DOCSLIB.ORG

Enter Here Ap: S a Verb

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Enter Here Ap: S a Verb PERFORMING THE CAMBRIDGE COMMON ISSUE 3 / 4 Conversation: the An icon: as a verb ACCESS language of the Common The “commons” is a place of shared Common Exchange is a series of 1 Cesare Casarino and Antonio Negri, In Transforming the International knowledge and resources while temporary art installations and Praise of the Common: A Conversation on Symbol of Access (ISA) into also being a contested area of performances presented in one of Philosophy and Politics (Minneapolis: an active, engaged image, the University of Minnesota Press, 2008). collective action and possibility; the nation’s oldest common greens, Cambridge-based project of Sara it is the term by which we legally the Cambridge Common. Orga- 2 This history of shared grazing space has Hendren, Brian Glenney, and Tim A PUBLIC ART frame our public rights and hold our nized in honor of the park’s recent also spawned social and economic theories Ferguson-Sauder has the power to PROJECT PRESENTED democratic freedoms. It is the locus pathway renovations, each project of misused resources in unregulated systems. change more than the icon itself. See Garrett Hardin, “The Tragedy of the of dialogue itself; as philosophers that constitutes Common Exchange BY CAMBRIDGE ARTS, Commons,” Science 162, no. 3859 “History shows that the shape and Cesare Casarino and Antonio Negri reiterates the park’s physical and (December 1968). form of what we see and hear does CITY OF CAMBRIDGE remind us, “Conversation is the ideological function as a connective work on our cognitive understand- language of the Commons.”1 The space, one defined by the exchange ing of the world, and hence the “Common” (notably missing the s) of ideas, words, and things, a space meaning we make of it. The language is the physical manifestation of of conversation. of symbols [has long been used] to —Sara Hendren, Brian Glenney, and this idea in space, publicly shared Over the course of the summer, persuade, to question, to force. We Tim Ferguson-Sauder, Accessible A and historically a field of grass at time-based and participatory works want to be on the bottom-up, rights- Icon Project a city’s center used for collective will occupy the Cambridge Common expanding, power-rebalancing livestock grazing.2 FEATURED ARTIST to address connectivity and ex- tradition of that history.” The Common—as both a literal change in the twenty-first century, and conceptual site—is defined moving from interpersonal to com- PAUL by gathering, exchange, and the munal and historical relationships. multitude of voices and actions The public remains the central For every complex and difficult RAMIREZ that take place within it. In effect, figure in these works to emphasize the Common is the landscape of that it is participation and public ACC JONAS citizenry and a place defined by discourse that ultimately shape our problem, there is an answer that dialogue, between people, cultures, civic spaces. and histories, that can echo the —Dina Deitsch, Curator best and worst of our civic states. —H. L. Mencken is simple, easy, and wrong. FEATURED ARTIST CARMEN age taste, sulfur, ionone, mirage, pressure, face, continuous, feet, sonar, eyes, chalkboard, touch, cryogenics, cones, earthquake, pitch, light, sweat, ) ) 81 ) 76 ) 74 ) 73 ) 71 ) 68 ) 67 ) 65 ) 64 ) 60 ) 59 ) 57 ) 56 ) 54 ) 53 ) 52 ) 48 ) 46 fat, fat, onion, sodium, stethoscope, stirrup, carbohydrate, Beethoven, onomatopoeia, dermis, musk, endorphins, chord, skunk, perspective, novocaine, dissolve, ) ) 45 ) 43 ) 42 ) 40 ) 39 ) 35 ) 33 ) 31 ) 26 ) 25 ) 23 ) 18 ) 16 ) 14 ) 13 ) 12 PAPALIA unassisted, unassisted, rosemary, danger, vulture, salt, DOWN: wedge exhale, blue, toccata, smell, iris, sweetness, cricket, sauerkraut, notepaper, touché, camouflage, ) ) 