DOCSLIB.ORG

Independent Curators International Spring/Summer 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Independent Spring/Summer Curators 2017 International Calendar Highlights Spring/Summer 2017 March April May June July August 1 6 EN MAS’: Carnival and Performance Art of the Caribbean Curatorial Research Home Away from Home: The DuSable Museum (Chicago, IL) May 1– August 13, 2017 —————————————————————————————— Convening: Contemporary Indigenous Public Session Australian practices Frieze Brunch 8 12 (ICI Curatorial Hub) Tess Maunder (Randall’s Island, NY) What is Shared, What is Summer Cocktails (ICI Curatorial Hub) Offered with Chloë Bass (New York, NY) The Ocean After Nature 11 (ICI Curatorial Hub) School of the Museum of 12 Ja’nell Ajani and Fine Arts at Tufts (Boston, Curator’s Perspective: Lina Iris Viktor 20 Publishing Against the Grain MA) Through March 18 Emiliano Valdes (ICI Curatorial Hub) Curator’s Perspective: Stacion—Center for Contemporary Art (Pristina, Kosovo) (Americas Society) Salah Hassan July 10–August 10, 2017 ———————————————— The Ocean After Nature (New York, NY) Anne & Gordon Samstag Museum of Art (Adelaide, Australia) March 3–June 9, 2017 ————————————————————— do it 220 Cultura Contemporánea Push Play 19–25 24 (Córdoba, Argentina) Seattle University Curatorial Intensive Curator’s Perspective: August 18–October 27, 2017 (Seattle, WA) in Accra Trevor Schoonmaker Through March 4 (The New School) 25 6 Curatorial Intensive: Framing Femininity Public Symposium Martha Wilson and Chanel (DuBois Center, Von Habsburg-Lothringen Accra, Ghana) (ICI Curatorial Hub) 25 15 Renata Poljak: Partenza Curator’s Perspective: (ICI Curatorial Hub) Britta Peters and Kasper König do it (CUNY Graduate Center, Ilmin Museum of Art (Seoul, South Korea) April 28–July 9, 2017 —————————————————————————————— Skylight Room) do it Universidade do Porto (Porto, Portuga) Through May 17 ————————————————— 24–30 Check out ICI’s website for more upcoming exhibitions and Curatorial Intensive events, and to sign up to our mailing list to receive the latest in New Orleans information on our programs. 30 Curatorial Intensive: Public Symposium Save the Date (Contemporary Arts Center, New Orleans) ICI Annual Benefit & Auction Apichatpong Weerasethakul: The Serenity of Madness Museum of Contemporary Art and Design (Manila, Philippines) Through May 17 ——————— Wednesday, October 25 Calendar Highlights Spring/Summer 2017 March April May June July August 1 6 EN MAS’: Carnival and Performance Art of the Caribbean Curatorial Research Home Away from Home: The DuSable Museum (Chicago, IL) May 1– August 13, 2017 —————————————————————————————— Convening: Contemporary Indigenous Public Session Australian practices Frieze Brunch 8 12 (ICI Curatorial Hub) Tess Maunder (Randall’s Island, NY) What is Shared, What is Summer Cocktails (ICI Curatorial Hub) Offered with Chloë Bass (New York, NY) The Ocean After Nature 11 (ICI Curatorial Hub) School of the Museum of 12 Ja’nell Ajani and Fine Arts at Tufts (Boston, Curator’s Perspective: Lina Iris Viktor 20 Publishing Against the Grain MA) Through March 18 Emiliano Valdes (ICI Curatorial Hub) Curator’s Perspective: Stacion—Center for Contemporary Art (Pristina, Kosovo) (Americas Society) Salah Hassan July 10–August 10, 2017 ———————————————— The Ocean After Nature (New York, NY) Anne & Gordon Samstag Museum of Art (Adelaide, Australia) March 3–June 9, 2017 ————————————————————— do it 220 Cultura Contemporánea Push Play 19–25 24 (Córdoba, Argentina) Seattle University Curatorial Intensive Curator’s Perspective: August 18–October 27, 2017 (Seattle, WA) in Accra Trevor Schoonmaker Through March 4 (The New School) 25 6 Curatorial Intensive: Framing Femininity Public Symposium Martha Wilson and Chanel (DuBois Center, Von Habsburg-Lothringen Accra, Ghana) (ICI Curatorial Hub) 25 15 Renata Poljak: Partenza Curator’s Perspective: (ICI Curatorial Hub) Britta Peters and Kasper König do it (CUNY Graduate Center, Ilmin Museum of Art (Seoul, South Korea) April 28–July 9, 2017 —————————————————————————————— Skylight Room) do it Universidade do Porto (Porto, Portuga) Through May 17 ————————————————— 24–30 Check out ICI’s website for more upcoming exhibitions and Curatorial Intensive events, and to sign up to our mailing list to receive the latest in New Orleans information on our programs. 