Dedication.....................................................................................................................iv Table of Contents..........................................................................................................v Vita...............................................................................................................................vii
    [Show full text]
  • Conceptual Art in Britain 1964–1979 Timeline Large Print Guide
    Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Timeline Large Print Guide Please return to exhibition entrance Contents 1964 Page 1 1965 Page 3 1966 Page 6 1967 Page 9 1968 Page 12 1969 Page 16 1970 Page 23 1971 Page 30 1972 Page 36 1973 Page 41 1974 Page 46 1975 Page 50 1976 Page 54 1977 Page 57 1978 Page 60 1979 Page 63 1964 1 AUG The Centre for Advanced Creative Study publishes Signals Newsbulletin, a forum for the discussion of experimental art exhibitions and events. It also includes poetry and essays on science and technology. The group becomes known as Signals London when it moves to premises in Wigmore Street in central London. The gallery closes in 1966. OCT The Labour party wins the general election under the leadership of Harold Wilson. Wilson speaks about the need ‘to think and speak in the language of our scientific age’. 2 1965 3 FEB Arts minister Jennie Lee publishes the first (and only) white paper on the arts – A Policy for the Arts. She argues that the arts must occupy a central place in British life and be part of everyday life for children and adults. She announces a 30% increase to the Arts Council grant. JUL Comprehensive education system replaces grammar and secondary modern schools, aiming to serve all pupils on an equal basis. Between Poetry and Painting Institute of Contemporary Arts, London 22 October – 27 November Curated by Jasia Reichardt Includes: Barry Flanagan, John Latham 4 NOV Indica gallery and bookshop opens at Mason’s Yard, London.
    [Show full text]
  • (OPENING) Another Energy: Power to Continue Challenging
    ANOTHER ENERGY Press Release vol.2 APRIL 21, 2021 (OPENING) Another Energy: Power to Continue Challenging - 16 Women Artists from around the World APRIL 22 [THU] - SEPTEMBER 26 [SUN], 2021 MORI ART MUSEUM [53F, ROPPONGI HILLS MORI TOWER] AGED 71 to 105, ALL ACTIVE AND BUSY AT WORK! The Mori Art Museum, Tokyo, is proud to present Another Energy: Power to Continue Challenging - 16 Women Artists from around the World from Thursday, April 22 to Sunday, September 26, 2021. Recent years have witnessed growing moves worldwide to right inequalities around aspects of identity such as gender, race, ethnicity, and beliefs, and attach greater value to diversity. Also in contemporary art for the past decade or so, attention has turned increasingly to female artists who began their contemporary art careers between the 1950s and 1970s and continue to stay active as artists today. Another Energy focuses on 16 of these female artists in their 70s or older, from across the globe, who continue to embark on new challenges. Ranging in ages 71-105 with their careers spanning over 50 years, they are originally from 14 different countries, and equally diverse in their current locations. Nonetheless, what these women share regardless of recognition or evaluation by art museums and the art market is a determination to pursue their own distinctive creative paths in turbulent environment and times. Showcasing their wide array of powerful works from paintings, video, sculptures, to large-scale installations and performances, about 130 works to total, this exhibition contemplates the nature of the special strength or what one may call the driving force - “ another energy ” - of these artists.
    [Show full text]
  • ZOE LEONARD Biography Born 1961 in Liberty, New York Lives And
    ZOE LEONARD Biography Born 1961 in Liberty, New York Lives and works in New York Solo Exhibitions 2022 Al Rio, Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean, Luxembourg 2018 Aerials, Hauser & Wirth, London Analogue, Hauser & Wirth, Los Angeles Zoe Leonard: Survey, Whitney Museum of American Art, New York; The Museum of Contemporary Art, Los Angeles Zoe Leonard, Kayode Ojo, Paula Cooper Gallery, New York 2017 Misia, Postwar, Galerie Gisela Capitain, Cologne 2016 I want a president, High Line Art, New York In the Wake, Hauser & Wirth, New York 2015 Anthony Meier Fine Arts, San Francisco Analogue, Museum of Modern Art, New York 2013 100 North Nevill Street, The Ice Plant, Chinati Foundation, Marfa Sun Photographs, Galerie Micheline Szwajcer, Antwerp 2012 Murray Guy, New York Sun Photographs, Galleria Raffaella Cortese, Milan Observation Point, Camden Arts Centre, London 2011 Available Light, Galerie Gisela Capitain, Cologne 2009 Photographs, Museum Moderner Kunst Stiftung Ludwig, Vienna Photographs, Pinakothek der Moderne, Munich 2008 You See I am here after all, Dia: Beacon, New York Derrotero, Dia at the Hispanic Society of America, New York Photographs, Museo Nacional Centro de Arte Reina Sofía, Madrid Galería Pepe Cobo, Madrid 2007 Photographs, Fotomuseum Winterthur, Winterthur Analogue, Villa Arson, Nice Analogue, Wexner Center for the Arts, Columbus 2006 Galerie Gisela Capitain, Cologne 2003 New Work, Paula Cooper Gallery, New York Galerie Giti Nourbakhsch, Berlin 2002 The Agency for Contemporary Art, London 2001 Anthony Meier
    [Show full text]