DOCSLIB.ORG

Contemporary Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary Art contemporary art 12 & 13 november 20 0 9 new york PART II CONTEMPORARY ART 13 NOVEMBER 2009 10am & 2pm NEW YORK LOTS 101-364 Viewing Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 12pm SESSION I 10am Lots 101-245 101 IVÁN NAVARRO b. 1972 Large Wall Hole, 2004 Fluorescent light tubes and fixtures, mirrors and painted wooden frame. 54 x 54 1/8 x 3 1/8 in. (137.2 x 137.5 x 7.9 cm). This work is from an edition of three plus one artist’s proof and is accompanied by a certificate of authenticity signed by the artist. Estimate $10,000-15,000 PROVENANCE Roebling Hall, New York EXHIBITED Hartford (Connecticut), 960 Main Street, exh.05.05.06103, October 14 - December 5, 2005 102 STERLING RUBY b. 1972 Untitled, 2006 Glazed ceramic. 8 1/2 x 17 1/2 x 11 in. (21.6 x 44.5 x 27.9 cm). Inscribed “SR 06” on the underside. Estimate $15,000-20,000 PROVENANCE Private Collection 103 MARK GROTJAHN b. 1968 Untitled (colored rainbow in black flower), 2004 Colored pencil and graphite on paper. 23 7/8 x 19 in. (60.6 x 48.3 cm). Signed, titled and dated “Mark Grotjahn Untitled colored rainbow in black flower 2004” on paper affixed to the reverse. Estimate $20,000-30,000 PROVENANCE Blum & Poe, Los Angeles 104 JOHN ARMLEDER b. 1948 J Painting, 2005 Acrylic, gesso, vinylique gouache and graphite on canvas. 24 1/8 x 24 1/8 in. This work is from the artist’s ongoing Dot Painting series. J Painting is (61.3 x 61.3 cm). Signed, titled and dated “John Armleder J Painting 2005” on one of only two “white on white” dot paintings smaller than a meter the overlap. square that the artist has ever created. Estimate $10,000-15,000 PROVENANCE World House Gallery, Middlebury (Connecticut) 105 JOHN McCRACKEN b. 1934 Molecule, 1994 Polyester resin and fiberglass on plywood. 14 1/4 x 15 7/8 x 16 in. (36.2 x 40.3 x 40.6 cm). Inscribed “JMcCracken Molecule 1994” on the underside. Estimate $15,000-20,000 PROVENANCE Acquired directly from the artist 106 DASH SNOW 1981 - 2009 EAT SHIT AND DIE, 2005 Fujichrome Crystal Archive print mounted on Plexiglas, found chair and vintage record player, US dollar bill, plastic mask, adhesive, “cocaine” and mirror. 45 3/4 x 33 1/2 x 19 1/2 in. (116.2 x 85.1 x 49.5 cm) as installed. Estimate $15,000-20,000 PROVENANCE Rivington Arms, New York EXHIBITED New York, Whitney Museum of American Art, Whitney Biennial 2006: Day for Night, March 2 - May 28, 2006; Portland Arts Center, The Inside Game-a selection from PDX art collections, September 7 - October 1, 2006 LITERATURE W. Sherman, “Dash Snow’s Creative Universe,” Animal (online content), July 14, 2009 (illustrated); A. Goldstein, M. Hoskins, Dash Snow, Art We Love (online content), August 5, 2009 107 MATTHEW BARNEY b. 1967 Cremaster 4: Loughton Ram, 1994 C-print in the artist’s self-lubricating plastic frame. 