10 ) 9 ) 8 ) 7 ) 3 ) 1 ) 82 ) 80 ) 79 ) 78 ) 77 ) 75 ) 74 ) 72 ) 70 ) 69 ) 66 ethereal, ethereal, sow, gooseflesh, ultrasound, bathtub, moving, Cézanne, ventriloquist, soundproof, chant, saliva, eucalyptus, whiskers, sun, pinguid, oscilloscope, ) 63 ) 62 ) 61 ) 58 ) 55 ) 51 ) 50 ) 49 ) 47 ) 44 ) 41 ) 38 ) 37 ) 36 ) 35 ) 34 pink, pink, sweet, pupil, equilibrium, bitter, chocolate, vanilla, forty, cockroach, synesthesia, cheeks, clear, pregnancy, mind, violet, tongue, hair, ACROSS: ) ) 32 ) 30 ) 29 ) 28 ) 27 ) 24 ) 22 ) 21 ) 20 ) 19 ) 17 ) 16 ) 15 ) 11 ) 6 ) 5 ) 4 ) 2 CONCORD AVE. A MASSACHUSETTS AVE. WATERHOUSE ST. PARK INSTALLATIONS: In addition to the performances and events listed below, look for these park instal- ( C ) lations in the Cambridge Common, May–September 2017: (A) Kelly Sherman, poetic memory banners; (B) Paul Ramirez Jonas, contributory monument featured in this ESS CAMBRIDGE COMMON issue of Common Exchange; and (C) Julianne Swartz, interactive bench. CAMBRIDGE ST. MASON ST. ( B ) GARDEN ST. ( A ) Event Schedule / Map: Enter Here FLAGSTAFF PARK APPIAN WAY TO HARVARD SQ. > Common Exchange is a special- accessibility and connectivity to As the city’s official arts agency, Cam- IN THIS ISSUE: ARTISTS: edition newspaper that serves as surrounding neighborhoods for bridge Arts commissions temporary and OPEN ACCESS ANDY GRAYDON a companion to a series of inter- pedestrians and bicyclists. It is on permanent public art throughout all Gallery 344 Gallery 344 Common Common Common Common CCVA Hong Kong Restaurant Gallery 344 Common Common Common Common Common Gallery 344 Common Common Common Gallery 344 Common Common Gallery 344 Radcliffe Common active public art performances, this occasion that we celebrate an neighborhoods of Cambridge. We are ACCESS PAUL RAMIREZ JONAS installations, and exhibitions that improved civic space at the heart pleased to present Common Exchange— DECODE THE COMMON CARMEN PAPALIA present responses by ten contem- of the city with a unique suite of its exhibitions, performances, installa- porary artists to the historic site public artworks. tions, and newspaper. The newspaper is BLIND FIELD SHUTTLE AKI SASAMOTO of the Cambridge Common. produced through a collaboration of the Demonstration The four issues of Common Cambridge Arts Public Art Program, cu- PUZZLED SENSELESS KELLY SHERMAN When the World’s Situated at the heart of the city, Exchange revolve around themes rator Dina Deitsch, and Lesley University PLEASE, LOOK AT ME XAVIERA SIMMONS the Cambridge Common, like addressed by the public artworks: ubin: College of Art and Design (LUCAD). Number 22 (Overlay), Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) all public spaces, only acquires sound, histories, access, and Blind Field Shuttle, Blind Field Shuttle Blind Field Shuttle Blind Field Shuttle Blind Field Shuttle We Were Here— Gathering Note facsimile), (a Gathering Note facsimile) (a Gathering Note facsimile) (a Gathering Note facsimile) (a ALLISON SMITH Food Rental, Food Rental Food Rental Food Rental PUBLICAR Common Goods Common Goods Common Goods Jon R meaning when citizens use it. (dis)connection. The newspaper is SPONSORS: Common Goods, Goods, Common n: Cambridge Common RAISING THE BAR: JULIANNE SWARTZ Since its early days dating back available at selected park benches Common Exchange is made possible Walking Musical Performance UNIVERSAL ACCESS to the 1600s, when it was a place on the Common and in various through multiple partnerships and LEE WALTON & JON RUBIN for livestock grazing, and during public buildings around the city. sources of support, including the National SUCCESS: ALL AROUND Carmen Papalia: Xaviera Simmons: Andy Graydon: Aki Sasamoto: Allison Smith: Andy Graydon: Artist Reception Allison Smith: Carmen Papalia: