DOCSLIB.ORG

Miguel Condé Sitges 2007 Exhibition Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Miguel Condé Sitges 2007 Exhibition Catalogue MIGUEL CONDÉ Pêle-mêle 1972 – 2006 MIGUEL CONDÉ Pêle-mêle 1972 – 2006 Edifici Miramar Sitges, Barcelona ORGANITZA EXPOSICIÓ AGRAÏMENTS Producció Comissariat Ajuntament de Sitges María Luisa Martín de Argila Coordinació Catalogació Gabi Serrano Carola Condé Oriol Armengou Bertràn Disseny de muntatge Gloria Baquès i Antoni Mirabent Oriol Blanc Amadeo Condé Muntatge técnic Maximilian Condé Josep Gari Grácia i Iván Lorencés Ignacio de Lassaletta Enmarcació Hospital Sant Joan Baptista José María Corredor Pep Pascual Joel Oliver / Angle Miguel Varela Assegurança Mapfre In memoriam Transport Gonzalo Armero COL·LABORA Tuareg Maria Dolors Bertràn de Armengou Isidre Llorenç Sagarra CATÀLEG Maria Planas Joan Puighibet Disseny i maquetació Joan Salvat Amadeo Condé Bar Xatet Text Jordi Baijet i Vidal Maria Lluïsa Borràs Michael Peppiatt Fotografia Dawn Broadbridge www.miguelconde.info Gonzalo de la Serna (obres) Tony Keeler Elisabeth Loewenstein Novick Larry Mangino (coberta) Traducció Darryl James Clark Carola Condé Ramon Vilardell Revisió linguística Dawn Broadbridge (anglés) Xavier Gimeno (català) Impressió Gràfiques Delfos 2000 © edició impressa 2007, Ajuntament de Sitges © edició electrónica, Miguel Condé © obres, Miguel Condé / VEGAP, Spain / Artists Rights Society (ARS), New York © texts, els autors © fotografies, els fotògrafs © traduccions, els traductors This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. http://creativecommons.org/licenses/by- nc-nd/3.0/ ISBN: 84-89948-58-5 Diposit Legal: B-27.354-2007 MIGUEL CONDÉ Pêle-mêle 1972 – 2006 21 abril – 3 juny 21 abril – 3 junio April 21 – June 3 2007 2007 2007 Edifici Miramar Sitges, Barcelona Directori Directorio Directory 8 Miguel Condé 8 Miguel Condé 8 Miguel Condé 11 Introducció per 11 Introducción por 11 Introduction by l’Alcalde de Sitges el Alcalde de Sitges the Mayor of Sitges Extractes per Extractos por Excerpts by Maria Lluïsa Borràs Maria Lluïsa Borràs Maria Lluïsa Borràs Converses amb Conversaciones con Conversations with Michael Peppiatt Michael Peppiatt Michael Peppiatt 63 Olis 63 Óleos 63 Oils Pastels Pasteles Pastels Dibuixos Dibujos Drawings Pergamins Pergaminos Parchments Fragments Fragmentos Fragments 171 Biografia cronològica 171 Biografía cronológica 171 Chronological biography Col·leccions Colecciones Collections Exposicions individuals Exposiciones individuales Solo exhibitions Exposicions col·lectives Exposiciones colectivas Group exhibitions 7 Miguel Condé, atelier Madrid, 2007 (Larry Mangino) MigUel ConDÉ Miguel Condé, pintor, dibuixant i gravador figuratiu mexicà. Va néixer el 1939 a Pittsburgh, Estats Units. Viu i treballa entre Madrid i Sitges. Autodidacta a excepció d’estudis d’anatomia amb Stephen Rogers Peck a Nova York i tècniques de gravat a l’Atelier 17 de Stanley William Hayter a París. Becari de la Fundació Guggenheim para Amèrica Llatina i del Govern Francès, Condé ha rebut diversos premis internacionals i és membre titular de la Societé des Peintres-Graveurs Français. 