DOCSLIB.ORG

Videos by Artist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Videos by Artist Videos by Artist Artist Program Name Video Tape Name Shelf_ID Start - Stop DVD VHS Brier, Professor Bob The Great Courses: A History of Ancient Egypt Part 1 The Great Courses: A History of Ancient Egypt Part 1 Shelf # 4 --- ID# 1033 Abamovic, Marina Marina Abramovic: 7 Easy Pieces Marina Abramovic: 7 Easy Pieces Shelf # 25 --- ID# 1120 Abramovic, Maria Art 2:1 Season Six Art 21: Season Six Shelf # 35 --- ID# 1219 Abramovic, Marina Our City Dreams (A Chiara Clemente Film) Our City Dreams (A Chiara Clemente Film) Shelf # 24 --- ID# 1121 Acconci, Vito Marina Abramovic: 7 Easy Pieces Marina Abramovic: 7 Easy Pieces Shelf # 25 --- ID# 1120 Acres, Reverend Ethan Acres, Reverand Ethan Acres, Reverand Ethan Shelf # 33 --- ID# 803 Acres, Reverend Ethan Acres, Reverend Ethan Shelf # 33 --- ID# 802 Scoping an Audience In the Making: Creative Options for Contemporary Art (companion to book) Shelf # 25 --- ID# 675 Adler, Amy Art City: Simplicity Art City: Simplicity Shelf # 35 --- ID# 597 Agee, James In the Street In the Street Shelf # 22 --- ID# 358 Allitt, Prof. Patrick N. The Great Courses: The Art of Teaching-Best Practices The Great Courses: The Art of Teaching-Best Practices from a Master from a Master Educator Educator Shelf # 32 --- ID# 1104 Altmejd, David Art 2:1 Season Six Art 21: Season Six Shelf # 35 --- ID# 1219 Amer, Ghada Our City Dreams (A Chiara Clemente Film) Our City Dreams (A Chiara Clemente Film) Shelf # 24 --- ID# 1121 Wednesday, October 14, 2015 Page 1 of 52 Artist Program Name Video Tape Name Shelf_ID Start - Stop DVD VHS Anatsui, El Art 2:1 Season Six Art 21: Season Six Shelf # 35 --- ID# 1219 Fold Crumple Crush Fold Crumple Crush Shelf # 16 --- ID# 1167 Anderson, Laurie Home of the Brave Home of the Brave Shelf # 25 --- ID# 312 Home of the Brave Home Of the Brave Shelf # 25 --- ID# 932 Interview Laurie Anderson Shelf # 25 --- ID# 311 0 - 596 Laurie Anderson: Public Service Announcement Laurie Anderson Collection Shelf # 25 --- ID# 656 Laurie Anderson: Home of the Brave Laurie Anderson Collection Shelf # 25 --- ID# 656 Laurie Anderson : Interview Laurie Anderson Collection Shelf # 25 --- ID# 656 Laurie Anderson: Oh Superman Laurie Anderson Collection Shelf # 25 --- ID# 656 Home of the Brave Laurie Anderson: Interview, O Superman, Home of the Brave Shelf # 25 --- ID# 310 962 - Interview Laurie Anderson: Interview, O Superman, Home of the Brave Shelf # 25 --- ID# 310 0 - 596 O, Superman Laurie Anderson: Interview, O Superman, Home of the Brave Shelf # 25 --- ID# 310 596 - 962 Armstrong, Prof. Dorsey The Great Courses: Analysis and Critique: How to The Great Courses: Analysis and Critique: How to Engage and Write About Engage and Write About Anything Anything Shelf # 32 --- ID# 1117 The Great Courses: The Medieval World (set: 6 disks + The Great Courses: The Medieval World (set: 6 disks + 1 booklet) 1 booklet) Shelf # 8 --- ID# 1088 Arneson, Robert Robert Arneson and the Davis Group Queens Row: Revolution of the Wheel - Part II Shelf # 26 --- ID# 672 Revolution Four "Robert Arneson & the Davis Group" Revolution of the Wheel: The Emergence of American Clay Art. Revolution Four "Robert Arneson & the Davis Group" Shelf # 26 --- ID# 593 Arnheim, Rudolf Rudolf Arnheim: A Life in