Artist Reception OPENING CELEBRATION Lee Walton & Jon Rubin: Andy Graydon: Interpretive Choral Gathering Carmen Papalia: Eyes-closed Participatory Tour Food/Performance Cart Aki Sasamoto: Artist Talk Xaviera Simmons: Collective Theatrical Performance Xaviera Simmons: / Conversation with Judith Leemann Allison Smith: Artist with Talk Cambridge Historical Society Xaviera Simmons: Xaviera Simmons: Kelly Sherman: Artist Reception Smith: Allison Carmen Papalia: Allison Smith: CLOSING CELEBRATION Aki Sasamoto: Andy Graydon: Carmen Papalia: Lee Walton & Kelly Sherma Aki Sasamoto: Xaviera Simmons: Xaviera Simmons: Carmen Papalia: Aki Sasamoto: on Fire, When the World’s on Fire Memories of Andy Graydon: subsequent periods when it be- Endowment for the Arts, Cambridge/ We hope that you check out the EDITORS: NS CONVERSATION: came a site for military training Agassiz/Harvard Community Culture and Spring–Fall 2017 schedule of Dina Deitsch and Lillian Hsu and housing, a place for concerts Recreation Fund, Elizabeth Firestone THE LANGUAGE OF –7 PM –7 events and exhibitions and all 12 30 1 PM PM12–2 1–3 PM1–3 6–8 PM 6 PM PM 5–7 3 PM 4 PM 5 PM 6 PM PM1–2 4–5 PM PM7:15 3–4 PM 6–8 PM PM1–3 2 PM 3 PM PM12–2 2 PM 3 PM 12–1 PM12–1 PM 6–7 PM 6–7 1 PM 12–2 PM12–2 6 1 HIBITIO Graham Foundation, Artists Resource 15 and protests, and parkland for 8 ART DIRECTOR: THE COMMON issues of Common Exchange. Visit contemplation and play, it has Trust Fund of Berkshire Taconic Com- JUN Rick Rawlins – –JUN –JUL us online for more information. –DEC –SEP AN ICON: AS A VERB remained an important commu- munity Foundation, Community Design 14 14 24 26 17 18 DESIGNERS: / SAT / THU / THU / SUN / SAT / SUN / SAT / THU / FRI / SAT / MON / SUN nal space that houses and reflects CambridgeArtsCouncil.org Studio of LUCAD, Radcliffe Institute / MON / SUN / THU EVENT SCHEDULE / MAP / THU JULY AUGUST SEPTEMBER JUNE DAILY EVENT GALLERY EX MAY 8 13 14 18 20 1 4 15 17 16 17 20 3 15 16 17 MAY PM12–2
Load more

Recommended publications
  • JANINE ANTONI BORN January 19, 1964
    JANINE ANTONI BORN January 19, 1964 - Freeport, Bahamas Lives and works in New York, NY. EDUCATION 1989 Rhode Island School of Design, MFA, Sculpture, Honors, Providence, RI 1986 Sarah Lawrence College, BA, Bronxville, New York, NY AWARDS: 2004 Artes Mundi, Wales International Visual Art Prize (nominee) 1999 New Media Award, ICA Boston, MA Larry Aldrich Foundation Award 1998 MacArthur Fellowship The Joan Mitchell Foundation, Inc. Painting and Sculpture Grant 1996 IMMA Glen Dimplex Artists Award SOLO EXHIBITIONS 2006 “Lore and Other Convergences,” (performance with Melissa Martin), Live Art Development Agency initiative, inIVA, London. 2005 “Ready or Not Here I Come,” Institute of International Visual Arts, London, England. 2004 “Touch,” Magasin 3 Stockholm Konsthall, Stockholm. 2003 “To Draw a Line,” Luhring Augustine, New York, NY. 2003-2002 “Taught Tether Teeter”, Site Santa Fe, Santa Fe, NM. 2002 “To Draw a Line,” The 2001 Sandra Garrard Memorial Lecture, Newcomb Art Department Woldenberg Art Center, Tulane University, New Orleans, LA. SITE Santa Fe 2001 “The Girl Made of Butter,” Aldrich Museum, Ridgefield, CT. ARCO 2001, Project Room, Madrid, Spain. 1999 “Imbed,” Luhring Augustine, New York, NY. 1998 “Swoon,” Whitney Museum of American Art, New York, NY. 1997 “Swoon,” Capp Street Project, San Francisco, CA. 1996 “Activitats Escultural,” Sala Montcada de Fundacio “la Caixa,” Barcelona, Spain. “Janine Antoni/Matrix 129,” Wadsworth Atheneum, Hartford, CT. “Art at the Edge,” The High Museum, Atlanta, GA. 1995 “Slip of the Tongue,” Centre for Contemporary Arts, Glasgow, Scotland; traveled to Irish Museum of Modern Art, Dublin, Ireland. 1994 “Hide and Seek,” Anders Tornberg Gallery, Lund, Sweden. “Slumber,” Anthony d’Offay Gallery, London, UK.
