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P R E S S R E L E a S E DIANE ARBUS Christ in a Lobby and Other Unknown Or Almost Known Works Whenever I Give A
P R E S S R E L E A S E DIANE ARBUS Christ in a lobby and Other Unknown or Almost Known Works SELECTED BY ROBERT GOBER January 7 – March 6, 2010 Whenever I give a talk about my work I am invariably asked who my influences are. Not what my influences are, but who. As if the gutter, misunderstandings, memories, sex, dreams, and books matter less than forebears do. After all, in terms of influences, it is as much the guy who mugged me on Tenth Street, or my beloved dog who passed away much too early, as it was Giotto or Diane Arbus. -- Robert Gober Fraenkel Gallery is pleased to present Christ in a lobby and Other Unknown or Almost Known Works by Diane Arbus, on view from January 7 through March, 6, 2010. The exhibition has been selected and assembled by the sculptor Robert Gober. In 1976, Gober made an untitled still-life drawing depicting the cover of the 1972 monograph Diane Arbus, along with other household items: a pack of cigarettes, sunglasses, coins, an ashtray. That drawing – still in the artist’s collection, and to be included in the forthcoming exhibition – signaled an early appreciation of Arbus’s photographs, and Gober’s subsequent body of work evidences certain affinities with hers, including Arbus’s willingness “to look at everything that you weren’t supposed to” [Gober, in a 2005 interview]. In the summer of 2009 Gober was invited to study a heretofore little known body of Arbus’s photographs, and to select a group for exhibition. -
2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS in SPOTLIGHT, PARK CITY at MIDNIGHT, NEXT <=> and NEW FRONTIER
FOR IMMEDIATE RELEASE Media Contacts: December 1, 2011 Sarah Eaton 310.360.1981 [email protected] Casey De La Rosa 310.360.1981 [email protected] 2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS IN SPOTLIGHT, PARK CITY AT MIDNIGHT, NEXT <=> AND NEW FRONTIER Park City, UT — Sundance Institute announced today the films selected to screen in the 2012 Sundance Film Festival out-of-competition sections Spotlight, Park City at Midnight, NEXT <=> and New Frontier. The Festival takes place from January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival. Trevor Groth, Director of Programming for the Sundance Film Festival, said, “In many ways, the extremes of the Festival’s program are most readily apparent in our out-of-competition sections, which showcase the wildest comedies, the most terrifying horror films and uncompromised visions from singular voices springing up from around the country and the world. We hope audiences experiment with their film selections to an equal degree as these filmmakers have experimented with their storytelling.” SPOTLIGHT Regardless of where these films have played throughout the world, the Spotlight program is a tribute to the cinema we love. Corpo Celeste / Italy (Director and screenwriter: Alice Rohrwacher) — After moving back to southern Italy with her mother and older sister, 13-year-old Marta struggles to find her place, restlessly testing the boundaries of an unfamiliar city and the catechism of the Catholic church. Cast: Yle Vianello, Salvatore Cantalupo, Anita Caprioli, Renato Carpentiere. Declaration Of War / France (Director: Valérie Donzelli, Screenwriters: Jérémie Elkaïm, Valérie Donzelli) — A young couple embark upon a painful, enlightening journey when they discover that their newborn child is very ill. -
White Paper Introduction