Art Arnheim, Rudolf: A Life in Art Shelf # 13 --- ID# 466 Wednesday, October 14, 2015 Page 2 of 52 Artist Program Name Video Tape Name Shelf_ID Start - Stop DVD VHS Audobon, John James Wilderness & the West, The American Visions, Volume 3:The Wilderness and the West Shelf # 35 --- ID# 351 John James Audubon: Birds of America Audubon, John James: Birds of America Shelf # 12 --- ID# 554 Avedon, Richard Richard Avedon: Darkness and Light Avedon, Richard: Darkness and Light Shelf # 22 --- ID# 693 Bacon, Francis Love is the Devil Shelf # --- ID# 1179 Shock of the New: Culture as Nature Shock of the New: Culture as Nature Shelf # 15 --- ID# 397 Shock of the New: Trouble in Utopia Shock of the New: Trouble in Utopia Shelf # 37 --- ID# 398 Bailey, Clayton The Width of a Circle Queens Row: Revolution of the Wheel - Part II Shelf # 26 --- ID# 672 Baldessari, John ART 21: Season 5 ART 21: Season 5 Shelf # 35 --- ID# 1041 ART 21: Season 5 (duplicate disk) ART 21: Season 5 (duplicate DVD) Shelf # 35 --- ID# 1042 Art City: Simplicity Art City: Simplicity Shelf # 35 --- ID# 597 Banksy Exit Through the Gift Shop: A Banksy Film Exit Through the Gift Shop: A Banksy Film Shelf # 24 --- ID# 1134 Barison, David The Ister Isterm, The Shelf # 24 --- ID# 1222 Barney, Matthew Matthew Barney Barney, Matthew Shelf # 25 --- ID# 725 Barrett, Terry Barrett, Terry: Interpreting Art Barrett, Terry: Interpreting Art Shelf # 33 --- ID# 818 Basquiat, Jean-Michel Basquiat Basquiat Shelf # 24 --- ID# 1135 Jean-Michel Basquiat: The Radiant Child Jean-Michel Basquiat: The Radiant Child Shelf # 24 --- ID# 1136 Wednesday, October 14, 2015 Page 3 of 52 Artist Program Name Video Tape Name Shelf_ID Start - Stop DVD VHS Baussy-Oulianoff, Didier, filmmaker Pablo Picasso: A Film by Didier Baussy-Oulianoff Pablo Picasso: A Film by Didier Baussy-Oulianoff Shelf # 24 --- ID# 1028 Baylog, James James Baylog James Baylog: Techniques of the Masters, Environmental Photography Shelf # 22 --- ID# 283 1 - 1427 Bazille, Frederic The Impressionists Vol. 3 Impressionists: The Other French Revolution, The Shelf # 12 --- ID# 566 Bellini, Giovanni Feast of the Gods Feast of the Gods Shelf # 29 --- ID# 827 Benglis, Lynda Art 2:1 Season Six Art 21: Season Six Shelf # 35 --- ID# 1219 Works By Women: From the Heart Works By Women: From the Heart Shelf # 15 --- ID# 682 Bengston, Billy Al Peter Voulkos and the Otis Group Queens Row: Revolution of the Wheel - Part I Shelf # 26 --- ID# 671 Benning, Sadie Flat is Beautiful Flat is Beautiful Shelf # 25 --- ID# 1215 Benton, Thomas Hart Steamlines & Breadlines American Visions, Volume 6: Steamlines and Breadlines Shelf # 35 --- ID# 354 Thomas Hart Benton's Missouri Benton, Thomas Hart: Missouri Shelf # 13 --- ID# 396 Ken Burns America Collection: Thomas Hart Benson Ken Burns America Collection: Thomas Hart Benton Shelf # 13 --- ID# 1060 Berman, Wallace The Cool School: The Story of the Ferus Art Gallery Cool School, The : The Story of the Ferus Art Gallery Shelf # 15 --- ID# 1027 Beuys, Joseph Joseph Beuys Joseph Beuys oseph Beuys Shelf # 25 --- ID# 388 Marina Abramovic: 7 Easy Pieces Marina Abramovic: 7 Easy Pieces Shelf # 25 --- ID# 1120 Bickerton, Ashley Art City: Making it in Manhattan Art City: Making it in Manhattan Shelf # 35 --- ID# 170 Wednesday, October 14, 2015 Page 4 of 52 Artist Program