Studio Foundations 4D Artist Presentations

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Studio Foundations 4D Artist Presentations

ARTIST PRESENTATIONS Each student will give a 10 minute presentation on a contemporary 4D artist of their choosing. All students will sign up for their artist and their presentation date during the first week of class. Below is a list of available artists — research and investigate several artists on STUDIO this list so you have options on sign-up day. Remember to choose an artist who FOUNDATIONS resonates with your practice and inspires you; someone who shares similarities 4D with either your formal approach or the conceptual themes you are interested in. ART 1531 YOUR PRESENTATION MUST INCLUDE / ADDRESS: INSTRUCTOR: Katie Watson • brief biographical information (city of birth, educational background, etc.) E-MAIL: [email protected] • three significant exhibitions, publications, or accolades CLASS BLOG: art1531.wordpress.com • a critical assessment of THREE of the artist’s prominent works, including documentation • a historical reference point to contextualize the artist’s work (an art historical period or work they were influenced by) • how the artist’s work has influenced you, or has motivated your future work ARTISTS: Marina Abramovic Vito Acconchi Francis Alys Cory Arcangel Alex Bag John Baldessari Matthew Barney Chris Burden Peter Campus Paul Chan Petra Collins Tacita Dean General Idea Omer Fast Pierre Huyghe Miranda July Janine Antoni Tony Labat Kalup Linzey Alex Prager Nam Jun Paik Mary Mattingly Christian Marclay Bruce Nauman Walid Raad Pipilotti Rist Mika Rottenberg Carolee Schneemann Jacolby Slatterwhite Ryan Trecartin Bill Viola The Yes Men Krzysztof Wodiczko.

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The Artist's Voice Since 1981 Bombsite
THE ARTIST’S VOICE SINCE 1981 BOMBSITE Peter Campus by John Hanhardt BOMB 68/Summer 1999, ART Peter Campus. Shadow Projection, 1974, video installation. Courtesy Paula Cooper Gallery. My visit with Peter Campus was partially motivated by my desire to see his new work, a set of videotapes entitled Video Ergo Sum that includes Dreams, Steps and Karneval und Jude. These new works proved to be an extraordinary extension of Peter’s earlier engagement with video and marked his renewed commitment to the medium. Along with Vito Acconci, Dara Birnbaum, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Steina and Woody Vasulka, and Bill Viola, Peter is one of the central artists in the history of the transformation of video into an art form. He holds a distinctive place in contemporary American art through a body of work distinguished by its articulation of a sophisticated poetics of image making dialectically linked to an incisive and subtle exploration of the properties of different media—videotape, video installations, photography, photographic slide installations and digital photography. The video installations and videotapes he created between 1971 and 1978 considered the fashioning of the self through the artist’s and spectator’s relationship to image making. Campus’s investigations into the apparatus of the video system and the relationship of the 1 of 16 camera to the space it occupied were elaborated in a series of installations. In mem [1975], the artist turned the camera onto the body of the specator and then projected the resulting image at an angle onto the gallery wall.
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The Role of Art in Enterprise
Report from the EU H2020 Research and Innovation Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation The Role of Art in Enterprise Tom O’Dea, Ana Alacovska, and Christian Fieseler This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870726. Report of the EU H2020 Research Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation State-of-the-art literature review on the role of Art in enterprise Tom O’Dea1, Ana Alacovska2, and Christian Fieseler3 1 Trinity College, Dublin 2 Copenhagen Business School 3 BI Norwegian Business School This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 870726 Suggested citation: O’Dea, T., Alacovska, A., and Fieseler, C. (2020). The Role of Art in Enterprise. Artsformation Report Series, available at: (SSRN) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3716274 About Artsformation: Artsformation is a Horizon 2020 Research and Innovation project that explores the intersection between arts, society and technology Arts- formation aims to understand, analyse, and promote the ways in which the arts can reinforce the social, cultural, economic, and political benefits of the digital transformation. Artsformation strives to support and be part of the process of making our communities resilient and adaptive in the 4th Industrial Revolution through research, innovation and applied artistic practice. To this end, the project organizes arts exhibitions, host artist assemblies, creates new artistic methods to impact the digital transformation positively and reviews the scholarly and practi- cal state of the arts.