89 seconds Atomized White Paper Introduction........................................................................................... 3 Concept.................................................................................................. 4 Background........................................................................................... 5 About Eve Sussman ..........................................................................5 About Snark.Art .................................................................................6 About Las Meninas ...........................................................................6 About 89 seconds at Alcázar ............................................................7 89 seconds, Atomized.......................................................................... 8 The Work ...........................................................................................8 The Community ................................................................................9 Purchase and Ownership ................................................................11 Initial Sales Drops ......................................................................11 Purchase Methods ....................................................................11 Loan Mechanics ..............................................................................12 Requesting a Loan ....................................................................12 Loaning Out Your Atom(s) .........................................................12 -
Presskitsq1 Eng2
Sequence 1 Painting and Sculpture in the François Pinault Collection Saturday 5 May – Sunday 11 November 2007 1 Index I/ Sequence 1. Painting and Sculpture in the François Pinault Collection Palazzo Grassi to initiate new exhibition series Painting Sculpture New commissions and special projects Sequence 1 works list Catalogue of the exhibition II/ Historical Milestones of Palazzo Grassi Palazzo Grassi: a Venetian story From Gianni Agnelli to François Pinault The Board of Directors The Advisory of Board Tadao Ando’s renovation The Palazzo Grassi’s cultural direction Punta della Dogana III/ Biographies François Pinault Jean-Jacques Aillagon Alison M. Gingeras The artists of Sequence 1 Tadao Ando IV/ General information V/ Press office contacts VI/ Captions of the images available in the press kit 2 I / Sequence 1. Painting and Sculpture in the François Pinault Collection Palazzo Grassi to initiate new exhibition series On May 5, 2007,Palazzo Grassi presented Sequence 1:Painting and Sculpture in the François Pinault Collection, the first exhibition in a succession of shows highlighting the particularities and strengths of the contemporary art holdings of the François Pinault Collection. Curated by Alison M. Gingeras, the newly-appointed chief curator at Palazzo Grassi, Sequence 1 features a diverse range of work by six- teen artists from the Collection, as well as new commissions and special projects. The exhibition will be on view until November 11th, 2007. International and multi-generational, the artists in Sequence 1 all engage in the practice of painting or sculpture to varying degrees. Eschewing theme or narrative, Sequence 1 reminds us that contempo- rary artists have never abandoned these supposedly “traditional” disciplines—choosing instead to modify them with constant conceptual revisions and ever-evolving techniques. -
Exhibition Brochure, Robert Gober.Pdf
ROBERT GOBER SelectedBibliography: SiteMap ( Flood, Richard, "Robert Gober: Special Robert Gober, Paris, Galerie Nationale Editions, An Interview", The Print du Jeu de Paume, 1991. Texts by Collector's Newsletter, March-April Catherine David, Joan Simon. 1990, pp.6-9. Robert Gober, Rotterdam , Museum + Gober, Robert , "Cumulus" , Parkett, Boymans-van Beuningen, 1990. Texts by no.19 , 1989, pp.169-171. Trevor Fairbrother, Karel Schampers, Parkett, no.27, March 1991, Special Ulrich Loock. Edition: Louise Bourgeois & Robert Sherlock, Maureen P., "Arcadian Elegy: Gober, Texts by Gregg Bordowitz, Nancy The Art of Robert Gober", Arts, Spector, Harald Szeemann. September 1989, pp.44-49. BE ~ ( C :,.. + $ ~ <:i ';; § a c§l ] ...,§ ~ + Robert Gober was born September 12, 1954 in Wallingford, Connecticut. He currently ~ b ,? lives and works in New York City. Since his first show in 1984 he has exhibited widely, C ""0.. in numerous exhibitions in