Name Video Tape Name Shelf_ID Start - Stop DVD VHS Bidlo, Mike Art City: Simplicity Art City: Simplicity Shelf # 35 --- ID# 597 Bierstadt, Albert Wilderness & the West, The American Visions, Volume 3:The Wilderness and the West Shelf # 35 --- ID# 351 Hudson River & Its Painters Hudson River & Its Painters Shelf # 12 --- ID# 160 Bing, Xu Scoping an Audience In the Making: Creative Options for Contemporary Art (companion to book) Shelf # 25 --- ID# 675 Bingham, George Caleb George Caleb Bingham George Caleb Bingham Shelf # 12 --- ID# 406 Boltanski, Christian Christian Boltanski Boltanski, Christian Shelf # 15 --- ID# 168 Bonnard, Pierre Pierre Bonnard: In Search of Pure Color Bonnard, Pierre: In Search of Pure Color Shelf # 13 --- ID# 477 Bosch, Hieronymous The Dutch Masters: Bosch Dutch Masters, The : Bosch Shelf # 9 --- ID# 1058 Botticelli The Private Life of a Masterpiece-Seasons 1-5 Private Life of a Masterpiece, The -Seasons 1-5 Shelf # 32 --- ID# 1031 The Private Life of a Masterpiece Private Life of a Masterpiece, The -Seasons 1-5 Shelf # 32 --- ID# 1031 Every Picture Tells a Story Every Picture Tells a Story Shelf # 32 --- ID# 1030 Masters of Illusion Masters of Illusion: Uccello, Durer, Da Vinci, Raphael, etc. Shelf # 9 --- ID# 127 Bourgeois, Louise Art City: Making it in Manhattan Art City: Making it in Manhattan Shelf # 35 --- ID# 170 Bourgeois, Louise: The Spider, the Mistress and the Bourgeois, Louise: The Spider, the Mistress and the Tangerine Tangerine Shelf # 36 --- ID# 957 Brady, Robert Robert Arneson and the Davis Group Queens Row: Revolution of the Wheel - Part II Shelf # 26 --- ID# 672 Wednesday, October 14, 2015 Page 5 of 52 Artist Program Name Video Tape Name Shelf_ID Start - Stop DVD VHS Brancusi, Constantin Brancusi: Retrospective at the Guggenheim Museum Brancusi: Retrospective at the Guggenheim Museum Shelf # 36 --- ID# 465 Braque New Ways of Seeing New Ways of Seeing Picasso & Braque Shelf # 13 --- ID# 149 Brettell, Dr. Richard, Lecturer The Great Courses: Museum Masterpieces at the The Great Courses: Museum Masterpieces at the Louvre Louvre Shelf # 29 --- ID# 1013 Brettell, Professor Richard The Great Courses: Museum Masterpieces-The The Great Courses: Museum Masterpieces-The Metropolitan Museum of Metropolitan Museum of Art Part 1 Art Part 1 Shelf # 29 --- ID# 1037 The Great Courses: Museum Masterpieces-The The Great Courses: Museum Masterpieces-The Metropolitan Museum of Metropolitan Museum of Art Part 2 Art Part 2 Shelf # 29 --- ID# 1038 Brier, Professor Bob The Great Courses: A History of Ancient Egypt Part 2 The Great Courses: A History of Ancient Egypt Part 2 Shelf # 4 --- ID# 1034 The Great Courses: A History of Ancient Egypt Part 3 The Great Courses: A History of Ancient Egypt Part 3 Shelf # 4 --- ID# 1035 The Great Courses: A History of Ancient Egypt Part 4 The Great Courses: A History of Ancient Egypt Part 4 Shelf # 4 --- ID# 1036 Broughton Experimantal Cinema-1922-1954: Avant-Garde #3 Experimantal Cinema-1922-1954: Avant-Garde #3 Shelf # 24 --- ID# 1066 Bruegel, Pieter the Elder Pieter Brueghel the Elder Pieter Brueghel the Elder Shelf # 9 --- ID# 368 Brunelleschi Tuscan Journeys Treasures of Sacred Art: Tuscan Journeys (6 discs) Shelf # 9 --- ID# 703 Brunellezchi Masters of Illusion Masters of Illusion: Uccello, Durer, Da Vinci, Raphael, etc.