8 MigUel ConDÉ MigUel ConDÉ Pintor, dibujante y grabador figurativo mexicano. Mexican figurative painter, draftsman and etcher. Nació en 1939 en Pittsburgh, Estados Unidos. Vive y Born in 1939 in Pittsburgh, Pennsylvania. Lives and trabaja entre Madrid y Sitges, España. works between Madrid and Sitges, Spain. Autodidacta a excepción de estudios de anatomía Self-taught, with the exception of anatomy studies with con Stephen Rogers Peck en Nueva York y técnicas de Stephen Rogers Peck in New York and etching techniques grabado en el Atelier 17 de Stanley William Hayter in Stanley William Hayter’s Atelier 17 in Paris. Recipient en París. Becario de la Fundación Guggenheim (Latin of a Guggenheim Latin American Fellowship and a grant American Fellowship) y del Gobierno Francés, Condé ha from the French Government, Condé has been awarded recibido varios premios internacionales y es miembro various international prizes and is an appointed member titular de la Societé des Peintres-Graveurs Français. of the Société des Peintres-Graveurs Français. 9 10 Introducció per Introducción por Introduction by l’Alcalde de Sitges el Alcalde de Sitges the Mayor of Sitges Extractes per Extractos por Excerpts by Maria Lluïsa Borràs Maria Lluïsa Borràs Maria Lluïsa Borràs Converses amb Conversaciones con Conversations with Michael Peppiatt Michael Peppiatt Michael Peppiatt 11 MigUel ConDÉ és un artista veritablement cosmopolita. Nascut als Estats Units, de pare mexicà, ha estat sempre molt vinculat a les cultures d’ambdós països encara que també ha sentit sempre una gran fascinació per Europa, fins a tal punt que es podria considerar francès o espanyol amb tot dret. De tot això es beneficia la seva pròpia obra artística, sempre inquietant, plena de ressonàncies d’altres èpoques i altres cultures però, també, inequívocament personal. Apassionat pel dibuix, tal com ho van ser els quatrecentistes italians o flamencs, des de fa anys Condé és un dels artistes que han conreat el gravat amb més profunditat i dedicació tal com ha palesen les successives mostres que ha realitzat. La pintura de Miguel Condé, que no ha renunciat mai a la figuració, està poblada de personatges màgics que estableixen aviat un diàleg amb l’espectador esquitxat de ressonàncies medievals, orientals o renaixentistes. El seu món se’ns presenta així d’una manera atemporal i ens convida a reprendre diàlegs humanistes avui dia oblidats o relegats en el nostre subconscient, tot això embolicat en una atmosfera de color intens i ple d’elegància. Les seves obres, que ens sedueixen per la saviesa pictòrica i el refinament cultural que evoquen, traspuen pintura de la millor qualitat. Pinzellades soltes, carregades d’una gran expressivitat que l’artista emfatitza amb precisos i decisius traços de superb dibuixant. Serens fons cromàtics, taques immenses de color d’una exquisida elegància, gammes calentes, sienes, ocres, blaves, al·lusions venecianes, sense estridències, d’on sorgeixen els enigmàtics personatges que configuren el personalíssim món de l’artista. Figures en trànsit, intemporals testimonis de l’amor, del dolor, de l’angoixa, de la tristesa; víctimes com nosaltres de la solitud, inquietants fantasmes que suren distants, en un aire d’absència, que irremeiablement ens commouen i angoixen amb la seva serena ironia. No debades el seu autor és un home d’una profunda i àmplia cultura cosmopolita que apareix reflectida en la seva obra d’una manera suggeridora i enigmàtica. 