33 1/2 x 23 1/2 x 1 1/2 in. (85.1 x 59.7 x 3.8 cm). Signed “Matthew Barney” on the reverse. This work is from an edition of six plus one artist’s proof. Estimate $30,000-40,000 PROVENANCE Regen Projects, Los Angeles; Collection Lambert, Geneva Contemporary Art, Veronica’s Revenge, November 16, 2000 - March 4, 2001; Cologne, EXHIBITED New York, Whitney Museum of American Art, 1995 Biennial Exhibition, March Museum Ludwig, June 6 - September 1, 2002; Musée d’Art Moderne de la Ville de Paris, 15 - June 25, 1995 (another example exhibited); Rotterdam, Museum Boijmans Van October 10, 2002 - January 5, 2003; New York, Solomon R. Guggenheim Museum, Matthew Beuningen, October 21, 1995 - January 1, 1996; Bordeaux, Musée d’Art Contemporain, Barney: The CREMASTER Cycle, February 21 - June 4, 2003 (another example exhibited) January 26 - April 8, 1996; Kunsthalle Bern, Matthew Barney: PACE CAR for the HUBRIS PILL, LITERATURE M. Arzenton, ed., Matthew Barney Cremaster 4, Cologne, 1995, n.p. May 17 - June 23, 1996 (another example exhibited); Munich, Sammlung Goetz, Matthew (illustrated); N. Wakefield, R. Flood, Matthew Barney: PACE CAR for the HUBRIS PILL, Barney-Tony Oursler-Jeff Wall, July 22, 1996 - January 31, 1997 (another example exhibited); Rotterdam, 1995, n.p. (illustrated); I. Goetz, C. Meyer-Stoll, Matthew Barney-Tony Deichtorhallen Hamburg, Emotion: Young British and American Art from the Goetz Collection, Oursler-Jeff Wall, Hamburg, 1996, p. 18 (illustrated); Z. Felix, A. Sievert, Emotion: Young October 30 - January 17, 1999 (another example exhibited); Skovvej (Denmark), Arken, British and American Art from the Goetz Collection, Ostfildern-Ruit, 1998, p. 95 (illustrated); Museum for Moderne Kunst, June 3 - September 3, 2000; Sydney, Museum of N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2003, p. 331 (illustrated) 108 SHARON CORE b. 1965 Cream Soups, 2003 C-print mounted to aluminum with Plexiglas face. 29 3/4 x 37 in. (75.6 x 94 cm). This work is from an edition of five. Estimate $8,000-12,000 PROVENANCE Bellwether Gallery, New York EXHIBITED New York, Bellwether Gallery, Thiebauds, February 13, 2004 - March 22, 2004 LITERATURE K. Johnson, “Sharon Core ‘Thiebauds,’” The New York Times, March 5, 2004; C. Howard, “Thiebauds Bellwether,” The Brooklyn Rail (online content), March 2004 109 JIM LAMBIE b. 1964 Breakdown, 2001 Vinyl record with yarn and glue. 12 in. (30.5 cm) diameter. This work is accompanied by a certificate of authenticity signed by the artist. Estimate $8,000-12,000 PROVENANCE Jack Hanley Gallery , San Francisco EXHIBITED San Francisco, Jack Hanley Gallery, Blank Generation, March 1 - 31, 2001 (Reverse) 110 GREGORY CREWDSON b. 1962 Untitled (butterflies and ball of larvae), 1990 C-print. 19 7/8 x 24 in. (50.5 x 61 cm) paper size. Signed “Gregory Crewdson” and numbered of 10 on the reverse. This work is from an edition of 10. Estimate $6,000-8,000 PROVENANCE Blum Helman Warehouse, New York 111 DAVID LACHAPELLE b. 1964 Cathedral, 2007 C-print. 