March 02, 2008 - May 12, 2008
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D'art Ambition D'art Alighiero Boetti, Daniel Buren, Jordi Colomer, Tony
Ambition d’art AmbitionAlighiero Boetti, Daniel Buren, Jordi Colomer, Tony Cragg, Luciano Fabro, Yona Friedman, Anish Kapoor, On Kawara, Martha Rosler, Jeff Wall, Lawrence Weiner d’art16 May – 21 September 2008 The Institut d’art contemporain aspect (an anniversary) and the is celebrating its 30th anniversary setting – the inauguration of an in 2008 and on this occasion exhibition in the artistico-political has invited its founder, context of the 2000s – it is aimed Jean Louis Maubant, to design at shedding light on what the an exhibition, accompanied by an ‘ambition’ of art and its ‘world’ important publication. might be. The exhibition Ambition d’art, held in partnership with the The retrospective dimension Rhône-Alpes Regional Council of the event is presented above and the town of Villeurbanne, is a all in the two volumes (Alphabet strong and exceptional event for and Archive) of the publication to the Institute: beyond the anecdotal which it has given rise. Institut d’art contemporain, Villeurbanne www.i-art-c.org Any feedback in the exhibition is Yona Friedman, Jordi Colomer) or less to commemorate past history because they have hardly ever been than to give present and future shown (Martha Rosler, Alighiero history more density. In fact, many Boetti, Jeff Wall). Other works have of the works shown here have already been shown at the Institut never been seen before. and now gain fresh visibility as a result of their positioning in space and their artistic company (Luciano Fabro, Daniel Buren, Martha Rosler, Ambition d’art Tony Cragg, On Kawara). For the exhibition Ambition d’art, At the two ends of the generation Jean Louis Maubant has chosen chain, invitations have been eleven artists for the eleven rooms extended to both Jordi Colomer of the Institut d’art contemporain. -
November 23Rd, 2010 Gene Beery
Gene Beery at Algus Greenspon Within Gene Beery’s conceptual language-based paintings, there always seems to be some kind of joke—and not always one that the viewer is in on. Among the pieces included in the artist’s 50-year retrospective was Note (1970), in which the words “NOTE: MAKE A PAINTING OF A NOTE AS A PAINTING” are rendered in puffy, candy-colored letters on a pale background with a black framelike border. In another, the words “life without a sound sense of tra can seem like an incomprehensible nup” (1994) are written in black capital letters on white; the canvas is divided by a thick black line, which cuts through the lines of text so that the reversed words “art” and “pun” are separated from the rest. Gene Beery, Note, 1970, acrylic on canvas, 34 x 42 inches. The exhibition began with works from the late 1950s, when Beery, then employed as a guard at the Museum of Modern Art, was “discovered” by James Rosenquist and Sol LeWitt. An “artist’s artist,” he was championed by artists who were, and would remain, better known than he. After a 1963 show at Alexander Iolas Gallery in New York, Beery moved to the Sierra Nevada mountains, where he still lives. While other artists using text and numbers who emerged in the 1960s—Lawrence Weiner, Joseph Kosuth, On Kawara, for example—produced mostly cerebral works lacking evidence of the artist’s hand, Beery seemingly poked fun at the high Conceptualism of the day. He continued to make his uniquely homespun and humorously irreverent canvases, the rawness of their execution a throwback to the Abstract Expressionists. -
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KAWARA: EXHIBITION OVERVIEW Jeffrey Weiss: On Kawara was a key figure in the art of the 1960s in particular. He began working in Japan and continued work in many other cities, finally settling in New York in the mid-’60s, where he was part of the community of Conceptual art during that period of time. He knew a lot of artists that we associate with Conceptualism including Sol LeWitt and Hanne Darboven, Joseph Kosuth and Dan Graham. It’s easy to associate his work, then, with the rise of Conceptualism, although Kawara’s work, when you examine it closely, stands well apart. This exhibition was organized in cooperation with the artist. And I really wanted to show every category of Kawara’s production since around 1964. We don’t call it a retrospective because Kawara’s work is based on time, on the passage of time. So the idea of the retrospective actually doesn’t apply in the conventional sense. Anne Wheeler: We heard from a number of his friends and colleagues from even years ago that it had always been his dream to have a show at the Guggenheim because of the cyclical nature of time and the way that the building represents that in the way that you can move throughout the chronology of his work. In organizing the show we are moving more or less chronologically through the series of his works, starting in the High Gallery with works from 1963 to ’65. Jeffrey Weiss: We’re also showing Paris–New York Drawings, which he produced in Paris and New York, where he was living—both places. -