12 MigUel ConDÉ es un artista verdaderamente MigUel ConDÉ is a genuinely cosmopolitan cosmopolita. Nacido en Estados Unidos de padre artist. Born in the United States of a Mexican father he mexicano ha estado siempre muy vinculado a las has always been linked to both cultures although he has culturas de ambos países aunque también ha sentido also always felt a strong fascination towards Europe, to siempre una gran fascinación por Europa, hasta tal the point that he could be considered French or Spanish punto que se podría considerar francés o español con as well. His artistic creation has benefited from this todo derecho. De todo ello se beneficia su propia obra circumstance, always unsettling, filled with echoes of artística, siempre inquietante llena de resonancias other times and other cultures, but also unmistakably his. de otras épocas y otras culturas pero, también, inequívocamente personal. As passionate about drawing as were the Italian Quattrocentists or the Flemish primitives, Condé has Apasionado por el dibujo, tal como lo fueron los been for years one of the artists who has cultivated cuatrocentistas italianos o flamencos, desde hace etching with more depth and enthusiasm, a fact evident años Condé es uno de los artistas que han cultivado in his successive exhibitions. el grabado con más profundidad y entrega tal como ha quedado patente en las sucesivas muestras que ha The painting of Miguel Condé, who has never renounced realizado. the figurative, is peopled with magic personages who soon establish a dialogue with the spectator, sprinkled La pintura de Miguel Condé, quien nunca ha renunciado with Medieval, Oriental and Renaissance references. a la figuración, está poblada de personajes mágicos He presents his world to us in a timeless frame, inviting que establecen pronto un diálogo con el espectador us to rethink humanistic discourse long forgotten or salpicado de resonancias medievales, orientales o relegated to our subconscious, all enveloped in an renacentistas. Su mundo se nos presenta así de una atmosphere of intense color and elegance. His work, manera atemporal invitándonos a retomar diálogos which seduces us with its pictorial knowledge and humanistas hoy en día olvidados o relegados en cultural refinement, embodies painting of the highest nuestro subconsciente, todo ello envuelto en una quality. Fluid and expressive brush strokes, which the atmósfera de color intenso y lleno de elegancia. Sus artist emphasizes with the firm and decisive lines of a obras, que nos seducen por la sabiduría pictórica y el superb draughtsman. Serene chromatic backgrounds, refinamiento cultural que evocan, rezuman pintura de immense passages of color of exquisite elegance, warm la mejor calidad. Sueltas pinceladas, cargadas de una color schemes, sienna, ochre, blue, allusions to Venice, gran expresividad que el artista enfatiza con certeros non-strident, from where the personages, which depict y decisivos trazos de soberbio dibujante. Serenos the highly personal world of the artist, emerge. fondos cromáticos, manchas
Load more

Recommended publications
  • Expressions 1991 Carol Young
    Des Moines Area Community College Open SPACE @ DMACC Expressions Student Work 1991 Expressions 1991 Carol Young Virgina Ann McNichols Mark Hennick Joni Ayers Barbara Schwemler See next page for additional authors Follow this and additional works at: https://openspace.dmacc.edu/expressions Recommended Citation Young, Carol; McNichols, Virgina Ann; Hennick, Mark; Ayers, Joni; Schwemler, Barbara; Hanson, Jeff; Jones, Ron; Tyler, Kathy; Bjork, Sue; Ohland, Mary; Czestochowski, Joseph; Danoff, I. Michael; North, Cal; Millenkamp, Molly; Burge, Connie; Philippson, Joe; Gould, Nicola; and Blair, Joel, "Expressions 1991" (1991). Expressions. 