23 3/4 x 31 5/8 in. (60.3 x 80.3 cm). Signed “David LaChapelle” on a label adhered to the reverse. This work is from an edition of 10. Estimate $12,000-18,000 PROVENANCE Tony Shafrazi Gallery, New York EXHIBITED New York, Tony Shafrazi Gallery, David LaChapelle: Awakened, February 24 - August 3, 2007 (another example exhibited) LITERATURE M. Barone, “David LaChapelle,” Artnet Magazine (online content), March 3, 2007 (illustrated); S. Kessler, “David LaChapelle: Renaissance Man,” Whitewall, Issue 15, Fall 2009, p. 95 (illustrated) 112 GERHARD RICHTER b. 1932 Untitled (20.2.96), 1996 Oil on color photograph. 4 x 6 in. (10.2 x 15.2 cm). Signed and dated “20.2.96-Richter” lower right and again on the reverse of the backing board. Estimate $12,000-18,000 PROVENANCE Wako Works of Art, Tokyo; Barbara Mathes Gallery, New York; Private Collection 113 LOUISE LAWLER b. 1947 Untitled (1950-51), 1987 Cibachrome. 29 1/8 x 39 in. (74 x 99.1 cm). Signed “Louise A. Lawler” on a label adhered to the reverse. This work is from an edition of five. Estimate $25,000-30,000 PROVENANCE Metro Pictures, New York; Yvon Lambert, Paris; Galería Pepe Cobo, Sevilla EXHIBITED Kassel, documenta 12, June 16 - September 23, 2007 (another example exhibited) LITERATURE L. Lawler, Louise Lawler: An Arrangement of Pictures, New York, 2000, n.p. (illustrated); H.J. Hafner, “Nicht Formlos Kontingent,” Artnet Magazine (online content, German edition), July 23, 2007 (illustrated) 114 ANSELM REYLE b. 1970 Untitled, 2007 Acrylic and silver PVC foil on canvas in Plexiglas box. 28 x 23 5/8 x 4 3/4 in. (71.1 x 60 x 12.1 cm). Estimate $30,000-40,000 PROVENANCE Galerie Almine Rech, Paris 115 ROSEMARIE TROCKEL b. 1952 Less Savage Than Others, 1989 Felt and cardboard stapled over wooden plinth (in two parts). 44 1/4 x 13 7/8 x 15 1/4 in. (112.4 x 35.2 x 38.7 cm). Signed and dated “RTrockel 89” on the top of plinth. This work is unique. Estimate $40,000-60,000 PROVENANCE Barbara Gladstone Gallery, New York LITERATURE S. Stich, ed., Rosemarie Trockel, Munich, 1991, p. 96, no. 4 (illustrated) 116 SUE WILLIAMS b. 1954 The Gaze (Grey), 1995 Acrylic on canvas. 84 x 72 in. (213.4 x 182.9 cm). Signed and dated “Sue Williams 95” on the reverse. Estimate $20,000-30,000 PROVENANCE 303 Gallery, New York; Private collection, Geneva 117 MIKE KELLEY b. 1954 Katy Keene Drawings/Cal Living (n.11), 2000 Ink on paper. 19 x 24 in. (48.3 x 61 cm). Signed and dated “M. Kelley 2000” on the reverse. Estimate $30,000-40,000 PROVENANCE Galleria Emi Fontana, Milan 118 119 118 RAYMOND PETTIBON b. 1957 119 PAUL RUSCONI b. 1965 No Title (Monica does her...), 1999 Barack Obama, 2008 Ink and graphite on paper. 8 7/8 x 10 in. (22.5 x 25.4 cm). Signed and dated Digital screen inks on Plexiglas with c-print mounted to Sintra in the artist’s “Raymond Pettibon 99” on the reverse. wooden frame. 48 1/2 x 62 in. (132.2 x 157.5 cm). Artist’s blindstamp on metallic label adhered to the reverse. This work is unique. Estimate $5,000-7,000 Estimate $5,000-7,000 PROVENANCE David Zwirner, New York PROVENANCE Acquired directly from the artist 120 MIKE KELLEY b.