At Mass Moca, Reimagining Photography
PHOTOGRAPHY REVIEW At Mass MoCA, reimagining photography CLIFFORD ROSS) Clifford Ross’ “Mountain IV” By Mark Feeney GLOBE STAFF JUNE 18, 2015 NORTH ADAMS — Familiarity may or may not breed contempt. It can certainly breed lack of imagination. Photography has never been more ubiquitous. A chicken in every pot never happened — thanks to cellphones, a digital camera in every pocket or purse pretty much has. Why would anyone, including artists, feel a need to rethink anything so common and useful? Yet that very ubiquity makes fresh responses to the medium all the more useful, and fresh responses are what three shows at the Massachusetts Museum of Contemporary Art offer. “Clifford Ross: Landscape Seen & Imagined” reminds us that photography involves seeing by two parties: the photographer, and the viewer of the photographs taken. There’s nothing remarkable about this fact, except that Ross makes it so through his use of scale. Much of the show runs through March. Another portion, the “Hurricane Wave” series, runs through Aug. 30. In addition, an “immersive outdoor video installation,” as Mass MoCA describes it, will be on display most Thursday and Friday evenings between June 26 and Sept. 4. Ross’ “Hurricane L” That video display isn’t the only thing immersive about Ross’s work. Simply described, “Sopris Wall I” is a photograph of Mount Sopris, in the Colorado Rockies, flanked by trees, with a small body of water in the foreground. That description, while accurate enough so far as it goes, goes nowhere near far enough to give any sense of the experience of seeing “Sopris Wall I” in person. -
Sol Lewitt's Wall Drawings
Amanda Cheung CS24: Field Research Writing Assignment Figure 1 Sol LeWitt, Wall Drawing #146, September 1972 I would like to delve into a visual and conceptual analysis of conceptual artist Sol LeWitt’s Wall Drawings, drawing from the ideas of semiotics, traditional fine art, and computer rendered graphics. Sol LeWitt emerged as one of the early pioneers of a small but fascinating movement in art called Conceptual Art. Leading artists who participated in this movement, such as Joseph Kosuth, On Kawara, and Lawrence Weiner, maintained that the essence of a work of art was in the conception of a work or idea by the artist, and not in the physical products created by or representing the idea. For example, in Joseph Kosuth’s “One and Three Chairs,” the artwork is the idea of the chair, represented the word “chair,” a photograph of a chair, and the dictionary definition of chair. The work explores of the idea of the signifier, signified, and referent as studied in semiotics, and questions the role of the artist in creating a work; can he simply conceive an idea and let it be art, aside from any physical product? In Sol LeWitt’s Wall Drawings, such as the one pictured in Figure 1, the essence of the work lay in the conception of the specific lines/shapes to be drawn on a wall, and not in the final product. LeWitt’s process involved conceiving the idea for the specific wall drawing and giving instructions to workers who executed the drawings in the exhibition spaces. Thus, a single “Wall Drawing” work would appear differently in different exhibitions because it would be executed by different people and in different spaces. -
Museum of Modern Art in New York Exhibits New Acquisitions in Photography
Museum of Modern Art in New York exhibits new acquisition... http://www.artdaily.org/index.asp?int_sec=2&int_new=6253... 11:09 am / 16 °C The First Art Newspaper on the Net Established in 1996 Austria Tuesday, May 14, 2013 Home Last Week Artists Galleries Museums Photographers Images Subscribe Comments Search Museum of Modern Art in New York exhibits new acquisitions in photography Lynn Hershman Leeson. Robertaʼs Construction Chart #2. 1976. Chromogenic color print, printed 2003, 22 15/16 x 29 5/8″ (58.3 x 75.3 cm) The Museum of Modern Art, New York. The Modern Womenʼs Fund. © 2013 Lynn Hershman Leeson. NEW YORK, NY.- The Museum of Modern Art presents XL: 19 New Acquisitions in Photography, featuring a selection of major works—often multipart and serial images—by 19 contemporary artists, from May 10, 2013, to January 6, 2014. The exhibition features works, made between 1960 and the present, which have been acquired by the Department of Photography within the past five years and are on view at MoMA for the first time. The exhibition is organized by Roxana Marcoci, Curator; Sarah Meister, Curator; and Eva Respini, Associate Curator; with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, The Museum of Modern Art. Filling five consecutive rooms in the third-floor Edward Steichen Photography Galleries, this installation includes a diverse set of works—from performative photographs to collage and appropriation to political and personal images made in the documentary tradition—that underscore the vitality of photographic experimentation today. The cross-generational group of 19 international artists consists of Yto Barrada, Phil Collins, Liz Deschenes, Stan Douglas, VALIE EXPORT, Robert Frank, Paul Graham, Leslie Hewitt, Birgit Jürgenssen, Jürgen Klauke, Běla Kolářová, Lynn Hershman Leeson, Dóra Maurer, Oscar Muñoz, Mariah Robertson, Allan Sekula, Stephen Shore, Taryn Simon, and Hank Willis Thomas. -