27. https://openspace.dmacc.edu/expressions/27 This Book is brought to you for free and open access by the Student Work at Open SPACE @ DMACC. It has been accepted for inclusion in Expressions by an authorized administrator of Open SPACE @ DMACC. For more information, please contact [email protected]. Authors Carol Young, Virgina Ann McNichols, Mark Hennick, Joni Ayers, Barbara Schwemler, Jeff aH nson, Ron Jones, Kathy Tyler, Sue Bjork, Mary Ohland, Joseph Czestochowski, I. Michael Danoff, Cal North, Molly Millenkamp, Connie Burge, Joe Philippson, Nicola Gould, and Joel Blair This book is available at Open SPACE @ DMACC: https://openspace.dmacc.edu/expressions/27 l \I' / I ~ ., ' I E X p R E s s I 0 N s X I V Expressions XIV Jordan's Place ............................................................................................................................. 4 by Virginia Ann McNichols Jumping Jennie Juniper
    [Show full text]
  • The First Generation Mauricio Lasansky
    MAURICIO Lee Chesney LASANSKY Barbara Fumagalli AND Arthur Levine THE FIRST Janet K. Ruttenberg GENERATION Donn Steward August 25–September 11, 2014 11, 25–September August West Art Building Gallery, Levitt Art & Art of History School University of Iowa Cover image: Auto Retrato (Self Portrait), 1945 Engraving, scraping, and burnishing Image: 12 x 10 in. (30.5 x 25.4 cm) University of Iowa Museum of Art, Gift of Dr. Clarence Van Epps, 1947.27 © The Lasansky Corporation ISBN: 9781495124303 University of Iowa School of Art & Art History 141 North Riverside Drive Iowa City, Iowa 52242-7000 art.uiowa.edu 4 MAURICIO LASANSKY Lee Chesney � Barbara Fumagalli Arthur Levine � Janet K. Ruttenberg AND Donn Steward THE FIRST GENERATION Acknowledgments The idea for this exhibition began in conversation with Arthur Levine and Janet Ruttenberg. Listening to them reminisce about Mauricio Lasansky’s teaching and their experience as students working under his stimulating guidance, one could easily apprehend the power of his legendary artistic personality. Levine continued this discussion with Lee Chesney and Barbara Fumagalli, and soon the exhibition took shape. The works on display at the School of Art and Art History’s Levitt Gallery in Art Building West on the University of Iowa campus— produced by five of Lasansky’s first generation of students—honor his influential pedagogy and his artistic legacy. Lasansky inspired his students with a passion to create, which, by their account, they could hardly contain and which has endured throughout their long careers. Special thanks are owed to the artists who have lent their work and provided the initial concept for the exhibition.
    [Show full text]
  • Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College
    Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-28-2005 Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College Sarah Rachel Burger Dickinson College Blair Hetherington Douglas Dickinson College Michelle Erika Garman Dickinson College Danielle Marie Gower Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the Contemporary Art Commons Recommended Citation Hirsh, Sharon, et al. Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2005. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Alison Buinicky, Sarah Rachel Burger, Blair Hetherington Douglas, Michelle Erika Garman, Danielle Marie Gower, Blair Lesley Harris, Laura Delong Heffelfinger, Saman Mohammad Khan, Ryan McNally, Erin Elizabeth Mounts, Nora Marisa Mueller, Alexandra Thayer, Heather Jean Tilton, Sharon L. Hirsh, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/9 WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints January 28 – March 5, 2005 Curated by: Alison Buinicky Sarah Burger Blair H. Douglas Michelle E. Garman Danielle M. Gower Blair L. Harris Laura D. Heffelfinger Saman Khan Ryan McNally Erin E. Mounts Nora M.