30 Curatorial Intensive: Public Symposium Save the Date (Contemporary Arts Center, New Orleans) ICI Annual Benefit & Auction Apichatpong Weerasethakul: The Serenity of Madness Museum of Contemporary Art and Design (Manila, Philippines) Through May 17 ——————— Wednesday, October 25 WELCOME “Through their work, curators have the opportunity to promote a diversity of thoughts; encourage critical thinking; articulate arguments; build an audience; and produce new views of the world, new realities.” This was how Jochen Volz, curator of the 32nd São Paulo Biennial, described the scope of the curatorial role last May during a Curator’s Perspective talk with ICI. In these times of intense change, Volz’s words resonate with heightened relevance. Yet, these ideas have been central to ICI for the last four decades. Since it was established in 1975 by Susan Sollins and Nina Castelli Sundell as a “museum without walls”, ICI has retained three core tenets of its mission: to advance independent practice; to broaden access to contemporary art; and to support international engagement. ICI’s ever- expanding network of collaborators—curators, artists, and art spaces—stretches across all 50 U.S. states and in 65 countries. It fosters the exchange of ideas across borders, and helps strengthen local and regional art communities within an international framework. A new exhibition beginning this summer, PUBLISHING AGAINST THE GRAIN, will exemplify these ideals. It draws from ICI’s network to bring together an international selection of independent curatorial publishing platforms—small journals, experimental publications, websites, radio, and other innovative forms of criticism. Compiled into a traveling reading room, these will be presented in dozens of art centers around the world over the next four years. The exhibition will debut in Kosovo, as part of an ongoing 3 partnership which began in 2013 with our colleagues at Stacion, in conjunction with their annual Summer School for artists, curators and writers from the region. In the coming months, international art events will align in even greater numbers than usual, among them the Venice Biennale, Documenta, and Skulptur Projekte Münster. ICI collaborators and Curatorial Intensive alumni are behind various aspects of these exhibitions, including several national pavilions in Venice. And in March, we will welcome Kasper König and Britta Petters to New York to hear about Skulptur Projekte. This year alone, ICI will realize 60 collaborative projects in up to 20 countries. Each of these collaborations uniquely reflects how ICI’s network impacts local and regional art scenes within an international framework. None of this would be possible without the commitment of everyone who makes ICI what it is today: the curators, the artists, our audience and collaborators around the world—in person, in print, and online; the trusts and foundations that support us; the many individuals who help us carry ICI’s mission to new heights; and ICI’s Board of Trustees, whose leadership and dedication have kept our two founders’ vision of a dynamic “museum without walls” going strong since 1975. Thank you! —Renaud Proch Executive Director 4 TABLE OF CONTENTS EXHIBITIONS Publishing Against the Grain 8 The Ocean After Nature 10 Apichatpong Weerasethakul 14 Salon de Fleurus 18 EN MAS’ 22 Documenta 5 24 do it 26 Spotlight: “Museum without walls” 28 EVENTS Curator’s Perspective 32 Curatorial Hub 34 CURATORIAL INTENSIVE Report: Manila 39 Alumni News 40 Alumni Profile 42 RESEARCH Research Convening 44 Interview: Miguel A. Lopez 46 Publications 48 SUPPORT Annual Benefit & Auction 52 Limited Editions 58 Patrons Groups 60 Thank You 62 Access ICI 64 EXHIBITIONS 6 Since 1975, ICI has produced itinerant exhibitions and profiled the work of more than 4,000 artists, working in countries worldwide, including Argentina, Afghanistan, Brazil, Canada, Czech Republic, Denmark, Ethiopia, England, France, Germany, Hong Kong, Iceland, Jamaica, Kosovo, Latvia, Lithuania, Mexico, New Zealand, Poland, Russia, Sweden, and Thailand. ICI’s history has uniquely positioned the organization to reflect on the exhibitions and artworks that travel throughout the world and across social, political, and cultural borders. In the different contexts in which they take place, itinerant projects have the potential to build a shared understanding of artist practice and are solid foundations for exchange in the curatorial field. ICI exhibitions consider collaborative exchange and a curatorial direction led by a combined perspective of many. Providing platforms for diversification of curatorial models and authors also leads to a diversification of the art audience. Our projects aspire to reach out to audiences with unique cultural concepts and arguments. Furthermore, ICI exhibitions are conceived to generate new content and propositions at every venue; they adapt depending on their changing contexts. Hosting institutions become active participants in the exhibition as they take a role in reconfiguring the project, framing it or even expanding it. 7 Tour begins Summer 2017 Publishing Against the Grain Art Against Art (Germany), Art Art Against Art, 2017. Image courtesy of Pages and ICI. Leaks, Art Practical (United States), Artes Visuales (Mexico), Artewolf social, political and aesthetic questions
Recommended publications
  • Slater Bradley Studio