North America, Japan and Europe. Major funding for this project has been received from the Lannan Foundation and the National Endowment for the Arts, a federal agency, Washington D.C., with additional scenic painting funding from the Dia Art Council, the major annual support group of the Dia Center for + rat bait the Arts, and the Dia Art Circle. Support for the 1992-93 exhibitions program has also prison windows been provided through a generous grant from The Andy Warhol Foundation for the I \ Visual Arts, Inc . sink C § newspapers A book documenting the installation is forthcoming. - Maureen Sherlock, Associate Professor of Critical Theory in the Film Department of the September24, 1992-June 20, 1993 School of the Art Institute of Chicago, will give a lecture on the installation on Thursday, January 14, 1993 at 6:30pm. -
No Problem Press5.Indd
525 & 533 West 19th Street New York, NY 10011 David Zwirner 537 West 20th Street Telephone 212 517 8677 For immediate release NO PROBLEM: COLOGNE/NEW YORK 1984-1989 May 1 – June 14, 2014 David Zwirner is pleased to present an exhibition of work that examines the 1980s through the lens of the Cologne and New York art scenes of the period. Spanning the gallery’s exhibition spaces at 525 and 533 West 19th Street and 537 West 20th Street, the exhibition will include Werner Büttner, George Condo, Walter Dahn, Jiri Georg Dokoupil, Peter Fischli/David Weiss, Günther Förg, Robert Gober, Georg Herold, Jenny Holzer, Mike Kelley, Martin Kippenberger, Jeff Koons, Barbara Kruger, Sherrie Levine, Albert Oehlen, Raymond Pettibon, Richard Prince, Cindy Sherman, Rosemarie Trockel, Franz West, and Christopher Wool. The contemporary art that was created and presented in New York and Cologne during the 1980s shaped a certain creative discourse Martin Kippenberger between artists, curators, and gallerists on both sides of the The Person Who Can’t Dance Says the Band Can’t Play, 1984 Atlantic. This exhibition proposes an examination of this dialogue Oil on canvas 64 x 53 1/2 inches by focusing on the international artists who showed in both New 162.6 x 135.9 cm © Estate of Martin Kippenberger York and Cologne between 1984 and 1989 and the key gallery and Galerie Gisela Capitain, Cologne museum exhibitions of the period that took place in both cities. For the better part of the 1980s until the fall of the Berlin Wall in 1989, Cologne was arguably the European center of the contemporary art world. -
A FUND for the FUTURE Francis Alÿs Stephan Balkenhol Matthew
ARTISTS FOR ARTANGEL Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno Ryan Gander Robert Gober Nan Goldin Douglas Gordon Antony Gormley Richard Hamilton Susan Hiller Roger Hiorns Andy Holden Roni Horn Cristina Iglesias Ilya and Emilia Kabakov Mike Kelley + Laurie Anderson / Kim Gordon / Cameron Jamie / Cary Loren / Paul McCarthy / John Miller / Tony Oursler / Raymond Pettibon / Jim Shaw / Marnie Weber Michael Landy Charles LeDray Christian Marclay Steve McQueen Juan Muñoz Paul Pfeiffer Susan Philipsz Daniel Silver A FUND FOR THE FUTURE Taryn Simon 7-28 JUNE 2018 Wolfgang Tillmans Richard Wentworth Rachel Whiteread Juan Muñoz, Untitled, ca. 2000 (detail) Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno ADVISORY GROUP Ryan Gander Hannah Barry Robert Gober Erica Bolton Nan Goldin Ivor Braka Douglas Gordon Stephanie Camu Antony Gormley Angela Choon Richard Hamilton Sadie Coles Susan Hiller Thomas Dane Roger Hiorns Marie Donnelly Andy Holden Ayelet Elstein Roni Horn Gérard Faggionato LIVE AUCTION 28 JUNE 2018 Cristina Iglesias Stephen Friedman CONDUCTED BY ALEX BRANCZIK OF SOTHEBY’S Ilya and Emilia Kabakov Marianne Holtermann AT BANQUETING HOUSE, WHITEHALL, LONDON Mike Kelley + Rebecca King Lassman Laurie Anderson / Kim Gordon / Prue O'Day Cameron Jamie / Cary Loren / Victoria Siddall ONLINE -
Robert Gober the Heart Is Not a Metaphor