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School of Art 2014–2015
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2014–2015 School of Art 2014–2015 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
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Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
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Mika Rottenberg
MIKA ROTTENBERG 1976 Born in Buenos Aires, Argentina Lives and works in New York Formation 1998 Hamidrasha, Bait Berl College of Arts, Israel 2000 Bachelor of Fine Arts, School of Visual Arts, New York 2004 Master of Fine Arts, Columbia University, New York Solo Exhibitions 2019 Easypieces, New Museum, New York, USA Mika Rottenberg, Mambo, Bologna, Italy 2018 Museo d’Arte Moderna di Bologna, MAMbo Bologna, Italy Goldsmiths Centre for Contemporary Art, London, UK Bowls Balls Souls Holes, Sprüth Magers Berlin, Germany Kunsthaus Bregenz, Bregenz, Austria 2017 The Bass Museum of Art, Miami, USA 2016 Palais de Tokyo, Paris, France Galerie Laurent Godin, Paris, France 2015 Mika Rottenberg, Jupiter Artland Foundation, Edinburgh, UK 2014 Bowls Balls Souls Holes, Andrea Rosen Gallery, Main Gallery, New York, USA Mika Rottenberg: Bowls Balls Souls Holes, Rose Art Museum, Brandeix University, Waltham, USA 2013 Squeeze : Video Works by Mika Rottenberg, The Israel Museum, Jerusalem, Israel Sneeze to Squeeze, Magasin 3, Stockholm, Sweden 2012 Galerie Laurent Godin, Paris, France How Women Work, Nottingham Contemporary, UK Mary’s Cherries, FRAC Languedoc Roussillon, Montpellier, France Infinite #2, collaboration with Anna Harpaz, Petah Tikva Museum of Art, Israel 2011 Cheese, Squeeze & Tropical Breeze, M VA, Museum Leuven, Louvin, Belgium Dough, Cheese, Squeeze and Tropical Breeze, De Appel Art Centre, Amsterdam, The Netherlands Bonniers Konsthall, Stockholm, Sweden SEVEN, Performa 11 at Nicole Klagsbrun Project Space, New York, USA (with John Kessler)
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Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr.
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2017-MUMA-The-Humours.Pdf
THE HUMOURS THE HUMOURS This exhibition and catalogue were produced on Kulin Nation land. Monash University Museum of Art acknowledges the Wurundjeri and the Boon Wurrung of the Kulin Nation as the first and continuing custodians of these lands and waters, and pays respect to their Elders, past and present. Charlotte Day: Foreword 3 Hannah Mathews: Introduction 7 Sophie Knezic: Doubled up: non-coincidence and the comic body 11 Zoë Coombs Marr: On analysing analyses of humour 23 Jarrod Rawlins: My account of the funny-art problem: Lol 27 Gabriel Abrantes 32 Barbara Cleveland 36 Matthew Griffin 38 Mary Reid Kelley with Patrick Kelley 42 Glenn Ligon 46 Mika Rottenberg 52 Artist biographies 55 List of works 59 Acknowledgements 61 1 Foreword Charlotte Day ‘I was only joking’ can be used to defuse But what about the role of humour in the the impact of an uncivil comment, but time of US President Donald Trump? As it hardly ever does. Jokes are often American comedian Maria Bamford has where prejudices find safe harbour, and written: ‘Ironic racism, ironic sexism, ironic it is often the recipient who couldn’t or anything unjust – it all seems terrifying wouldn’t take the joke who is deemed a now. The stakes are too high’.1 Yet there bad sport or wowser – the one with a thin is no doubt that comedy is experiencing skin. The truth of the matter is that jokes, a resurgence in Trump’s America and more often than not, have a serious side. that it provides important rebuttal to a presidency gone awry.
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HIGH PERFORMANCE Time-Based Media Art Since 1996 the JULIA
March 16 – June 22, 2014 C Presseinformation Februar 2014 HIGH PERFORMANCE Time-based media art since 1996 High Performance. Die JULIA STOSCHEK COLLECTION The JULIA STOSCHEK COLLECTION guests at ZKM. zu Gast im ZKM. Zeitbasierte Medienkunst seit 1996 Ausstellung Düsseldorf-based JULIA STOSCHEK COLLECTION is presenting key works from its collection of time-based media art at the ZKM | Ort Karlsruhe in the exhibition High Performance. Time-Based Media ZKM | Medienmuseum Art since 1996 – it runs from March 16 thru June 22, 2014. With Pressekonferenz large-format video works and films as well as multi-channel Fr, 14.03.2014, 09.30 Uhr installations, the exhibition demonstrates conclusively how video Eröffnung art as an artistic medium has lost none of its power in the 50 years Sa, 15.03.2014, 18.00 Uhr of its existence. Dauer 16.03.–22.06.2014 Inspired by the risky maneuvers of a Chris Burden, in his video piece High Performance (2000) artist Aaron Young documents a motorbike rider who engages his front brake and burns rubber with his back wheel Pressekontakt Dominika Szope onto the concrete floor of the studio. Clouds of smoke that rise up from Leitung Presse- und Öffentlichkeitsarbeit the friction slowly blur the scene. In this creative, high-powered Tel: 0721 / 8100 – 1220 performance a destructive act melds with creative violence to form a Constanze Heidt threatening contradiction, with man and machine coming up against their Mitarbeit Presse- und limits to the point of complete disappearance. Painting, sculpture and Öffentlichkeitsarbeit Tel: 0721 / 8100 – 1821 sound are quite radically manifested in this admixture of roaring high speed and groaning standstill.