    Slater Bradley Studio

    Slater Bradley Studio [email protected] www.slaterbradley.com Slater Bradley 1975 born in San Francisco, CA Education: 1998 BA, University of California, Los Angeles, CA Solo Exhibitions: 2014 LOOP Fair, Barcelona, Spain (under the auspices of Galeria Filomena Soares, forthcoming May 2014) 2013 Sean Kelly Gallery, New York, NY, A Point Beyond the Tree Johnson Museum of Art, Cornell University, Ithaca, NY, Sequoia: Recent Work by Slater Bradley Galería Helga de Alvear, Madrid, Spain, she was my la jetée 21c Museum, Bentonville, AR, Slater Bradley and Ed Lachman: Dead Ringer 2012 Max Wigram Gallery, London, England, Slater Bradley: Nudes Galeria Filomena Soares, Lisbon, Portugal, Melancholia Team Gallery, New York, NY, Don’t Let Me Disappear 2011 Aspen Art Museum, Aspen, CO, Slater Bradley and Ed Lachman: Look Up and Stay in Touch (cat.) Max Wigram Gallery, London, England, NEVER BET AGAINST ME Galería Helga de Alvear, Madrid, Spain, Slater Bradley and Ed Lachman: Shadow 2010 Whitney Museum of American Art, New York, NY, Slater Bradley and Ed Lachman: Shadow (curated by Chrissie Iles) PSM Galerie, Berlin, Germany, CLEAN SLATE 2009 Team Gallery, New York, NY, if we were immortal Max Wigram Gallery, London, England, Boulevard of broken dreams Frans Hals Museum | De Hallen Haarlem, Haarlem, The Netherlands, nothing changes how it used to be 2008 Taka Ishii Gallery, Tokyo, Japan, Perfect Empathy 2007 Blum & Poe, Los Angeles, CA, Hope From A Dark Place Max Wigram Gallery, London, England,The Unreleased Factory Galería Helga de Alvear, Madrid, Spain, Tonic-Clonic The Armory Show, New York, NY (under the auspices of Team Gallery) Contemporary Art Museum, St.
  • Museums of Contemporary Art in Preexisting Buildings: Constraints and Architecture the Case Study of Punta Della Dogana and Fondazione Prada

    Museums of Contemporary Art in Preexisting Buildings: Constraints and Architecture the Case Study of Punta Della Dogana and Fondazione Prada

    MUSEUMS OF CONTEMPORARY ART IN PREEXISTING BUILDINGS: CONSTRAINTS AND ARCHITECTURE THE CASE STUDY OF PUNTA DELLA DOGANA AND FONDAZIONE PRADA Thesis Supervisors: Professor Bárbara Coutinho Professor Fulvio Lenzo Author: Beatriz Loreto Crespo de Jesus Agostinho Extended Abstract The present article regards the process of converting preexisting buildings into museums of contemporary art using two study cases: Punta della Dogana, in Venice, and Fondazione Prada, in Milan. Additionally, this investigation aims to identify the factors and the limitations that affect the development of the adjacent architectural project and to understand the architectural solutions created in each case. With these goals in mind it was necessary to contextualise, historically, the museological institution as well as the evolution of its morphology. At the same time, a detailed analysis of the two case studies took place starting by the systematisation of technical drawings, bibliographic research and numerous visits to the respective locations. The dissertation document is made up by five chapters from which the first consists of the introductory guide lines for the investigation and the last two being the reached conclusions followed by the used bibliography. On the second chapter, a brief study regarding the History and the Architecture of museums of art takes place, focusing on the period inbetween the 18th century and the 20th century. The museum, being an entity with multiple dimensions - mission, programmes, morphology, among others – needs to adapt to its surrounding circumstances in order to survive (Schubert, 2009: 11). Since the 18th century this institution has changed accordingly to the social shifts affecting society, therefore, influencing all of its dimensions and its relation with the public.
  • Curriculum Vitae for Hugh Scott-Douglas