    [Show full text]
  • FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992
    FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992 Francis Bacon was born in Dublin but moved to London in 1925, where he lived and worked from then on. His figurative painting became famous for his grotesque portrayal of his subjects and its somber depiction of the human condition. He represented Britain in the Venice Biennale of 1956 together with artists Ben Nicholson and Lucian Freud, and is considered one of the most remarkable British artists of all time, although anecdotically he turned down a CBE in 1960. Though his work was not well received at first (and as a result he destroyed most of his earlier paintings), his fame started to grow from the 40s until he became one of the better known and most valued artists in the world. His art has been shown internationally in places such as Mexico City (1977), Madrid (1978), Tokio (1983) Moscow (1988) or Washington (1989), and the Tate Modern of London dedicated three retrospective exhibitions to his work (in 1977, 1985, and posthumously in 2008). During his life he was represented by the Hannover Gallery and the Malborough Fine Art Gallery, and nowadays we can find his pieces in museums and art galleries all around the world, for example at the Reina Sofía of Madrid, the Centre Pompidou of Paris, the MoMA of New York or the Tate Modern in London, and a number of them are part of private collections. SOLO EXHIBITIONS (SELECTION) 2016 Francis Bacon: Invisible Rooms, Tate Liverpool, UK 2015 Francis Bacon And The Masters, Sainsbury Centre for Visual Arts, Norwich, UK 2014 Francis Bacon
    [Show full text]
  • A Student Guide to the Use of Soft Grounds in Intaglio Printmaking
    A STUDENT GUIDE TO THE USE OF SOFT GROUNDS IN INTAGLIO PRINTMAKING Submitted by Lori Jean Ash Department of Art Concentration Paper In partial fulfillment of the requirements for the degree of Master of Fine Art Colorado State University Fort Collins, Colorado Summer 1984 TABLE OF CONTENTS page List of Illustrations ••••••••••••••••• ii A Student Guide to the Use of Soft Ground in Intaglio Printmaking I. Introduction •••••••••••••••• ........................ 1 II. Materials and Methodology •••••••••••••••• 7 III. Conclusions•••••••••••••••••••••••••••••••••••••••••• 22 Endnotes. • . • . • • . • . • . • . • . • • . • . • • • . • . 23 BibliographY••••••••••••••••••••••••••••••••••••••••••••••••••• 25 ii LIST OF ILLUSTRATIONS page Figure 1: Rembrandt van Rijn, Self Portrait by Candlelight •••••• 3 Figure 2: Jaques Callot, The Lute Player •••••••••••••••••••••••• 4 Figure 3: s.w. Hayter, Amazon ••••••••••••••••••••••••••••••••••• 6 Figure 4: Mauricio Lasansky, Dachau ••••••••••••••••••••••••••••• 19 Figure 5: Mauricio Lasansky, Amana •••••••••••••••••••••••••••••• 20 Figure 6: Mauricio Lasansky, Study-Old Lady and Bird •••••••••••• 21 I. INTRODUCTION With the possible exception of drypoint and engraving, all intaglio processes involve the use of some type of ground. Though this acid resistant material has many applications, it has but one primary function, which is to protect the plate surface from the action of the acid during the etch. The traditional hard etching ground is made from asphaltum thinned with gum turpentine and forms a hard, stable surface suitable for work with a etching needle or other sharp tool. Soft ground has had some agent added to it which prevents it from ever becoming completely hard. It adheres to whatever touches it and can be easily removed from the plate by pressing some material into the ground and then lifting it, exposing the plate in those areas where pressure was applied.
    [Show full text]
  • National Competition 'Works on Paper' at the Long Beach
    National Competition ‘Works on Paper’ at the Long Beach Island Foundation By PAT JOHNSON | Jul 13, 2016, Artists not only brighten our lives with beautiful and inspiring works, they also tweak our sense of self and society. This is proven in an excellent exhibit now at the Long Beach Island Foundation of the Arts and Sciences through July 20. The 18th National Juried Competition and Exhibit “Works on Paper” was collected and culled from 1,293 submissions from 30 states by guest curator Carter E. Foster of the Whitney Museum of American Art. Foster is the Steven and Ann Ames curator of drawing at the Whitney and the “pre-imminent expert in the field of drawing.” The Whitney is known for its profound ability to collect and display the best of contemporary art works, and this exhibit is just as quirky and fresh as any in NYC. The exhibit allowed for a broad interpretation of what it means to be a “Work on Paper,” so you will find works executed in a number of mediums and on a variety of structures. For example, Ghislaine Fremaux’s large “Untitled (Aaron)” figure is drawn with pastel and watercolor on paper that is covered in epoxy resin. Not only is the image beautifully rendered, making the most of intersecting colored lines, but it has the added effect, thanks to the plastic coating, of being a monumental work of art just cut from a billboard or a bus stop. This über, urban portrait won an honorable mention. The first-place award went to Gail Postal’s colored drawing “Pedro.” The face of the young man is a subdued graphite drawing while his pullover is completed in solid blocks of color executed in colored pencil.
    [Show full text]
  • NGA | 2017 Annual Report
    N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.
