Rodney Graham CV
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Rodney Graham Biography
Rodney Graham Rodney Graham pulls at the threads of cultural and intellectual history through photography, film, music, performance and painting. He presents cyclical narratives that pop with puns and references to literature and philosophy, from Lewis Carroll to Sigmund Freud to Kurt Cobain, with a sense of humour that betrays Graham’s footing in the post-punk scene of late 1970s Vancouver. The nine-minute loop Vexation Island (1997) presents the artist as a 17th-century sailor, lying unconscious under a coconut tree with a bruise on his head; after eight and a half minutes he gets up and shakes the tree inducing a coconut to fall and knock him out, and for the sequence to start again. Graham returns as a cowboy in How I Became a Ramblin’ Man (1999) and as both city dandy and country bumpkin in City Self/Country Self (2001) – fictional characters all engaged in an endless loop of activity. Such dream states and the ramblings of the unconscious are rooted in Graham’s earlier upside-down photographs of oak trees. Inversion, Graham explains, has a logic: ‘You don’t have to delve very deeply into modern physics to realise that the scientific view holds that the world is really not as it appears. Before the brain rights it, the eye sees a tree upside down in the same way it appears on the glass back of the large format field camera I use.’ (2005) Rodney Graham was born in Abbotsford, British Columbia, Canada in 1949. He graduated from the University of British Columbia, Burnaby, Canada in 1971 and lives and works in Vancouver, Canada. -
1938. BIRTHDAY PARTY with GUESTS CELEBRATES a PIVOTAL YEAR for PHOTOGRAPHY by Sophie Wright, March 15, 2018
1938. BIRTHDAY PARTY WITH GUESTS CELEBRATES A PIVOTAL YEAR FOR PHOTOGRAPHY By Sophie Wright, March 15, 2018 The Sprengel Museum in Hanover celebrates the year in which Boris Mikhailov, Josef Koudelka, Daido Moriyama, Helga Paris, Johan van der Keuken, and Heinrich Riebesehl were born with a thought-provoking group show open until 03 June In terms of history and photography, 1938 was a significant year. With Germany’s annexation of Austria, the Munich Agreement, the November Pogrom and the Évian Conference, which addressed the international response to the refugee crisis, it was a decisive point in time, with repercussions that would shape generations to come. It was also the year that six iconic photographers, who would document this shifting world, were born. This spring, the occasion will be honoured with a special celebration at the Sprengel Museum Hannover, titled 1938. Birthday Party with Guests. Initiated to commemorate the 80th anniversary of German photographer Heinrich Riebesehl, whose archive is housed at the museum, the exhibition evolved into a wider historical survey that sketches an international perspective on the second half of the 20th century. Joining Riebesehl are Johan van der Keuken, Josef Koudelka, Boris Mikhailov, Daido Moriyama and Helga Paris. For curator Inka Schube, this wave of artists born in 1938 represents a very particular generation: those who experienced the Second World War as children, too young to remember much more than playing in its rubble but growing up in the world it created. Organised in chronological order, 1938. Birthday Party with Guests proposes a walk through history that is in direct dialogue with the present, courtesy of some younger guests. -
Marian Penner Bancroft Rca Studies 1965
MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY -
Northern Gothic: Werner Haftmann's German
documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology. -
DIE ORIGINALE Entdecken Die Hamburger Kunsthalle Zählt Zu Den BedeutenDsten Und Größten Kunstmuseen in Deutschland
DIE ORIGINALE ENTDECKEN Die Hamburger Kunsthalle zählt zu den bedeuten dsten und größten Kunstmuseen in Deutschland. Ihre international einzig artige Sammlung aus 700 Jahren Kunst und zahlreiche, renommierte Sonderausstellungen ziehen jährlich hundert- tausende Besucher_innen aus aller Welt an. Erleben Sie einen faszinierenden Rundgang durch die euro päische Kunstgeschichte mit Meisterwer ken vom Mittelalter bis in die Gegenwart. WILLKOMMEN IN DER HAMBURGER KUNSTHALLE DIE KUNSTHALLE IN ZAHLEN ca. 5.000 Führungen und Veranstaltungen 20.000 pro Jahr Werke online 350 Installationen 3.500 Gemälde 2 Cafés/ Restaurants ca.8 Ausstellungen pro Jahr 1.000 dauerhaft ausgestellte Werke 700 Jahre Kunst 130.000 Zeichnungen und Graphiken 12.000 m² Ausstellungsfläche ca. 390.000 Besucher_innen pro Jahr ca.8 Ausstellungen pro Jahr 700 JAHRE KUNST UNSERE SAMMLUNG Alte Meister Höhepunkte der Alten Meister sind die nord deutsche mittelalterliche Malerei mit den Altären von Bertram von Minden und Meister Francke, die Werke der euro- päischen Renaissance von Lucas Cranach d.