Load more

Recommended publications
  • BAIK ART SEOUL Installation of Working on Paper, Baik Art Seoul
    ELLIOTT HUNDLEY WORKING ON PAPER BAIK ART SEOUL Installation of Working On Paper, Baik Art Seoul BAIK ART SEOUL is pleased to present Elliott Hundley’s first solo exhibition in Korea, Working On Paper, ,May 20 - June 19, 2021. Working on Paper is Elliott’s introduction to exhibiting in Asia and will be his first show focusing primarily on drawing works. For Elliott, these works portray a floating state of consciousness. Drawing allows him to recover lost stimuli and discover facts that he had been previously unaware of. These works contain personal stories reflecting the artist’s inner narrative. Drawing so far has been a one-on-one conversation with himself, so this exhibition allows him to take these conversations out into the world. ELLIOTT HUNDLEY Elliott Hundley (b. 1975) received his BFA from the Rhode Island School of Design (1997) and his MFA from the University of California, Los Angeles (2005). He lives and works in Los Angeles. Selected solo exhibitions include The Bacchae, Wexner Center for the Arts, Columbus (2011); Nasher Sculpture Center, Dallas (2012); and Hammer Museum, Los Angeles (2006). He has been featured in numerous group shows, including the 7th Moscow International Biennale of Contemporary Art (2017- 2018); A Journey That Wasn’t, The Broad, Los Angeles (2018-2019); San Francisco Museum of Modern Art (2017-2018); Museum of Contemporary Art, Los Angeles (2015); and the Istanbul Museum of Modern Art (2015); among others. Hundley is a recent recipient of a John Simon Guggenheim Memorial Foundation Guggenheim Fellowship (2019). Work by the artist is held in prominent museum collections, including the Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Louisiana Museum of Modern Art, Humlebæk; Museum of Contemporary Art, Los Angeles; Nasher Sculpture Center, Dallas; Pérez Art Museum, Miami; San Francisco Museum of Modern Art; Solomon R.
    [Show full text]
  • Lennon, Weinberg, Inc
    LENNON, WEINBERG, INC. 514 West 25th Street, New York, NY 10001 Tel. 212 941 0012 Fax. 212 929 3265 [email protected] www.lennonweinberg.com H.C. Westermann Born: Los Angeles, 1922 Died: November 3, 1981 SOLO EXHIBITIONS 2017 Milan, Italy, Fondazione Prada. H. C. Westermann, October 20, 2017 – January 15, 2018. 2016 Düsseldorf, Germany, Linn Lühn. H. C. Westermann, January 15, 2016 – April 23, 2016. 2015 Los Angeles, CA, Venus Over Manhattan. H. C. Westermann: See America First | Works from 1953 – 1980, November 2, 2015 – January 16, 2016. 2013 New York, NY, Franklin Parrasch Gallery. H.C. Westermann, October 25, 2012 – January 19, 2013. 2011 New York, NY, Lennon, Weinberg, Inc. A Human Condition: Selected Works 1961 – 73, November 3, 2011 – January 14, 2012. 2007 New York, NY, Zwirner & Worth. H. C. Westermann: Selected Work, September 13 – November 3 (catalogue). 2006 Honolulu, HI, The Contemporary Museum. Dreaming of a Speech Without Words: The Paintings and Early Objects of H. C. Westermann. August 25 – November 19 (catalogue). Travelling to the Montclair Art Museum, New Jersey, February 10 – May 27, 2007; Pennsylvania Academy of the Fine Arts, Philadelphia, PA, June 30 – October 21, 2007; Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA, November 21, 2007 – March 2, 2008. 2005 New York, NY, Lennon, Weinberg, Inc. Woman, “the sweetest flower”. May 5 - June 11. 2002 New York, NY, Lennon, Weinberg, Inc. H. C. Westermann: The Complete Lithographs, 1968-1972. February 22 – March 30. 2001 Chicago, IL, Museum of Contemporary Art. H. C. Westermann. June 30 - September 23, 2001.
    [Show full text]
  • WHITNEY BIENNIAL 2006: DAY for NIGHT to OPEN Signature Survey Measuring the Mood of Contemporary American Art, March 2-May 28, 2006
    Press Release Contact: Jan Rothschild, Stephen Soba, Meghan Bullock (212) 570-3633 or [email protected] www.whitney.org/press February 2006 WHITNEY BIENNIAL 2006: DAY FOR NIGHT TO OPEN Signature survey measuring the mood of contemporary American art, March 2-May 28, 2006 Peter Doig, Day for Night, 2005. Private Collection; courtesy Contemporary Fine Arts, Berlin. The curators have announced their selection of artists for the 2006 Whitney Biennial, which opens to the public on March 2, and remains on view at the Whitney Museum of American Art through May 28, 2006. The list of participating artists appears at the end of this release. Whitney Biennial 2006: Day for Night is curated by Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator, and Philippe Vergne, the Deputy Director and Chief Curator of the Walker Art Center in Minneapolis. The Biennial’s lead sponsor is Altria. "Altria Group, Inc. is proud to continue its forty year relationship with the Whitney Museum of American Art by sponsoring the 2006 Biennial exhibition," remarked Jennifer P. Goodale, Vice President, Contributions, Altria Corporate Services, Inc. "This signature exhibition of some of the most bold and inspired work coming from artists' studios reflects our company's philosophy of supporting innovation, creativity and diversity in the arts." Whitney Biennial 2006: Day for Night takes its title from the 1973 François Truffaut film, whose original French name, La Nuit américaine, denotes the cinematic technique of shooting night scenes artificially during the day, using a special filter. This is the first Whitney Biennial to have a title attached to it.