    [Show full text]
  • PRINTS, DRAWINGS, PAINTING and OTHER WORKS on PAPER August 2014
    PRINTS, DRAWINGS, PAINTING AND OTHER WORKS ON PAPER August 2014 1. (1948 Campaign Poster) Henry A. Wallace, Glen Taylor and Rockwell Kent. LABOR! VOTE LABOR. American Labor Party Poster for the Presidential campaign of 1948, including the candidacies of Henry A, Wallace for President, Glen Tayor for Vice President and Rockwell Kent for Congress. 17 x 11 inches. Letterpress reading as follows: "LABOR!/Vote Labor/Wallace for President/Taylor for Vice Presdident/Rockwell Kent for Congress/VOTE ROW C/American Labor Party." The candidates were running on the Progressive Party ticket, which was supported by the American Labor Party. Wallace had been Vice President under FDR, Glen Taylor was the incumbent Senator from Idaho (and a former country singer), and Rockwell Kent was, of course a well known artist and author with extremely liberal politcal views; Kent had a dairy farm in AuSable Forks, NY at the time of this campaign, and presumably ran for Congress in the district in which the farm was located. In nice condition, with minor browning at the edges. Very rare. $1500.00 2. Abeles, Sigmund. PHILOSOPHY STUDENT. Wood engraving, not dated. Inscribed "artist proof" and signed in pencil. 9 x 12 inches. In excellent condition. $300.00 3. Abramovitz, Albert (American, born Latvia, 1879-1963). STRIKE. Linoleum cut on wove paper, c. 1930s. Signed in pencil, and monogrammed "AA" in the block. Edition size not known. 11 5/8 x 9 7/8 inches, 321 x 252 mm., plus wide margins. This print is likely one that Aramovitz did for the WPA Federal Arts Project between 1935 and 1939.
    [Show full text]
  • Distributed Art Publishers Art Distributed Artbook Spring 
    artbook Spring SPRING 2014 NEW BOOKS ON ART & CULTURE & distributed art publishers artbook distributed art publishers 155 Sixth Avenue, nd Floor, New York, NY 10013 www.artbook.com Ray Johnson, from Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Featured releases 2 Journals 82 sprIng HIgHlIgHts 90 CATALOGUE EDITOR Thomas Evans photography 92 ART DIRECTION art 108 Stacy Wakefield group exhibitions 136 IMAGE PRODUCTION Ranya Asmar Writings 142 DATA PRODUCTION design 150 Alexa Forosty COPY WRITING Film 158 Jarrod Annis, Thomas Evans, Tyler Fields, Annabelle Maroney, Seamus Mullarkey architecture 159 PRINTING limited editions 168 Sonic Media Solutions, Inc. Front Cover Image speCIalty Books 170 5 7 Robert Heinecken, Recto/Verso #2, 1988. Silver dye bleach print, 8 ⁄8 x 7 ⁄8''. The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund. art 172 © 2013 The Robert Heinecken Trust. From Robert Heinecken: Object Matter, photography 196 published by The Museum of Modern Art, New York. See page 36. BaCk Cover Image Backlist Highlights 201 Ray Johnson © Ray Johnson Estate, courtesy Richard L. Feigen & Co. From Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Index 207 © Ray Johnson Estate, courtesy Richard L. Feigen & Co & Feigen L. Richard courtesy Estate, Johnson Ray © ​Show​Time:​The​50​Most​ “a fascinating survey of Influential​Exhibitions of​Contemporary​Art​ groundbreaking exhibitions from Edited and with text by Jens Hoffman. Conversation with Hans Ulrich Obrist, Massimiliano Gioni, Maria the 1980s through to now . the Lind, Jessica Morgan, Carolyn Christov-Bakargiev, Adriano Pedrosa, Mary Jane Jacob.