How in the fuck are you supposed to hit that shit? —Mickey Mantle ROBERT GOBER THE HEART IS NOT A METAPHOR Edited by Ann Temkin Essay by Hilton Als With a Chronology by Claudia Carson, Robert Gober, and Paulina Pobocha And an Afterword by Christian Scheidemann The Museum of Modern Art, New York CONTENTS 9 Foreword Glenn D. Lowry 10 Published by The Museum of Robert Gober: An Invitation Modern Art, Ann Temkin 11 West 53 Street New York, NY 10019-5497 Published on the occasion of www.moma.org 20 the exhibition Robert Gober: The I Don’t Remember Heart Is Not a Metaphor, at The Distributed in the United States Hilton Als Museum of Modern Art, New York, and Canada by ARTBOOK | October 4, 2014–January 18, D.A.P., New York 2015, organized by Ann Temkin, 155 Sixth Avenue, 2nd floor 92 The Marie-Josée and Henry Kravis New York, NY 10013 Chronology Chief Curator of Painting and www.artbook.com Claudia Carson and Paulina Pobocha with Robert Gober Sculpture, and Paulina Pobocha, © 2014 The Museum of Modern Art Assistant Curator, Department of Distributed outside the United Painting and Sculpture Hilton Als’s essay “I Don’t States and Canada by Thames & 246 Remember” is © 2014 Hilton Als. Hudson ltd Robert Gober’s Painted Sculpture 181A High Holborn Christian Scheidemann Thom Gunn’s poem “Still Life,” London WC1V 7QX The exhibition is made possible by from his Collected Poems, is www.thamesandhudson.com Hyundai Card. © 1994 Thom Gunn. Reprinted by permission of Faber and Faber Front cover: Robert Gober 256 List of Works Illustrated Major support is provided by the Ltd and Farrar, Straus and Giroux, working on Untitled, 1995–97, in 262 Exhibition History Henry Luce Foundation, Maja Oeri LLC. -
Driscoll 2021 Resume
E L L E N D R I S C O L L 80 Union St., Brooklyn, NY 11231 [email protected] www.ellendriscoll.net tel. 617 501 5490 SOLO EXHIBITIONS 2017 “Thicket” Rafius Fane Gallery, Boston, Mass 2016 “Venti Trasversali (Crosswinds)” Museo di Storia Naturale dell’ Accademia dei Fisiocritici, Siena, Italy 2013 “Alluvial; Recent Books and Drawings” Eli Marsh Gallery, Amherst College, 2012 “Core Sample”, College of St. Rose, Albany, NY 2011 “Distant Mirrors” Providence tidal river, RI, co-produced with Waterfire, September-October “Spill” an exhibition of accordian books and drawings, Brooklyn Public Library, Brooklyn, NY 2010 Fastforwardfossil part 3, West Cork Arts Centre, Skibbereen, Ireland 2009 Fastforwardfossil Part 1, Frederieke Taylor Gallery, New York, NY Fastforwardfossil Part 2, SmackMellon, Brooklyn, NY 2007 Hunter Gatherer, Long Island University Humanities Gallery, Brooklyn campus 2005 The Loophole of Retreat – Tremaine Gallery, The Hotchkiss School, Lakeville, CT Filament / Firmament – Cambridge Arts Council, Cambridge, MA 2002 New Drawings – Roger Williams University, School of Architecture, Art and Historic Preservation, Bristol, RI 2001 From Ear to There: Sculptures, Drawings, Books – University of Massachusetts, South Dartmouth, MA TurnScope – collaboration with Nick Tobier, Green Street Gallery, Boston, MA 2000 The Loophole of Retreat – African American Museum, Fresno, CA 1999 The Loophole of Retreat – The Hyde Collection, Glens Falls, NY 1998 Ahab's Wife: Drawings, Models, Sculptures – Snug Harbor Cultural Center, Staten Island, -
Sarah Sze Blueprint for a Landscape, 2017
New York City Subway 31 Contemporary Arts & Design Stations Tour: Station 3 Tour Selection by Patrick J. Schnieper Documentation Q Second Avenue - 96th Street (Manhattan) Sarah Sze Blueprint for a Landscape, 2017 Art on entry / exit nord & south and mezzanine Photo © MTA Porcelain tile Sarah Sze’s artwork at 96th Street profoundly impacts the station, as her imagery is applied directly on over 4300 unique porcelain wall tiles, spanning approximately 14,000 square feet. The designs feature familiar objects – sheets of paper, scaffolding, birds, trees, and foliage – caught up in a whirlwind velocity that picks up speed and intensity as the composition unfolds throughout the station with references to energy fields and wind patterns. Each entrance features a different