Ä., Hans Holbein oder Paris Bordone und das Goldene niederländische Zeit- alter des 17. Jahrhunderts mit Werken von Rembrandt van Rijn, Pieter de Hooch oder Anton van Dyck. Bertram VON MINDEN Retabel des ehemaligen Hochaltars der Petrikirche in Hamburg (Grabower Altar), Ausschnitt, 1379/83 KUPFerstiCH- kabinett Das Kupferstichkabinett der Kunsthalle gehört mit seinen mehr als 130.000 Zeichnungen und druckgraphischen Blättern zu den bedeutenden Sammlungen in Europa. albreCht DÜrer Liebespaar, 1493 19. Jahrhundert Die Sammlung des 19. Jahrhunderts zählt mit ihren umfangreichen Werkgruppen von Caspar David Friedrich, Philipp Otto Runge, Max Liebermann sowie zentralen Werken der französischen Realisten und Impressionisten zu den wichtigsten ihrer Art. -
Olafur Eliasson Biography
Olafur Eliasson Biography 1967 Born in Copenhagen 1989 – 1995 Studied at the Royal Danish Academy of Fine Arts in Copenhagen Lives in Copenhagen and Berlin Solo Exhibitions 2019 Olafur Eliasson: In real life, Tate Modern, London, United Kingdom, July 11, 2019 – January 5, 2020. Travel to Guggenheim Bilbao, Spain, February 14, 2020 – June 21, 2021. Tree of Codes, Opéra Bastille, Paris, France, June 26 – July 13. Y/our future is now, The Serralves Museum of Contemporary Art, Porto, Portugal, July 31, 2019 – June 14, 2020. 2018 Objets définis par l’activité, Espace Muraille, Genève, Switzerland, January 24 — April 28. Una mirada a lo que vendrá (A view of things to come), Galería Elvira González, Madrid, Spain, February 13 – April 28. Reality Projector, Marciano Art Foundation, Los Angeles, USA, March 1 – August 25. The unspeakable openness of things, Red Brick Art Museum, Beijing, People’s Republic of China, March 25 – August 12. Multiple Shadow House, Danish Achitecture Center (DAC), Copenhagen, Denmark, May 17 – Oktober 21. Olafur Eliasson: WASSERfarben (WATERcolours) , Graphische Sammlung – Pinakothek der Moderne, Munich, Germany, June 7 – September 2. The speed of your attention, Tanya Bonakdar Gallery, New York / Los Angeles, September 15 – December 22. 2017 Olafur Eliasson, Fischli/Weiß, Art Project Ibiza & Lune Rouge, Ibiza, Spain, January 21 – April 29. Olafur Eliasson: Pentagonal landscapes, EMMA – Espoo Museum of Modern Art, Espoo, Finnland, February 8 – May 21. Olafur Eliasson: Green light – An artistic workshop, The Moody Center of the Arts, Houston, Texas, USA, February 24 – Mid May. Olafur Eliasson: The listening dimension, Tanya Bonakdar Gallery, New York, March 23 – April 22. -
Asia Arts Awards Hong Kong Auction to Benefit Asia Society Thursday, March 23, 2017 1
ASIA ARTS AWARDS HONG KONG AUCTION TO BENEFIT ASIA SOCIETY THURSDAY, MARCH 23, 2017 1. Xu Bing (b. 1955, Chongqing, China; lives and works in Beijing and New York) Phoenix, 2015 Digital print on paper 15 3/4 x 18 3/4 in. (40.1 x 47.7 cm) Artist Proof 1 of 8 Courtesy of the artist Suggested value: US$1,500.00 Xu Bing is a conceptual artist whose work draws on the creative use of language, words, and text. This is a print of an original drawing of Xu’s large-scale installation of the same name made from construction debris and light-emitting diodes. Phoenixes are traditionally associated with rebirth and Xu’s interpretation may be seen as a reflection on urbanization. The artist received a BFA in printmaking in 1981 and an MFA in 1987 from the Central Academy of Fine Arts (CAFA), Beijing. A recipient of the MacArthur Fellowship in 1999, Xu’s artworks have been exhibited worldwide, including at the 56th and 45th Venice Biennales (2015, 1993); Arthur M. Sackler Gallery, Washington, D.C. (2013, 2001); the Victoria and Albert Museum, London (2013); The Museum of Modern Art, New York (2007); The Metropolitan Museum of Art, New York (2006); the Biennale of Sydney (2002); and Johannesburg Biennale (1997), among others. The artist served as the Vice President of the Central Academy of Fine Arts, Beijing, from 2008 to 2014, and is currently a professor and member of the Academic Committee at CAFA. He was awarded a Doctorate of Humane Letters by Columbia University in 2010. -
PHILIPPE PARRENO Lives and Works in Paris, France Education