    [Show full text]
  • Utopian Strategies Artists Anticipate Their Audiences
    Portrait of Paul Ramirez. Pencil on paper by Phong Bui. Portrait of Janine Antoni. Pencil on paper by Phong Bui. Portrait of Ernesto Pujol. Pencil on paper by Phong Bui. UTOPIAN STRATEGIES ARTISTS ANTICIPATE THEIR AuDIENCES DISCUSSION AT PROTEUS GOWANUS, MARCH 26, 2011 CaRoL BeCkeR: Artists are concerned with the question each other. Art is a place of ideas and as such can serve mythology, and the history of the Utah territories. I then of audience—the relationship between objects and/or to counter spectacle culture that reduces everything to moved to Salt Lake City and led a performance studio, process and audience. They are also concerned with a commodity. I also issued a call to the Salt Lake artistic community art’s ability to mirror the sociopolitical reality and, in Can art create private space? Can it create public space? for all interested in public performance art. fact, to even transform it. Although questions about And are there virtues to such results? I recruited 100 volunteers from which 40 performed the relations between artists and audience have always Janine Antoni was born and raised in the Bahamas, and the rest were support staff. The resulting durational existed and been theorized, this is a particular moment Paul Ramirez Jonas was born in California but raised piece was called “Awaiting.” I was very interested in the when the place of art and the act of art making continue in Honduras, and Ernesto Pujol was born in Cuba but Mormon “utopian” social contract of waiting for the to allow people to think utopian thoughts and to engage raised in Puerto Rico.
    [Show full text]
  • Paul Ramirez Jonas N./B
    paul ramirez jonas n./b. 1965, california vive e trabalha em/lives and works in new york formação / education 1987-1989 Master in Fine Arts, Painting, Rhode Island School of Design, Providence, USA 1983-1987 Bachelor of Arts in Studio Art, Honors, Brown University, Providence, USA exposições individuais / solo exhibitions 2017 Contemporary Arts Museum Houston, Houston, USA (Mid Career Survey; Forthcoming, April 28-August 6, 2017) 2014 Over the Water, Exploratorium, San Francisco, USA 2013 Aggregate, Koenig & Clinton, New York, USA Assembleia, Galeria Nara Roesler, São Paulo, Brazil Witness My Hand, Heliópolis, New York, USA 2011 Projeto Octógono Arte Contemporânea, Pinacoteca Do Estado de São Paulo, São Paulo, Brazil Roesler Hotel #13: Paul Ramirez Jonas, Galeria Nara Roesler, São Paulo, Brazil Alexander Gray Associates, New York, USA Publicar, Pinacoteca Do Estado, São Paulo, Brazil 2010 Dictar y Recordar, Lamanchadetomate, Tegucigalpa, Honduras Key to the City, Creative Time, New York, USA 2009 Alexander Gray Associates, New York, USA 2008 The Aldrich Contemporary Art Museum, Ridgefield, USA 2007 ABRACADABRA: I create as I Speak, The Jack S, Blanton Museum of Art, Austin, USA Long Time, a permanent public sculpture for the Hudson River Park, New York, USA To be spoken out loud, Roger Björkholmen Galleri, Stockholm, Sweden 2005 Open, Cambridge Arts Council Gallery, Cambridge, USA Taylor Square, a permanent public park for the city of Cambridge, Cambridge, USA 2004 Heavier than Air, Ikon Gallery, Birmingham, England Cornerhouse, Manchester,
    [Show full text]
  • View Exhibition Brochure
    1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World.
    [Show full text]
  • By Paul Ramírez Jonas Installed at Umass Boston
    'Another Day' by Paul Ramírez Jonas Installed at UMass Boston Posted: Friday, April 17, 2015 11:01 pm by Tricia Graczyk Artist Paul Ramírez Jonas installed one of his works in the Campus Center earlier this week as part of Arts on the Point. Associate Professor Erik Levine of the Art Department at the University of Massachusetts Boston overlooked the project and, as a fan and supporter of Jonas’ work, was thrilled to bring it to our campus. Jonas’ art has been showcased all over the globe, from the Sao Paolo Biennial, to the Venice Biennale, and the MoMA in New York City. His art tends to blur the line between the artist, artwork, and audience. A lot of his work is interactive with its audience Photo by Gabriel Sanchez/Mass Media Staff which serves to make viewers more engaged and involved in the discussion the art creates. Jonas is currently a professor at Hunter College in New York City. He says he was attracted to the fact that it is a public university because “education shouldn’t just be for the wealthy.” He also enjoys the diverse student body and working collaboratively with his students. Jonas didn’t originally plan to be an artist, and went to college to study to be an engineer. When that didn’t work out, he switched to computer science and took a couple of art courses out of curiosity. His curiosity grew and he finished school with an art degree. He was drawn to life as an artist because of the unpredictability of it.