    [Show full text]
  • Dash Snow, the Drowned World Selections from the Dash Snow Archive March 31 – May 12, 2019 Opening Reception, Sunday, March 31, 7-9Pm
    For Immediate Release, contact [email protected], 646-492-4076 Dash Snow, The Drowned World Selections from the Dash Snow Archive March 31 – May 12, 2019 Opening reception, Sunday, March 31, 7-9pm From March 31 – May 12, 2019, PARTICIPANT INC in collaboration with the Dash Snow Archive presents Dash Snow, The Drowned World: Selections from the Dash Snow Archive. Comprised of the contents of the studio of Dash Snow (1981-2009), the exhibition draws from this vast archive including Polaroids, 35mm photographs, collages, sculptural works, Super 8 films, and zines. Polaroids and serial works on paper highlight the methodical aspects of Snow’s daily practices and lifework, as do process sculptures, including three major assemblage works being exhibited for the first time. Snow’s earliest artistic output began during his teenage years in the mid-‘90s as a third generation graffiti writer on New York’s Lower East Side. As described by friend, poet, artist, and writer Rene Ricard: “Any Tag by any teenager on any train on any line is fairly heartbreaking” (“The Radient Child,” Artforum, December 1981). A portrait of Snow above the entrance to the F train on Allen Street has still not been bombed over. Art critic Edit DeAk, in speaking of the street art she championed since the ‘70s, once called it “information from the middle of the night” (“Edit DeAk: an interview by John Wallace and Geralyn Donohue,” REAL LIFE Magazine, 1982). This seems an apt description of Snow’s transition from graffiti writer to Polaroid documentarian, using his next choice of medium to mark time, remember, and be remembered through long darknesses.
    [Show full text]
  • Dash Snow, Untitled, 2007, Col- Lage, 3.75 X 4”
    Dash Snow, Untitled, 2007, Col- lage, 3.75 x 4”. Dash Snow, Untitled (Diptych), 2006, Digital C-Prints, Left: 121.9 x 100.3 cm, Right: 127 x 97.8cm. Dash Snow, The Accidental Insider: Moments Like This Never Last Dash Snow, Born Dashiell A. Snow (July 27, 1981-July 13, 2009) American artist “Snow ran away from home and began living on the streets at 13 or 14, and began taking photographs, he said, as a record of places he might not remember the next day. “He was included in the 2006 Wall Street Journal article titled ‘The 23- Year Old Masters,’ which selected ten top emerging US artists including Rosson Crow, Ryan Trecartin, Zane Lewis, Barney Kulok, Rashawn Griffin and Keegan McHargue. “The artist’s photographic work is in a thematically similar mode to photogra- phers Nan Goldin, Larry Clark, Ryan McGinley and Richard Billingham, Ryan McGinley, Dash Bombing, 2000, C-print 69 x 92 cm. often depicting scenes of a candid or illicit nature. Instances of sex, drug taking, violence and art-world preten- tiousness are documented with dis- arming frankness and honesty, offering insight into the decadent lifestyle associated with young New York City artists and their social circles. “Some of Snow’s recent collage- based work was characterized by the controversial practice of using his own semen as a material applied to or splashed across newspaper pho- tographs of police officers and other authority figures. His works have been acquired by influential collectors such as Charles Saatchi, Anita Zabludo- wicz, Dakis Joannou, The Whitney Museum of American Art and the Brooklyn Museum.