    Curriculum Vitae for Hugh Scott-Douglas

    HUGH SCOTT-DOUGLAS Born in Cambridge, UK, 1988 Education BFA, Ontario College of Art and Design, Toronto, Canada, 2010 Pratt Institute, Brooklyn, NY, 2005 Lives and works in Toronto, Canada One-Person Exhibitions 2019 Thank you Thank you Thank you Thank you Thank you Thank you, Blum & Poe, Tokyo, Japan 2018 ฿o₫៛€$, Blum & Poe, Los Angeles, CA 2016 Tochigi Prefectural Museum of Fine Arts, Tochigi, Japan Trade Winds, Casey Kaplan, New York, NY 2015 Blum & Poe, New York, NY Simon Lee Gallery, Hong Kong, China Consumables, Simon Lee Gallery, London, UK Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, PA 2014 Promises to Pay in Solid Substance, Jessica Silverman Gallery, San Francisco, CA eyes without a face, Croy Nielsen, Berlin, Germany A Broken Mule, Kaikai Kiki Gallery, Tokyo, Japan 2013 The Cabinet of Dr. Caligari, Blum & Poe, Los Angeles, CA (exh. cat.) 2012 A Place in the Sun, Clifton Benevento, New York, NY A cashed cheque, a canceled stamp, Jessica Silverman Gallery, San Francisco, CA 2011 Sitzprobe, Croy Nielsen, Berlin, Germany Chinese Whispers, Clint Roenisch Gallery, Toronto, Canada BLUM & POE LOS ANGELES NEW YORK TOKYO 2010 An Invitation to Lubberland, Clint Roenisch Gallery, Toronto, Canada Group Exhibitions 2018 Kinship, Jessica Silverman Gallery, San Francisco, CA Horizon Lines, Jessica Silverman Gallery at 288 Pacific, San Francisco, CA 2017 A Sea Change, Jessica Silverman Gallery, San Francisco, CA 2016 The Sun Placed in the Abyss, Columbus Museum of Art, Columbus, OH (exh. cat.) The Campaign for Art, San Francisco Museum of Modern Art, San Francisco, CA Money, Good and Evil. A Visual History of Economics, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany (ext cat.) Cyanotypes: Photography's Blue Period, Worcester Art Museum, Worcester, MA (exh.
  • Company Profile

    Company Profile

    COMPANY PROFILE JUNE 2015 INFO FILES • The Prada Group • Creativity and manufacturing • Raw materials • Logistics • Distribution • Licences and Joint Ventures • Prada Group figures June 2015 www.pradagroup.com 1 “Careful observation of and curiosity about the world, society, and culture are at the core of Prada’s creativity and modernity. This pursuit has pushed Prada beyond the physical limitations of boutiques and showrooms, provoked an interaction with different and seemingly distant worlds, and introduced a new way to create a natural, almost fashionless fashion.” Miuccia Prada and Patrizio Bertelli June 2015 www.pradagroup.com 2 THE PRADA GROUP Prada was founded in 1913 by Mario Prada, Miuccia Prada’s grandfather, in Milan. Located in the prestigious Galleria Vittorio Emanuele II, Prada was an exclusive, stylish store selling luggage, accessories and luxury goods, in fine materials and of sophisticated workmanship. The Milan store quickly became a firm favourite with the aristocracy and the most sophisticated members of the European elite. In 1919 Prada received the warrant of “Official Supplier of the Italian Royal Household”, and since then has been entitled to display the royal Savoy coat of arms and figure-of-eight knots alongside the company logo. Miuccia Prada and Patrizio Bertelli started working together in the late 70’s, laying the foundations of the international expansion that was to come. Patrizio Bertelli broke new ground in the luxury goods sector, introducing a new business model in which he kept direct, internal control over all processes, applying uncompromised quality criteria across the entire production cycle. Miuccia Prada’s creative talent and avant-garde approach attracted the attention of the global fashion industry, while her ability to look at the world from an unconventional vantage point allowed her not only to anticipate, but quite often, to set new trends.