shade of blue and a blueprint-style vector line design, a visual theme that is integrated with the architecture, creating one of the most dynamic stations in the MTA system. Sarah Sze represented the United States at the Venice Biennale in 2013, and was awarded a MacArthur Fellowship in 2003. She has exhibited in museums worldwide, and her works are held in the permanent collections of prominent institutions, including the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art. Sze has been featured in international Biennials and has created public works for MIT, the Walker Art Center, the High Line and the Public Art Fund in New York. She was born in Boston and lives and works in New York City. — MTA Arts & Design __________________________________________________________ Bereits auf den ersten Blick beeindruckt bei dieser Installation der raumgreifende und grossflächige Ansatz. -
Sarah Sze's "Triple Point": Modeling a Phenomenological Experience of Contemporary Life Amanda J
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 4-16-2015 Sarah Sze's "Triple Point": Modeling a Phenomenological Experience of Contemporary Life Amanda J. Preuss University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Contemporary Art Commons Scholar Commons Citation Preuss, Amanda J., "Sarah Sze's "Triple Point": Modeling a Phenomenological Experience of Contemporary Life" (2015). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/5556 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Sarah Sze’s Triple Point: Modeling a Phenomenological Experience of Contemporary Life by Amanda J. Preuss A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts with a concentration in Modern and Contemporary Art Department of Art and Art History College of the Arts University of South Florida Major Professor: Allison Moore, Ph.D. Riccardo Marchi, Ph.D. Noelle Mason, MFA Date of Approval: April 16, 2015 Keywords: Venice Biennale, Contemporary art, Maurice Merleau-Ponty, embodied perception, sculpture, installation, scientific models Copyright © 2015, Amanda J. Preuss TABLE OF CONTENTS List of Figures .................................................................................................................................ii -
Sarah Szeexhibition OCTOBER 24, 2020 Night Into Day → APRIL 25, 2021 New Works
Sarah SzeEXHIBITION OCTOBER 24, 2020 Night into Day → APRIL 25, 2021 New Works Press kit fondationcartier.com — 261 Boulevard Raspail - 75014 Paris PRESS MANAGER Matthieu Simonnet [email protected] Tel. 01 42 18 56 77 PRESS OFFICER Sophie Lawani-Wesley [email protected] Tel. 01 42 18 56 65 fondationcartier.com/presse FONDATION CARTIER POUR L’ART CONTEMPORAIN fondationcartier.com 261 Boulevard Raspail 75014 Paris ← Cover: Sarah Sze, Centrifuge, 2017. Presented at Haus Der Kunst. © Sarah Sze Photo © Sarah Sze Studio. 03 SARAH SZE, NIGHT INTO DAY 04 NIGHT VISION 20/20, AN EXPERIENCE IN AUGMENTED REALITY 05 BIOGRAPHY 06 PRESS VISUALS 08 CATALOG EXCERPTS 12 EXHIBITION CATALOG 13 2021 PROGRAM 16 MEDIA PARTNERS 17 INFORMATION Sarah Sze Night into Day “As an artist, I think about the effort, desire, and continual longing we've had over the years to make meaning of the world around us through materials. And to try and locate a kind of wonder, but also a kind of futility that lies in that very fragile pursuit.” Sarah Sze a geyser or the growth of a plant. Other images, shot from an “The Fondation Cartier’s building involves iPhone or culled from the Internet, capture materials from daily life being transformed before our eyes: shaving chalk, cutting foam, the effect of blurring limits: not knowing exactly burning wood—offering the viewer an experience of the tactile in what is there and what is not, where it starts our image-saturated world. Sze splices together disparate content and where it ends.” Jean Nouvel that viewers, upon moving through the space, edit together through the act of seeing and reading images to create their own narrative of the work.