    [Show full text]
  • Outsider(S) | 22.10.2019
    Auction on Tuesday 22nd October 2019, 7PM— 7, Rond-Point des Champs-Élysées - 75008 Paris RTCURIAL The Beautiful Losers Artists, 2004 D.R. Auction on Tuesday 22nd October 2019, 7PM— 7, Rond-Point des Champs-Élysées - 75008 Paris lot n°55, Chris Johanson, Hey Ron, 2002 (détail) p.68 lot n°87, Raymond Pettibon, Untitled (We want him…), 2003 (détail) p.000 lot n°55, Chris Johanson, Hey Ron, 2002 (détail) p.68 DÉPARTEMENTS DU XXe SIÈCLE Fabien Naudan Francis Briest Vice-président Commissaire-priseur Directeur des départements Président du conseil de du XXe s. surveillance et de stratégie Bruno Jaubert Hugues Sébilleau Arnaud Oliveux Aude de Vaucresson Karine Castagna Directeur Directeur Directeur Spécialiste Spécialiste Urban Art Impressionniste & Moderne Post-War & Contemporain Urban Art Post-War & Contemporain et Limited Edition Commissaire-priseur Belgique Capucine Tamboise Florent Wanecq Jessica Cavalero Sophie Cariguel Spécialiste junior Catalogueur Recherche et certificat Catalogueur Photographie Impressionniste & Moderne Impressionniste & Moderne Post-War & Contemporain Post-War & Contemporain Elodie Landais Vanessa Favre Salomé Pirson Alma Barthélemy Administrateur Administrateur Client & Business Assistante Impressionniste & Moderne Post-War & Contemporain Développement du Vice-président des départements du XXe siècle EUROPE Martin Guesnet Vinciane de Traux Emilie Volka Caroline Messensee Miriam Krohne Louise Gréther Directeur Europe Directeur Belgique Directeur Italie Directeur Autriche Directeur Allemagne Directeur Monaco Pour les
    [Show full text]
  • To Download Resume in Pdf Format
    G L A D Y S N I L S S O N BORN 1940 Chicago, IL EDUCATION 1962 The School of the Art Institute of Chicago FELLOWSHIPS & AWARDS 2004 William A. Patton Prize for Watercolor, The 179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY 1974 & 89 NEA Fellowship SELECTED SOLO EXHIBITIONS 2017 Gladys Nilsson: The 1980s, Garth Greenan Gallery, New York, NY 2014 Solo Show at Garth Greenan Gallery, New York NY 2013 Hidden Treasures Unveiled: Watercolors Pennsylvania Academy of The Fine Arts, Philadelphia, PA 2012 Jean Albano Gallery, Chicago, IL 2011 Hanes Art Gallery, Wake Forest University, Winston-Salem, NC 2010 Gladys Nilsson: Works from 1966-2010, Ukrainian Institute of Modern Art, Chicago, IL 2009 Jean Albano Gallery, Chicago, IL 2008 Luise Ross Gallery, New York, NY The Baseball Show, Jean Albano Gallery, Chicago, IL 2007 25 Years of Watercolors, Jean Albano Gallery, Chicago, IL 2006 Rockford College Art Museum, Rockford, IL Tarble Art Center, Eastern Illinois University, Charleston, IL 2005 Jean Albano Gallery, Chicago, IL University Art Gallery, Saginaw Valley State University, University Center, MI 2004 Tory Folliard Gallery, Milwaukee, WI 2003 Jean Albano Gallery, Chicago, IL Adrian College, Adrian, MI (with catalogue) 2002 Watercolors, Quincy Art Center, Quincy, IL Fleisher/Ollman Gallery, Philadelphia, PA 2001 Jean Albano Gallery, Chicago, IL Tacoma Art Museum, Tacoma, WA 2000 Rosemont College, Rosemont, PA Jean Albano Gallery, Chicago, IL 1998 Jean Albano Gallery, Chicago, IL A
    [Show full text]
  • Wisconsin Alumni Association || Onwisconsin Spring 2009