PHILIPPE PARRENO Lives and works in Paris, France Education 1983 – 1988 École des Beaux-Arts, Grenoble, France 1988 – 1989 Institut des Hautes Etudes en arts plastiques, Palais de Tokyo, Paris Selected Solo Exhibitions 2019 “Philippe Parreno: A Manifestation of Objects,” Watari Museum of Contemporary Art, Tokyo “Echo,” Museum of Modern Art, New York “Displacing Realities,” LVMH Venice, Venice, Italy “Philippe Parreno,” Gladstone Gallery, New York 2018 “My Room is Another Fish Bowl,” Tensta Konsthall, Stockholm, Sweden “Philippe Parreno,” Pilar Corrias Gallery, London “Philippe Parreno,” Martin-Gropius-Bau, Berlin “Philippe Parreno: Two Automatons for One Duet (My Room Is Another Fish Bowl, 1996–2016, and With a Rhythmic Instinction to Be Able to Travel beyond Existing Forces of Life, 2014),” Art Institute of Chicago, Chicago 2017 “La Levadura y el Anfitrión,” Museo Jumex, Mexico City “Philippe Parreno: Synchronicity,” Rockbund Art Museum, Shanghai, China “Philippe Parreno,” Museu de Arte Contemporânea de Serralves, Porto, Portugal 2016 “Philippe Parreno: Thenabouts,” Australian Center for the Moving Image, Melbourne, Australia “Anywhen,” Hyundai Commission 2016, Turbine Hall, Tate Modern, London “My Room is Another Fish Bowl, The Brooklyn Museum, New York “IF THIS THEN ELSE,” Gladstone Gallery, New York 2015 “H{N)YPN(Y}OSIS,” Park Avenue Armory, New York “Hypothesis,” HangarBicocca, Milan, Italy 2014 “Quasi Objects,” Esther Schipper, Berlin “With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life,” Pilar Corrias, -
An Apology for Modernity
NSK STaTE PavIlION — 57Th vENIcE BIENNalE 2017 11 May – 15 July 2017 Exhibition: Palazzo Ca’ Tron, IUAV University of Venice Commissioned by IRWIN Inaugural lecture by Slavoj Žižek Curated by Zdenka Badovinac and Charles Esche 11 May 2017, Aula Magna Tolentini Installation by Ahmet Öğüt AN APOLOGY List of contents FOR MODERNITY It is cruel to refuse shelter to refugees. For the state in time, transgression of But it is much more cruel to make people the bounds of the ethical idea is as serious Introduction by IRWIN 2 refugees. The refugees fleeing to Europe as violation of the boundaries for the state are put in an impossible situation of seek - in space. It is imperative for NSK as the Zdenka Badovinac and Charles Esche, NSK State ing help from the perpetrators of their suf - state in time that we take a categorical Pavilion in the context of the 57th Venice Biennale 3 fering and misery. We, the liberal Western stance toward these developments. Since world, have destroyed their life world. we cannot expect our Western leaders to Editor’s note by Mara Ambrozič 4 The governments of our states in space act ethically, we take the burden of moral have done it. We as their citizens are all responsibility and guilt on ourselves and Slavoj Žižek, The Courage of Hopelessness 4 complicit in the crimes our elected and sincerely apologize to the refugees, as well unelected leaders have committed or as - as to those who were unable to or chose Eda Čufer, It is Time to Rethink the State: sisted in the regions from which the not to flee, for all the crimes and suffering On NSK State 5 refugees flee. -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. -
To Care, to Curate. a Relational Ethic of Care
Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye. -
Art Is Public from Kunstverein to Kunsthalle
ART IS PUBLIC FROM KUNSTVEREIN TO KUNSTHALLE Founded 200 years ago as a civic initiative, the non-prof- tration on local artists is deliberately not intended. The it institution Kunstverein (art association) in Hamburg Dresden-based Norwegian landscape painter Johan holds a firm place in the cultural life of the city ever since. Christian Dahl figures in the exhibition with six paint- It acts as an important intermediary between contempo- ings, his artist friend Caspar David Friedrich, likewise a rary art, artists and the public. As a free city, early 19th resident of Dresden, is represented with three paintings. century Hamburg is devoid of any courtly collecting or Remarkably, in 1826, Hamburg is able to present one of art academy. Therefore, the bourgeois Kunstverein plays Friedrich’s most important works, ›The Polar Sea‹ – a central role in the promotion and dissemination of art. (which you will find displayed in the centre of this room). This commitment culminates in the opening of the Kunst- However, it is only in 1905, almost eighty years later, halle with its public collection in 1869. Time and again, that the Kunsthalle acquires this painting. the Kunstverein and the museum remain in close con- tact, linked both by organisational structures and their programmatic emphases. It is only since the final spatial R oom 2 separation in 1963 that the two institutions have been operating completely independently. 1842 — FIRST EXHIBITION In nine theme rooms, this exhibition highlights OF OLD MASTERS selected events from the history of the Kunstverein. They are closely related to the history and the collection of the Ever since the Kunstverein’s first gathering in 1817, the Hamburger Kunsthalle, thus connecting both institu- Old Masters are one of its main interests.