  • Futuristic Aerie with a Park View

    C M Y K Nxxx,2012-05-11,C,023,Bs-4C,E1 N C23 FRIDAY, MAY 11, 2012 Futuristic Aerie With a Park View RICHARD PERRY/THE NEW YORK TIMES By CAROL VOGEL For the past 15 summers the Met’s “Tomás Saraceno on the Roof: about a dozen installers assembling his most spinning around from the perspec- roof garden has been the setting for tra- creation, which he described as “an in- N Tomás Saraceno’s imagination his Cloud City” opens Tuesday at the tive inside this giant futuristic construc- ditional sculptures by artists like Ells- ternational space station.” As pieces be- constellation of 16 joined modules Metropolitan Museum of Art. tion. worth Kelly, Jeff Koons and, last year, gan to be set in place, Mr. Saraceno under construction on the roof of Like many of Mr. Saraceno’s installa- Anthony Caro. It has also been a place sneaked a visitor inside and up a twisty tions “Cloud City” is his vision of float- I the Metropolitan Museum of Art to walk up a winding bamboo pathway gonal habitat of reflective stainless steel staircase about 20 feet above the roof ing or flying cities — places that defy will take off in a heavy puff of wind and that soared some 50 feet in an untradi- and acrylic. garden. Some of the floors were trans- float over Central Park. “The whole conventional notions of space, time and tional installation that invited visitor Called “Cloud City,” it is the largest of parent, and the walls were mirrored gravity. “You can have a feeling of thing will go into orbit,” Mr.
  • 2010–2011 Our Mission

    2010–2011 Our Mission

    ANNUAL REPORT 2010–2011 OUR MISSION The Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation, and conservation of its artistic, historic, and environmental assets. FROM THE CHAIRMAN 02 FROM THE MELVIN & BREN SIMON DIRECTOR AND CEO 04 THE YEAR IN REVIEW 08 EXHIBITIONS 18 AUDIENCE ENGAGEMENT 22 PUBLIC PROGRAMS 24 ART ACQUISITIONS 30 LOANS FROM THE COLLECTION 44 DONORS 46 IMA BOARD OF GOVERNORS 56 AFFILIATE GROUP LEADERSHIP 58 IMA STAFF 59 FINANCIAL REPORT 66 Note: This report is for fiscal year July 2010 through June 2011. COVER Thornton Dial, American, b. 1928, Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together (detail), 2003, mattress coils, chicken wire, clothing, can lids, found metal, plastic twine, wire, Splash Zone compound, enamel, spray paint, on canvas on wood, 71 x 114 x 8 in. James E. Roberts Fund, Deaccession Sculpture Fund, Xenia and Irwin Miller Fund, Alice and Kirk McKinney Fund, Anonymous IV Art Fund, Henry F. and Katherine DeBoest Memorial Fund, Martha Delzell Memorial Fund, Mary V. Black Art Endowment Fund, Elizabeth S. Lawton Fine Art Fund, Emma Harter Sweetser Fund, General Endowed Art Fund, Delavan Smith Fund, General Memorial Art Fund, Deaccessioned Contemporary Art Fund, General Art Fund, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, and the Mrs. Pierre F. Goodrich Endowed Art Fund 2008.182 BACK COVER Miller House and Garden LEFT The Wood Pavilion at the IMA 4 | FROM THE CHAIRMAN FROM THE CHAIRMAN | 5 RESEARCH LEADERSHIP From the In addition to opening the new state-of-the-art Conservation Science Laboratory this past March, the IMA has fulfilled the challenge grant from the Andrew W.
  • Future Past RECENT ARCHIVE MILAN 05.08.15