Load more

Recommended publications
  • Dlkj;Fdslk ;Lkfdj
    MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world.
    [Show full text]
  • High Performance Magazine Records
    http://oac.cdlib.org/findaid/ark:/13030/kt5p30369v Online items available Finding aid for the magazine records, 1953-2005 Finding aid for the magazine 2006.M.8 1 records, 1953-2005 Descriptive Summary Title: High Performance magazine records Date (inclusive): 1953-2005 Number: 2006.M.8 Creator/Collector: High Performance Physical Description: 216.1 Linear Feet(318 boxes, 29 flatfile folders, 1 roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: High Performance magazine records document the publication's content, editorial process and administrative history during its quarterly run from 1978-1997. Founded as a magazine covering performance art, the publication gradually shifted editorial focus first to include all new and experimental art, and then to activism and community-based art. Due to its extensive compilation of artist files, the archive provides comprehensive documentation of the progressive art world from the late 1970s to the late 1990s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Linda Burnham, a public relations officer at University of California, Irvine, borrowed $2,000 from the university credit union in 1977, and in a move she described as "impulsive," started High
    [Show full text]
  • The Kitchen Presents a New Performance by Miranda July
    Press Contact: Rachael Dorsey tel: 212 255-5793 ext. 14 fax: 212 645-4258 [email protected] For Immediate Release The Kitchen presents a new performance by Miranda July New York, NY, January 3, 2007 - The Kitchen presents a new performance by filmmaker, performance artist, and writer Miranda July titled THINGS WE DON'T UNDERSTAND AND DEFINITELY ARE NOT GOING TO TALK ABOUT. This new work is a tale of heartbreak and obsession so familiar you could tell it yourself. In fact, each night July employs members of the audience to help her reveal the humor and terror that are at the heart of intimacy, betrayal, and creativity. As in her earlier productions, July utilizes video and music, and plays multiple characters. The performances will take place at The Kitchen (512 West 19th Street) on Thursday, March 1 through Sunday, March 4 at 8pm. Tickets are $15. THINGS WE DON'T UNDERSTAND AND DEFINITELY ARE NOT GOING TO TALK ABOUT, with music composed by Jon Brion (Eternal Sunshine of the Spotless Mind, Punch-Drunk Love), has been performed at The Steve Allen Theater (Los Angeles) and Project Theater Artaud/San Francisco Cinematheque, and offers insight into July’s filmmaking process; her next feature film revolves around the same themes and characters. Most recently, she is best known as the writer and director of her award-winning feature length film Me and You and Everyone We Know (2005). July first received critical acclaim in New York for her performances at The Kitchen, The Swan Tool (2001) and Love Diamond (2000). About the Artist Miranda July is a filmmaker, performing artist and writer.