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The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
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MIT Program in Art, Culture and Technology
MIT Program in Art, Culture and Technology The MIT Visual Arts Program (VAP) and the Center for Advanced Visual Studies (CAVS) merged in July 2009 to form the MIT Program in Art, Culture and Technology (ACT). This spring, ACT proudly celebrated its inauguration at its new home in the Media Lab complex (E14) and the Wiesner Building (E15). This new program draws on the impressive legacies of VAP (founded 20 years ago) and CAVS (founded in 1967). Focusing on the intersections of art, culture, and technology through performance, sound, video/film, photography, interrogative and eco-design, as well as experimental media and new genres, ACT’s academic and research initiatives reflect the mission of the new program, which is to operate as a laboratory based on critical studies and production, connecting artists and cultural producers with those working at the forefront of technology. ACT’s faculty, fellows, and students take an experimental and systematic approach to creative production and transdisciplinary collaboration, with the goal of furthering and disseminating advanced visual studies and research at the intersection of art, culture, and technology. The program emphasizes art that engages public spheres, the production of space, networked cultures, and participatory media while addressing such issues as the environment, gender, and social stratification. In the tradition of the founder of the Center for Advanced Visual Studies, Hungarian-born artist Gyorgy Kepes, a gifted educator and advocate of “art on a civic scale,” ACT envisions artistic leadership as initiating change and providing a critically transformative view of the world with the civic responsibility to enrich cultural discourse.
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S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
SFAQ free Tom Marioni Betti-Sue Hertz, YBCA Jamie Alexander, Park Life Wattis Institute - Yerba Buena Center for the Arts - Berkeley Art Museum/Pacific Film Archive - Tom Marioni - Gallery 16 - Park Life - Collectors Corner: Dr. Robert H. Shimshak, Rimma Boshernitsan, Jessica Silverman, Charles Linder - Recology Artist in Residence Program - SF Sunset Report Part 1 - BOOOOOOOM.com - Flop Box Zine Reviews - February, March, April 2011 Event Calendar- Artist Resource Guide - Bay Area, Los Angeles, New York, Portand, Seattle, Vancouver Space Listings - West Coast Residency Listings SAN FRANCISCO ARTS QUARTERLY ISSUE.4 -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[ connect art international (T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 1B copy.pdf 1 1/7/11 9:18 PM 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER C M Y CM MY CY CMY K JANUARY 21-FEBRUARY 28 AMY ELLINGSON, SHAUN O’DELL, INEZ STORER, STEFAN KIRKEBY. MARCH 4-APRIL 30 DEBORAH OROPALLO MAY 6-JUNE 30 TUCKER NICHOLS SoFF_SFAQ:Layout 1 12/21/10 7:03 PM Page 1 Anno Domini Gallery Art Ark Art Glass Center of San Jose Higher Fire Clayspace & Gallery KALEID Gallery MACLA/Movimiento de Arte y Cultura Latino Americana Phantom Galleries San Jose Jazz Society at Eulipia San Jose Museum of Quilts & Textiles SLG Art Boutiki & Gallery WORKS San José Caffé Trieste Dowtown Yoga Shala Good Karma Cafe METRO Photo Exhibit Psycho Donuts South First Billiards & Lounge 7pm - 11pm free & open to the public! Visit www.SouthFirstFridays.com for full schedule.
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A One Day Exhibition
New Video at EAI: A One Day Exhibition New Video at EAI: A One Day Exhibition Saturday, September 8, 2001 12 - 6 pm, 535 West 22 Street, 5th floor New Video at EAI is presented in conjunction with the Downtown Arts Festival's Chelsea Art Walk day and with the cooperation of Dia Center for the Arts. Monitor 1 Joan Jonas Mirage 2, 2000, 30 min, b&w Mirage 2 is a reconsideration of the past, a new work edited by Jonas from footage recorded in the 1970s as part of her Mirage project. Eder Santos Projeto Apollo, 2000, 4 min, color Combining artfully designed sets and digital processing, Santos recreates the historic Apollo lunar landing, using simulation to interrogate representation. Ursula Hodel Cinderella 2001, 2001, 12 min, color Cinderella 2001 is a vibrant performance tape with an unnerving, compulsive narrative concerned with image and obsession. Phyllis Baldino 16 Minutes Lost, 2000, 16:54 min, color Baldino's 16 Minutes Lost is the perfect portrayal of scatterbrainedness, testament to the clutter of modern living and the inevitable failings of manmade systems. Monitor 2 Cheryl Donegan The Janice tapes: Lieder, 2000, 4 min, color; Whoa Whoa Studio (for Courbet), 2000, 4:30 min, color; Cellardoor, 2000, 2 min, silent In her new performance trilogy, Donegan sets up a series of charged relationships -- between artist and model, art object and artistic "gesture," performer and viewer. Mike Kelley Superman Recites Selections from 'The Bell Jar' and Other Works, 1999, 7:19 min, color, sound "In a dark no-place evocative of Superman?s own psychic ?Fortress of Solitude? the alienated Man of Steel recites those sections of Plath?s writings that utilize the image of the bell jar." Mike Kelley Kristin Lucas Involuntary Reception, 2000, 16:45 min, color Involuntary Reception is a double-imaged, double-edged report from a young woman lost in the telecommunications ether.
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