    Future Past RECENT ARCHIVE MILAN 05.08.15

    login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search links ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版 DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT SCENE & HERD Future Past RECENT ARCHIVE MILAN 05.08.15 Zehra Jumabhoy at the 3rd Dhaka Art Summit Linda Yablonsky at the 13th edition of Zona Maco in Mexico City Eva Díaz at the 104th College Art Association conference in Washington, DC Linda Yablonsky at the opening of the Macro Espacio para la Cultura y las Artes Himali Singh Soin around the 8th India Art Fair Paige K. Bradley at the 7th Art Los Angeles Contemporary and 3rd Paramount Ranch Left: Miuccia Prada. Right: Artist Wangechi Mutu, dealer Bruna Aickelin, and dealer Suzanne Vielmetter. ANY GHOSTS FLOATING AROUND contemporary art have a fabulous new piece of real estate to spook. Dubbed the Haunted House by its owners, who sheathed its five stories in twenty-four-karat gold leaf, it’s one of ten buildings on the grounds of a former distillery in Milan that now make up the Prada Foundation. (A new nine-story tower that will house a restaurant and eight floors of exhibition space is still under construction.) As the first institution dedicated to contemporary art in the city of La Scala and The Last Supper, it’s a game changer. As the fruit of designer-collector Miuccia Prada’s collaboration with architect Rem Koolhaas and OMA, it may be the most elegant private museum in the world—certainly the best that money can buy. NEWS PICKS FILM SLANT Newest Headlines Cairo’s Townhouse Gallery Tentatively Reopens After Being Shut Down by Authorities Lauri Firstenberg, Founder and Director of LAXART, to Step Down Landmarks Preservation Left: Writer Shumon Basar and architect Cédric Libert.
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)

    This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)

    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
  • Leslie Wayne on Sculpting Paint and Repairing What Is Broken

    Leslie Wayne on Sculpting Paint and Repairing What Is Broken

    Est. 1902 home • ar tnews • ar tists Artist Leslie Wayne on Sculpting Paint and Repairing What Is Broken BY FRANCESCA ATON June 15, 2021 5:57pm Artist Leslie Wayne (https://www.artnews.com/t/leslie-wayne/) molds and manipulates oil paint to create surfaces that blur the confines of painting and sculpture. Wayne found “an approach to [paint] that was very dimensional,” as she told Brooke Jaffe (https://www.artnews.com/t/brooke-jaffe/) in a recent interview for “ARTnews Live,” our ongoing IGTV series featuring interviews with a range of creatives. Wayne, the daughter of a concert pianist and a writer, began painting lessons at the age of 7 and lived in what she describes as a very open and “encouraging” household. Dissatisfied with the body of abstract geometric paintings featured in her first show—she says they felt formally rigorous but “hollow”—Wayne soon began integrating sculptural techniques into her paintings, which she says “helped me kind of build a vocabulary that was fresh and new to me.” It was then that Wayne realized “paint could be used like you would use any other material to build a work of art.” Her advice to aspiring artists is to “be courageous in the studio.” Wayne said her latest body of work, currently on view at Jack Shainman Gallery (https://www.artnews.com/t/jack- shainman-gallery/) in New York, was born from reflection. “I was looking inward as I gaze outside,” she wrote, referring to time spent indoors during the pandemic. Her paintings depict objects that she has been surrounded by in her studio, including work tables and rolling carts as well as stacks of marble that her husband, sculptor Don Porcaro, uses in his work.
  • Slater Bradley Studio

    Slater Bradley Studio

    Slater Bradley Studio [email protected] www.slaterbradley.com Slater Bradley 1975 born in San Francisco, CA Education: 1998 BA, University of California, Los Angeles, CA Solo Exhibitions: 2014 LOOP Fair, Barcelona, Spain (under the auspices of Galeria Filomena Soares, forthcoming May 2014) 2013 Sean Kelly Gallery, New York, NY, A Point Beyond the Tree Johnson Museum of Art, Cornell University, Ithaca, NY, Sequoia: Recent Work by Slater Bradley Galería Helga de Alvear, Madrid, Spain, she was my la jetée 21c Museum, Bentonville, AR, Slater Bradley and Ed Lachman: Dead Ringer 2012 Max Wigram Gallery, London, England, Slater Bradley: Nudes Galeria Filomena Soares, Lisbon, Portugal, Melancholia Team Gallery, New York, NY, Don’t Let Me Disappear 2011 Aspen Art Museum, Aspen, CO, Slater Bradley and Ed Lachman: Look Up and Stay in Touch (cat.) Max Wigram Gallery, London, England, NEVER BET AGAINST ME Galería Helga de Alvear, Madrid, Spain, Slater Bradley and Ed Lachman: Shadow 2010 Whitney Museum of American Art, New York, NY, Slater Bradley and Ed Lachman: Shadow (curated by Chrissie Iles) PSM Galerie, Berlin, Germany, CLEAN SLATE 2009 Team Gallery, New York, NY, if we were immortal Max Wigram Gallery, London, England, Boulevard of broken dreams Frans Hals Museum | De Hallen Haarlem, Haarlem, The Netherlands, nothing changes how it used to be 2008 Taka Ishii Gallery, Tokyo, Japan, Perfect Empathy 2007 Blum & Poe, Los Angeles, CA, Hope From A Dark Place Max Wigram Gallery, London, England,The Unreleased Factory Galería Helga de Alvear, Madrid, Spain, Tonic-Clonic The Armory Show, New York, NY (under the auspices of Team Gallery) Contemporary Art Museum, St.
  • The Studio Museum in Harlem Ma∂Azine/Summer 2008