Documenta 11
1/21/2015 Frieze Magazine | Archive | Documenta 11 Documenta 11 About this article Documenta 11 Published on 09/09/02 By Thomas McEvilley Each of artistic director Okwui Enwezor’s six co-curators - Sarat Maharaj, Octavio Zaya, Carlos Basualdo, Ute Meta Bauer, Susanne Ghez and Mark Nash - spoke briefly, followed by Enwezor himself. Maharaj identified the point of art today as ‘knowledge production’ and the point of this exhibition as ‘thinking the other’; Nash declared that the exhibition aimed to explore ‘issues of dislocation and migration’ (‘We’re all becoming transnational subjects’, he observed); Ghez stressed the unusual fact that as many as 70% of the works in the show were made explicitly for the Back to the main site occasion; Basualdo spoke of ‘establishing a new geography, or topology, of culture’; and Bauer spoke of ‘deterritorialization’. Finally, Enwezor began his reflections by referring to Chinua Achebe’s classic novel of pre-colonial Africa Things Fall Apart (1958). He spoke of the emergence of post-colonial identity, and said that he and his colleagues had aimed at something much larger than an art exhibition: they were seeking to find out what comes after imperialism. These remarks were significant because Documenta, along with the Venice Biennale, is one of the foremost venues at which the current cultural politics of the art world is laid out. In a sense the agenda proclaimed by these curators gave one a sense of déjà vu; or rather, it seemed not exactly to usher in a new era but to set a seal on an era first announced long ago. -
Liz Deschenes
MIGUEL ABREU GALLERY LIZ DESCHENES Born in Boston, MA, 1966 Lives and works in New York EDUCATION 1988 Rhode Island School of Design B.F.A. Photography, Providence, RI SOLO EXHIBITIONS 2016 Campoli Presti, Paris, France Institute of Contemporary Art, Boston, MA 2015 Gallery 4.1.1, MASS MoCA, North Adams, MA 2014 Gallery 7, Walker Art Center, Minneapolis, MN Stereographs #1-4 (Rise / Fall), Miguel Abreu Gallery, New York 2013 Bracket (Paris), Campoli Presti, Paris, France Bracket (London), Campoli Presti, London, UK 2012 Secession, Vienna, Austria 2010 Shift / Rise, Sutton Lane, Brussels, Belgium 2009 Right / Left, Sutton Lane, Paris, France Chromatic Aberration (Red Screen, Green Screen, Blue Screen - a series of photographs from 2001 - 2008), Sutton Lane, London, UK Tilt / Swing, Miguel Abreu Gallery, New York 2007 Photographs, Sutton Lane, London, UK Registration, Miguel Abreu Gallery, New York 2001 Blue Screen Process, Andrew Kreps Gallery, New York 1999 Below Sea Level, Andrew Kreps Gallery, New York 1997 Beppu, Bronwyn Keenan Gallery, New York 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com SELECTED GROUP & TWO-PERSON EXHIBITIONS 2017 Sol Lewitt & Liz Deschenes, Fraenkel Gallery, San Fransisco, CA PhotoPlay: Lucid Objects, Paris Photo, Grand Palais, Paris, France The Coffins of Paa Joe and the Pursuit of Happiness, The School | Jack Shainman Gallery, Kinderhook, NY Paper as Object, curated by Richard Tinkler, Albert Merola Gallery, -
On Kawara Unanswered Questions Personal Structures Art Projects # 04 on Kawara
ON KAWARA UNANSWERED QUESTIONS Personal Structures Art Projects # 04 ON KAWARA ON KAWARA UNANSWERED QUESTIONS UNANSWERED QUESTIONS This book is the documentation of Personal Structures Art Projects #04. It has been published as a limited edition. The edition comprises 250 copies of which 50 DeLuxe, numbered from 1 to 50, and 50 DeLuxe hors commerce, numbered from I to L. The 150 Standard copies are numbered from 51 to 200. Each item of this limited edition consists of a book and a CD in a case, housed together in a cassette. The DeLuxe edition additionally contains a postcard with a question for On Kawara, returned to sender. This limited edition has been divided as follows: # 1-50: DeLuxe edition: Luïscius Antiquarian Booksellers, Netherlands # 51-200: Standard edition: Luïscius Antiquarian Booksellers, Netherlands HC I-L: Not for trade © 2009-2011. Text by Karlyn De Jongh © 2007-2009. Questions by the authors All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechan- ical, photocopying, recording or otherwise, without permission of the editor. Concept by Rene Rietmeyer and Sarah Gold Design by Karlyn De Jongh Printed and bound under the direction of Andreas Krüger, Germany Production in coöperation with Christien Bakx, www.luiscius.com Published by GlobalArtAffairs Foundation, www.globalartaffairs.org KARLYN DE JONGH ON Kawara: UNANSWERED QUESTIONS Today is Saturday, 19 December 2009, and right now I am in my apart- ment in Venice, Italy. My name is Karlyn De Jongh. I am an indepen- dent curator and author from the Netherlands and I have spent two years working on the project Unanswered Questions to On Kawara. -
Georges Perec and on Kawara: Endotic Extravagance in Literature, Art, and Dance Leslie Satin New York University ______