    [Show full text]
  • Astria Suparak Is an Independent Curator and Artist Based in Oakland, California. Her Cross
    Astria Suparak is an independent curator and artist based in Oakland, California. Her cross- disciplinary projects often address urgent political issues and have been widely acclaimed for their high-level concepts made accessible through a popular culture lens. Suparak has curated exhibitions, screenings, performances, and live music events for art institutions and festivals across ten countries, including The Liverpool Biennial, MoMA PS1, Museo Rufino Tamayo, Eyebeam, The Kitchen, Carnegie Mellon, Internationale Kurzfilmtage Oberhausen, and Expo Chicago, as well as for unconventional spaces such as roller-skating rinks, ferry boats, sports bars, and rock clubs. Her current research interests include sci-fi, diasporas, food histories, and linguistics. PROFESSIONAL EXPERIENCE (selected) . Independent Curator, 1999 – 2006, 2014 – Present Suparak has curated exhibitions, screenings, performances, and live music events for art, film, music, and academic institutions and festivals across 10 countries, as well as for unconventional spaces like roller-skating rinks, ferry boats, elementary schools, sports bars, and rock clubs. • ART SPACES, BIENNIALS, FAIRS (selected): The Kitchen, MoMA PS1, Eyebeam, Participant Inc., Smack Mellon, New York; The Liverpool Biennial 2004, FACT (Foundation for Art and Creative Technology), England; Museo Rufino Tamayo Arte Contemporaneo, Mexico City; Yerba Buena Center for the Arts, San Francisco; Museum of Photographic Arts, San Diego; FotoFest Biennial 2004, Houston; Space 1026, Vox Populi, Philadelphia; National
    [Show full text]
  • Survival Research Laboratories: a Dystopian Industrial Performance Art
    arts Article Survival Research Laboratories: A Dystopian Industrial Performance Art Nicolas Ballet ED441 Histoire de l’art, Université Paris 1 Panthéon-Sorbonne, Galerie Colbert, 2 rue Vivienne, 75002 Paris, France; [email protected] Received: 27 November 2018; Accepted: 8 January 2019; Published: 29 January 2019 Abstract: This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge. Keywords: biomechanical sexuality; contemporary art; destruction art; industrial music; industrial culture; J. G. Ballard; machine art; mechanical performance; Survival Research Laboratories; SRL 1. Introduction If the apparent excesses of Dada have now been recognized as a life-affirming response to the horrors of the First World War, it should never be forgotten that society of the 1960s, 70s, and 80s was laboring under another ominous shadow, and one that was profoundly technological in nature: the threat of nuclear annihilation.
    [Show full text]
  • David Bowie's Urban Landscapes and Nightscapes
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context.
    [Show full text]
  • Survival Research Laboratories Featured in the Art Newspaper
    r THE ART NEWSPAPER The Robot wars: Mark Pauline and Survival Research Laboratories The Bay Area artist and his team build massive machines that act in dangerous performances—and they are opening their first gallery show in New York HELEN STOILAS 5th January 2018 17:11 GMT Mark Pauline and the Running Machine (1992) Courtesy of Survival Research Laboratories For four decades, Mark Pauline has turned robotics into a performance art. In 1978, the Bay Area artist started Survival Research Laboratories (SRL), a collaborative project with the stated purpose of “re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare”. Since then, Pauline and a team of “creative technicians” have been building an army of massive machines—the giant articulated Spine Robot that gingerly picks up objects with its mechanised arm, the dangerously powerful Pitching Machine that can hurl a 2 x 4 at 200mph, and of course Mr Satan, a blast furnace with a human face that shoots flames from its eyes and mouth. These are used in performances that inspire equal parts awe, excitement and fear. Pauline and the SRL team are in New York this week for their first major gallery show at Marlborough Contemporary, Fantasies of Negative Acceleration Characterized by Sacrifices of a Non-Consensual Nature, opening on Saturday 5 January, with performances starting at 4pm. We spoke to the artist from his studio in Petaluma. The Art Newspaper: These machines are meant to have their own life, they’re independent actors in a way? Mark Pauline: Actually, they’re just meant to replace human performers in the events that we stage.