    The Studio Museum in Harlem Ma∂Azine/Summer 2008

    Studio/ Summer 2008 The Studio Museum in Harlem Ma∂azine/ Summer 2008 SMH Board of Introducin∂ From the Director Trustees turin∂ Alani Bass , Mi∂uel Calderon, Target Free Cat Chow and Felicia Me∂∂inson; Chairman Sundays! StudioSound with Rich Medina; and Raymond J. McGuire See pa∂es Eye Notes, featurin∂ the work of Vice-Chair our youn∂est “artists in residence,” Carol Sutton Lewis 36–38! the hi∂h school participants of our Treasurer Expanding the Walls pro∂ram. Re∂inald Van Lee Secretary The Studio Museum in Harlem Ma∂azine / Summer 2008 Anne B. Ehrenkranz year, Leslie Hewitt, Tanea Richard- Gayle Perkins Atkins son and Saya Woolfalk ener∂ize the Jacqueline L. Bradley Museum’s ∂alleries (and the pa∂es Kathryn C. Chenault 02 What’s Up / Kehinde Wiley / R.S.V.P. / New Intuitions / A Portrait of the Artists / Eye Notes / Harlem Postcards / Gordon J. Davis of this ma∂azine) with their new work Susan Fales-Hill Four Decades 18 Projects on View / Rich Medina / Black is Beautiful 20 Upcomin∂ Exhibitions / Barkley L. Hendricks in New Intuitions. I am thrilled that In these pa∂es you will see addi- Dr. Henry Louis Gates, Jr. they share the ∂alleries this sum- tional excitin∂ features hi∂hli∂htin∂ Sandra Grymes 24 Feature / Allison Saar’s Swing Low 26 Elsewhere / Phantom Sightings / Salad Days / 1968: Then and Now / Yoruba / VanDerZee Mussenden Donna Courtesy / 1932 / Summer 2008 Studio mer with The World Stage: Africa, alumni of our foundational pro∂ram, Joyce K. Haupt A People’s Geography / Nicholas Hlobo / The 7th Gwan∂ju Biennale / RECOGNIZE! / The Poetics of Cloth / The Essential Lagos ~ Dakar, a solo exhibition by includin∂ Alison Saar (1983–84) and Arthur J.
  • THE ART NEWSPAPER Art Basel: 15/06/2016

    THE ART NEWSPAPER Art Basel: 15/06/2016

    ○ Download our FREE daily app THE ART NEWSPAPER Art Basel: 15/06/2016 ○ Kunstmuseum Basel ○ Michael Landy ○ Basel’s backyard ○ Refugees welcome Inside the city’s biggest art Why the British artist wants to Head to Salts in Birsfelden to museum, which has just got How the art world is responding destroy Jean Tinguely’s museum find a dynamic non-profit space bigger and better to a crisis in the real world in the name of love off the beaten track Page 4 >> Pages 9-10 >> Pages 16-18 >> Page 23 >> Buy Eliasson’s green light, Collectors take a long help refugees Green light, the Vienna-based art project launched by Olafur Eliasson to welcome refugees, hard look at themselves is coming to Art Basel this weekend. Since March, partici- pants from countries including Syria, Afghanistan and Iraq have At Art Basel, artists hold up a mirror to everyone who makes the art world go round worked with local people at Thyssen-Bornemisza Art Contem- Artists are holding up a mirror to porary to make nearly 300 green the art world at Art Basel, its biggest lamps designed by the Danish- tribal gathering, which opened to in- Icelandic artist. Participants will vited collectors yesterday. Collectors, present the project inside Oscar art advisers, dealers and the rest of Tuazon’s wooden structure on the art market’s elite arrived to find the Messeplatz, on 18 and 19 its rituals (and sometimes them- June. Lamps will be available for selves) represented—though not SFr350 each. Proceeds go to pro- necessarily in the best light.