    [Show full text]
  • Art Plural: Voices of Contemporary Art Online
    lxMsn [Free pdf] Art Plural: Voices of Contemporary Art Online [lxMsn.ebook] Art Plural: Voices of Contemporary Art Pdf Free Michael Peppiatt, Jane A. Peterson ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #3541200 in Books 2014-04-01Original language:EnglishPDF # 1 11.75 x 1.00 x 9.25l, 3.80 #File Name: 9810784082240 pages | File size: 57.Mb Michael Peppiatt, Jane A. Peterson : Art Plural: Voices of Contemporary Art before purchasing it in order to gage whether or not it would be worth my time, and all praised Art Plural: Voices of Contemporary Art: 0 of 0 people found the following review helpful. Excellent artistic selection and insights - I strongly recommend itBy MichaelIt was a great pleasure to read interviews and texts about the artists. I learnt a lot of insights from the artists themselves which is always an interesting and different perspective than a critic. I also discovered new artists thanks to wonderful images and a wide view on their work! I highly recommend this book to art lovers and collectors who are both looking for quality images and texts from the artists they like and discoveries of new talents. Art is now a globalized phenomenon, with artists communicating and interacting on an international scale as never before. So what does it mean to be a contemporary artist in a globalized world? In Art Plural: Voices of Contemporary Art, hear from world-renowned art historian and writer Michael Peppiatt as well as over 25 of the top contemporary artists, from East to West, working around the world in all corners of the earth.
    [Show full text]
  • The Essence Within Michelle Wilson and Richie Lasansky
    The Essence Within Michelle Wilson and Richie Lasansky On March 2, 2012, Michelle Wilson interviewed Richie Lasansky, artist, printmaker, and grandson of artist Mauricio Lasansky, a forerunner in the development of printmaking in America. One month after Richie’s interview, on April 2, 2012, his grandfather passed away. Michelle Wilson (MW): Tell me what it RL: What’s most important to me as a was like to study with your grandfather, printmaker is being involved in the whole Mauricio Lasansky? process. In other words I would never let someone print my work for me. I have Richie Lasansky (RL): A lot of what my own press, two in fact. I make my ink I’ve learned about the studio work ethic from scratch, and I even make my own and what’s involved with being an artist frames. What this does is allow me the came from studying with my grandfather. luxury of changing my mind whenever From your own research you probably I want. I can print something anytime I know that Stanley Hayter really helped want, scrape a plate out, edition or not to spread the practice of engraving and edition. Leave extra ink on the plate or experimental intaglio, encouraging make a clean or sloppy proof and even artists to use these methods at his Atelier leave something unfinished... you get the 17 in New York City. My grandfather, point. No rules and no “right” way to do who spent time at the Atelier, had the something. So everything from cutting same approach when he taught at the the copper plate to popping a finished University of Iowa—always emphasizing piece into a frame is fun and part of the the importance of experimentation process.
    [Show full text]
  • Celebrating New Work, New Artists, New Processes and New Collectors
    Celebrating new work, new artists, new processes and new collectors Founded in 1915 The Print Center supports printmaking and photography as vital contemporary arts and encourages the appreciation of the printed image in all its forms. September 8 - November 9, 2005 Gala and Tour by John Ittmann, Curator of Prints Philadelphia Museum of Art Thursday, September 8, 2005 5:00 - 7:00 p.m. Introduction Reflectingt over The Print Center’s 90 years history I feel very grateful for the many thousands of members and supporters, who have secured not only the longevity of the organization but it’s ongoing vitality. We are grateful for the support of the many artists, collectors and enthusiasts who have helped to make The Print Center what it is today, a national and international nexus for primakers, photographers and collectors which pur- sues work at the cutting edges of technique and at the highest level of the art form. At 90, The Print Center is a dynamic institution supporting prints and photographs and encouraging the appreciation of the printed image in all its forms. Encouraging new artists, new work, new processes and new collectors this visionary mission crossing two disciplines has provided a platform to showcase and educate in the latest developments in both of these media. But we never forget our roots and support all the traditional and older processes in conjunction with these modern advances. With the current rise in digital tools for both media, it has stimulated a renaissance in both older methods, and the mixing of these with the latest computer tools.
    [Show full text]