    For University of Wisconsin-Madison Alumni and Friends Interrogating the Truth Filmmaker Errol Morris ’69 traces his obsession with sifting and winnowing to Wisconsin. SPRING 2009 Fading Words Can Wisconsin’s native languages be saved? Flock of Sheepskins The contest to pile up the most UW degrees is fiercer than you’d think. Forty Winks UW researchers have an unusual theory about why we sleep. WISCONSIN HISTORICAL SOCIETY Before child labor laws, children as young as 9 worked in coal mines. Many workplace protections we count on came from the University of Wisconsin. At the turn of the past century, university economists helped redefi ne government’s role in the workplace. Because of their guidance, Wisconsin had the nation’s fi rst worker’s and unemployment compensation laws and led the country in enacting child labor and minimum-wage laws. Through advocacy and education, the Center for Patient Partnerships helps people who face serious illness to make more informed choices. Students and staff at the center guide clients and their families as they explore diagnosis and treatment options, resolve insurance and billing disputes, and navigate employment and disability issues. FORWARD. THINKING. www.wisconsinidea.wisc.edu When Parker Summers was 3, the insurance company for the Appleton family refused to cover his cancer treatment. The CPP provided advocacy and support as Parker received vital medical care. Today, Parker is healthy and enjoys a romp in his yard. with his pal, Kahlúa. SPRING 2009 contents VOLUME 110, NUMBER 1 Features 20 Truth, Death, & Taxidermy By Eric Goldscheider Errol Morris’s documentaries are known for being quirky — and brilliant.
    [Show full text]
  • 5441 Ca Object Representations
    (1) Robin Winters and Christy Rupp at the (2) Arleen Schloss at the opening reception for (3) Anton van Dalen, Two-Headed Monster (4) Dave Sander and Ethan Swan at the opening reception for “Come Closer: Art Around “Come Closer: Art Around the Bowery, 1969– Destroys Community, 1981. Aerosol paint on opening reception for “Come Closer: Art the Bowery, 1969–1989,” New Museum, 1989,” New Museum, New York, September 19, paper, 29 x 23 in (73.7 x 58.4 cm). Installation Around the Bowery, 1969–1989,” New New York, September 19, 2012. Photo: Jesse 2012. Photo: Jesse Untracht-Oakner view: “Come Closer: Art Around the Bowery, Museum, New York, September 19, 2012. Untracht-Oakner 1969–1989,” New Museum, New York, 2012. Photo: Jesse Untracht-Oakner Courtesy the artist. Photo: Jesse Untracht-Oakner Published by When we announced that the New To date, the Bowery Artist Tribute has We are indebted to Hermine and Museum would construct a freestanding conducted over seventy interviews David B. Heller for funding the research, building on a parking lot at 235 Bowery, with artists, curators, and authors who development, and presentation of this one of our first concerns was finding a helped build the creative community archive, and for providing endowment newmuseum.org way to acknowledge the rich history of of the Bowery for the past seventy funds for its future. We are also grateful creative activity in our new neighbor- years. We’ve encountered artists who to a number of individuals who have Editor: Ethan Swan Designer: Chelsea Amato hood. We thought about 222 Bowery, were grateful for the opportunity to tell been instrumental in the research and Copy Editors: Frances Malcolm and Olivia Casa Printed by: Linco William Burroughs’s “Bunker” that shel- their Bowery stories for the first time, coordination of these efforts over the tered Lynda Benglis, John Giorno, Mark and others who weren’t convinced past nine years: Ethan Swan, Eungie Cover: Sylvia Plimack Mangold on the roof of her Grand Rothko, and a dozen more.