    [Show full text]
  • SEPTEMBER 2018 COMPLIMENTARY GUIDE Catskillregionguide.Com
    Catskill Mountain Region SEPTEMBER 2018 COMPLIMENTARY GUIDE catskillregionguide.com SPECIAL SECTION: VISIT DELAWARE COUNTY! September 2018 • GUIDE 1 2 • www.catskillregionguide.com CONTENTS OF TABLE www.catskillregionguide.com VOLUME 33, NUMBER 9 September 2018 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS Heather Rolland, Jeff Senterman & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee Justin McGowan & Isabel Cunha On the cover: Photo by Elizabeth Hall Dukin PRINTING Catskill Mountain Printing Services 4 WOODSTOCK-NEW PALTZ ART & CRAFTS FAIR DISTRIBUTION Catskill Mountain Foundation 6 MOUNTAIN TOP ARBORETUM: Labor Day Events and New Timber Frame Education Center EDITORIAL DEADLINE FOR NEXT ISSUE: September 10 The Catskill Mountain Region Guide is published 12 times a year 10 WATERSHED AGRICULTURAL COUNCIL: Celebrating 25 by the Catskill Mountain Foundation, Inc., Main Street, PO Box 924, Hunter, NY 12442. If you have events or programs that you Years of Supporting the Region’s Farm and Forest Owners would like to have covered, please send them by e-mail to tafts@ catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all VISIT DELAWARE COUNTY: correspondence. For editorial and photo submission guidelines 12 send a request via e-mail to [email protected]. The Heart of the Great Western Catskills The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered or occupied by the error.
    [Show full text]
  • Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue Published by WCA ● Gallery Guide
    1 Wexner Center for the Arts Exhibition History Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue published by WCA ● Gallery Guide ●LaToya Ruby Frazier: The Last Cruze February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Sadie Benning: Pain Thing February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Stanya Kahn: No Go Backs January 22 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●HERE: Ann Hamilton, Jenny Holzer, Maya Lin September 21 – December 29, 2019 *+●Barbara Hammer: In This Body (F/V Residency Award) June 1 – August 11, 2019 *Cecilia Vicuña: Lo Precario/The Precarious June 1 – August 11, 2019 Jason Moran June 1 – August 11, 2019 *+●Alicia McCarthy: No Straight Lines February 2 – August 1, 2019 John Waters: Indecent Exposure February 2 – April 28, 2019 Peter Hujar: Speed of Life February 2 – April 28, 2019 *+♦Mickalene Thomas: I Can’t See You Without Me (Visual Arts Residency Award) September 14 –December 30, 2018 *● Inherent Structure May 19 – August 12, 2018 Richard Aldrich Zachary Armstrong Key: * Organized by the Wexner Center ♦ Catalogue published by WCA + New Work Commissions/Residencies ● Gallery Guide Updated July 2, 2020 2 Kevin Beasley Sam Moyer Sam Gilliam Angel Otero Channing Hansen Laura Owens Arturo Herrera Ruth Root Eric N. Mack Thomas Scheibitz Rebecca Morris Amy Sillman Carrie Moyer Stanley Whitney *+●Anita Witek: Clip February 3-May 6, 2018 *●William Kentridge: The Refusal of Time February 3-April 15, 2018 All of Everything: Todd Oldham Fashion February 3-April 15, 2018 Cindy Sherman: Imitation of Life September 16-December 31, 2017 *+●Gray Matters May 20, 2017–July 30 2017 Tauba Auerbach Cristina Iglesias Erin Shirreff Carol Bove Jennie C.
    [Show full text]
  • La Mamelle and the Pic
    1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson
    [Show full text]
  • Shanks Full Dissertation
    UCLA UCLA Electronic Theses and Dissertations Title Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater Permalink https://escholarship.org/uc/item/5sw8510j Author Shanks, Gwyneth Jane Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Gwyneth Jane Shanks 2016 © Copyright by Gwyneth Jane Shanks 2016 ABSTRACT OF DISSERTATION Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater by Gwyneth Jane Shanks Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2016 Professor Sean Aaron Metzger, Chair In recent decades, art museums’ definition of art has expanded to include not only inanimate objects but also live performers. This shift represents a transformation in museum culture and an increase in curated live performance. Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater contributes to emerging debates in performance studies that seek to understand how performance is impacted by museums. This project, however, does not look solely at performance in museum spaces. Rather, it is one of the first to align contemporary museum performance with theatrical works that dramatize the creation and subsequent museum exhibition of visual art. The project examines work by Marina Abramović, Asco, Guillermo Goméz-Peña, Maria Hassabi, and the musical Sunday in the Park ii with George.
    [Show full text]
  • FIGURE 7.1. Demonstration/Performance by The
    07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art.
    [Show full text]