Satin: Endotic Extravagance 50 Georges Perec and On Kawara: Endotic Extravagance in Literature, Art, and Dance Leslie Satin New York University _____________________________________ Abstract: This article analyzes the work of Georges Perec and On Kawara, two artists who have radically recast our understanding of space and time in literature and the visual arts, through the lens of the author’s post-modern dance practice and scholarship. Both artists, deeply affected by the chaos of World War II, began working in the mid- twentieth century: experimental author Georges Perec (1936-1983), known for his affiliation with OuLiPo (Ouvroir de Littérature Potentielle, or Workshop for Potential Literature), the organization founded in 1960 to ratchet up the possibilities for conceiving and creating utterly new, or ‘potential’, literature, and On Kawara (1932- 2014), the Conceptual artist known for his large-scale recasting of personal and historical time, and his conversion of ‘private life’ into vast archives of documentary recording. The article looks both at spatial elements in the work of these artists, and at spatialized responses to their words and objects. It investigates Perec’s and Kawara’s divergent ideas of the everyday, as articulated through their practices—particularly their commitment to compositional scores and games exemplifying the ludic, and their insistence on the importance of seeing and noticing—and the implications of those practices, and the work they produced, regarding facticity, embodiment, self-representation, transformation, and, above all, the ongoing articulation of space and, by extension, time. Informed by work in human geography; affect, literary, and performance theory; and phenomenology, and by the writer’s experience in dance as a practice and area of scholarship, the article links these practices and ideas to those of post-modern dance to explore the fluid relationships among space, movement, bodies, and objects. -
Rebecca Baldwin Nina Litoff (312) 443-3625 (312) 443-3363 [email protected] [email protected]
FOR IMMEDIATE RELEASE August 18, 2014 MEDIA CONTACTS: Rebecca Baldwin Nina Litoff (312) 443-3625 (312) 443-3363 [email protected] [email protected] SARAH CHARLESWORTH’S 1980 SERIES STILLS REPRISED AT ART INSTITUTE Debut of Complete 14–Part Series Includes Six Images Never Seen Before Stills, a photographic series shown by Sarah Charlesworth (1947-2013) in February 1980, helped to define a photography-driven movement in American art that remains a cornerstone of contemporary art: the Pictures Generation. The series of appropriated newspaper photographs, cropped and blown up to 78 inches tall, depicts people falling or leaping from buildings at life-threatening heights. The very title “Stills” evokes a movie still, or a moment frozen in time. These images are particularly haunting in an era when selfies and social media have partly eclipsed the tabloid press. These over-lifesize images of frozen moments ask us to consider how our most private, existential experiences will play out in the public eye. The Art Institute is proud to show Stills, together for the first time since 1980, in a set of 14 prints made exclusively for the museum. The set—including six works that have never been seen before—was commissioned from the artist in 2012. Stills will be on view from September 18, 2014, through January 4, 2015, in the Modern Wing’s Bucksbaum Gallery for Photography. To create Stills, Charlesworth combed news wire services and the New York Public Library for images of individuals, some named, some anonymous, falling from tall buildings to end or to save their lives. -
University of Florida Thesis Or Dissertation Formatting
FROM SERIAL DEATH TO PROCEDURAL LOVE: A STUDY OF SERIAL CULTURE By STEPHANIE BOLUK A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Stephanie Boluk 2 For my mum 3 ACKNOWLEDGMENTS One of the reasons I chose to come to the University of Florida was because of the warmth and collegiality I witnessed the first time I visited the campus. I am grateful to have been a member of such supportive English department. A huge debt of gratitude is owed to my brilliant advisor Terry Harpold and rest of my wonderful committee, Donald Ault, Jack Stenner, and Phil Wegner. To all of my committee: a heartfelt thank you. I would also like to thank all the members of Imagetext, Graduate Assistants United, and Digital Assembly (and its predecessor Game Studies) for many years of friendship, fun, and collaboration. To my friends and family, Jean Boluk, Dan Svatek, and the entire LeMieux clan: Patrick, Steve, Jake, Eileen, and Vince, I would not have finished without their infinite love, support, patience (and proofreading). 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS.................................................................................................. 4 LIST OF FIGURES.......................................................................................................... 7 INTRODUCTION........................................................................................................... 11 Serial Ancestors.....................................................................................................