    [Show full text]
  • Dash Snow 17 March – 16 April 2016 Opening Reception Wednesday, 16 March, 6 – 8Pm
    DASH SNOW 17 MARCH – 16 APRIL 2016 OPENING RECEPTION WEDNESDAY, 16 MARCH, 6 – 8PM Annka Kultys Gallery is pleased to present an exhibition of works by Dash Snow (1981-2009), marking the first solo exhibition of the American artist to be held in London. HELLO, THIS IS DASH is organized around a group of eight works completed between 2004 – 2008 which represent the breadth of range within Snow’s oeuvre, including examples of his photography, collage and assemblage sculpture. Snow’s art is visceral, spontaneous and often offensive. He started taking Polaroids when a teenager to record the countless parties and orgies that neither he nor his friends could remember, using his camera to document his life and those of his circle. While formally filled with images of sex, genitalia, violence and hard drugs, Snow’s photographs are also full of honesty, beauty and authenticity. His photography is therefore often aligned with that Nan Goldin and Larry Clark, earlier American photographers who pioneered the depiction of the intimate life. Snow was born into one of America’s great art collecting dynasties, the de Menils, a family responsible for some of the most acclaimed art installations in twentieth century contemporary art : the Rothko Chapel in Houston, Donald Judd’s MARTHA, TEXAS, Walter de MARIA’S LIGHTENING FIELD, as well as for founding their eponymous museum and the DIA Arts Foundation. Yet Snow’s upbringing was tumultuous, his rebellious nature straining not just family ties, but the patience of the authorities as he spent years in juvenile detention, and ended up living rough on the streets of New York.
    [Show full text]
  • Public Foundation Greater Des Moines Art 2014–15 Annual Report
    PUBLIC FOUNDATION GREATER DES MOINES ART 2014–15 ANNUAL REPORT 1 greater des moines public art Foundation The overall structure is comprised of a series of stainless steel and polycarbonate elliptical rings, laced with precisely placed LEDs, suspended up to 30' in the air by a series of nine parabolically curved high strength stainless steel columns. Mission Greater Des Moines Public Art Foundation places art in public spaces through public and private collaborations. Jim Campbell Vision (American, born 1956, Chicago, Illinois) Studies for Untitled Work LED lights, custom electronics Greater Des Moines Public Art and steel Approximately 100 feet high Foundation engages, inspires, and and 30 feet long Commissioned by Des Moines Performing Arts enriches the lives of citizens and Projected installation Fall 2015 at Cowles Commons, adjacent to the Civic visitors in our community. The Center of Greater Des Moines. Acclaimed San Francisco-based artist, Foundation is recognized for increasing Jim Campbell, explodes moving images with a lickering grid of light in cultural awareness by establishing a the sculpture. Thousands of computer controlled world class destination for public art. LED lights will create the illusion of igures that disolve and resolve as the public moves around and beneath the suspended, cloud-like matrix that will illuminate the entire area. Greater Des Moines Public art FounDation ProuDly In support of its mission, the Public Art Foundation helped to support this project which will be seen and enjoyed ■ selects, and commissions
    [Show full text]
  • Volume 47, Number 27: February 24, 2010 University of North Dakota
    University of North Dakota UND Scholarly Commons Elwyn B. Robinson Department of Special University Letter Archive Collections 2-24-2010 Volume 47, Number 27: February 24, 2010 University of North Dakota Follow this and additional works at: https://commons.und.edu/u-letter Recommended Citation University of North Dakota, "Volume 47, Number 27: February 24, 2010" (2010). University Letter Archive. 3. https://commons.und.edu/u-letter/3 This Newsletter is brought to you for free and open access by the Elwyn B. Robinson Department of Special Collections at UND Scholarly Commons. It has been accepted for inclusion in University Letter Archive by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. The University of North Dakota | University Letter Main Navigation SEARCH UND Print this Issue ISSUE: Volume 47, Number 27: February 24, 2010 A to Z Index Map Contents ABOUT U LETTER Top Stories University Letter is published electronically weekly on Plans take shape for Bismarck Center for Family Medicine Tuesday afternoons. Submissions are due at 10 a.m. Events to Note Tuesday. U LETTER On Teaching seminar to focus on diversity U Letter Home Student Success Center offers Study Skills Help sessions Submit a Story Annual Elwyn B. Robinson Lecture set for Wednesday Upcoming Culinary Corner classes listed IPPL to show "American Splendor" Weight Watchers begins new session on campus "Regular" and "Special" Denim Days announced Doctoral examination set for Jinu Philip John River restoration expert to give lecture Feb. 26 Marquette engineering student will speak at engineering awards luncheon Friday Pharmacology, Physiology and Therapeutics seminar is Feb.
    [Show full text]