    [Show full text]
  • List Visual Arts Center
    List Visual Arts Center The mission of the MIT List Visual Arts Center (List Center) is to present the most challenging, forward-thinking, and lasting expressions of modern and contemporary art to the MIT community and general public in order to broaden the scope and depth of cultural experiences available on campus and in the Cambridge/Boston area. In doing so, the List Center strives to reflect and support the diversity of the MIT community through the presentation of diverse cultural expressions. This goal is accomplished through a number of avenues: changing exhibitions in the List Center galleries (Building E15) of contemporary art in all media by the most advanced visual artists working today; the permanent collection of art, comprising large outdoor sculptures, artworks sited in offices and departments throughout campus, and art commissioned under MIT’s Percent-for-Art program, which allocates funds from new building construction or renovation for art; the Student Loan Art Program, a collection of fine art prints, photos, and other multiples maintained solely for loan to MIT students during the course of the academic year; an active artist’s residency program that involves MIT students, faculty, and staff; and extensive interpretive programs designed to offer the MIT community and the public diverse perspectives about the List Center’s changing exhibitions and MIT’s art collections. Current Goals • Continue to present the finest national and international contemporary art that has relevance to the community • Continue to provide
    [Show full text]
  • PAUL MYODA Associate Professor Department of Visual Art, Brown University ……………………………………………………………………………………………………………… EDUCATION
    PAUL MYODA Associate Professor Department of Visual Art, Brown University ……………………………………………………………………………………………………………… EDUCATION 1992–94 MFA. Yale University, New Haven, CT 1989-90 MFA track. California Art Institute, Valencia, CA 1985–89 BFA. Rhode Island School of Design, Providence, RI ……………………………………………………………………………………………………………… TEACHING EXPERIENCE 2014-21 Associate Professor, Visual Art Department, Brown University 2006-14 Assistant Professor, Visual Art Department, Brown University 2003-05 Adjunct Professor, The City College of New York, CUNY ……………………………………………………………………………………………………………… OTHER PROFESSIONAL EXPERIENCE 2017 Set, lighting and graphic design for Samuel Beckett’s, Ill Said Ill Seen, and Not I, directed by Erik Ehn, for the Wilbury Theatre Group, Providence, RI 1994–03 Big Room, NY Co-founder of Art Direction and Production Company 1996–03 Euro RSCG MVBMS Partners, NY Freelance Designer, Art Department 1996–01 Flash Art, Art in America, Frieze Freelance writer ……………………………………………………………………………………………………………… SOLO EXHIBITIONS 2017 41°52'40.0"N 71°44'37.0"W, Yellow Peril Gallery, Providence, RI 2016 Peligro Amarillo, Santcure, San Juan, Puerto Rico 2015 ƎRƎH, University of Maine Museum of Art, Bangor, Maine 2014 <synesthesia> Plug-In, Istanbul, Turkey 2013 Glittering Machines III, Yellow Peril Gallery, Providence, RI 2012 Glittering Machines II, Project 4 Gallery, Washington, D.C. 2011 Glittering Machines, Dorsch Gallery, Miami, FL 2000 Dust, Friedrich Petzel Gallery, NY, NY 1997 Clouds, Friedrich Petzel Gallery, NY, NY 1995 Gargoyles
    [Show full text]
  • Paul Ramírez Jonas
    ARTIST INTERVIEWARTIST INTERVIEW Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 He has been included in group Installation images by Nash Baker exhibitions at P.S.1 (NYC); the Brooklyn Museum; The Whitechapel (UK); Irish Paul Ramírez Jonas by Zachary Gresham, University of Houston Museum of Modern Art (Ireland); The New Museum (NYC); and Kunsthaus Zurich (Switzerland). He participated in the 1st aul Ramírez Jonas’ select solo exhibitions include a 25-year survey of Johannesburg Biennale; the 1st Seoul Biennial; the 6th Shanghai Biennial; the his work at The Contemporary Arts Museum Houston; Pinacoteca do 28th Sao Paulo Biennial; the 53rd Venice Biennial; and the 7th Bienal do Mercosul , Estado, Sao Paulo, Brazil; The Aldrich Contemporary Art Museum, Porto Alegre, Brazil. In 2010, his Key to the City project was presented by Creative Ridgefield, Connecticut; The Jack S. Blanton Museum of Art, Austin, Time in cooperation with the City of New York. In 2016, his Public Trust project was PTexas; a survey at Ikon Gallery (UK) and Cornerhouse (UK). presented by Now & There in Boston. He is currently an Associate Professor at Hunter College, City University of New York CUNY. 20 TRENDS 2017 2017 TRENDS 21 Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 Installation images by Nash Baker Zachary Gresham (ZG): Your survey exhibition at the Contemporary PRJ: I don’t want to be prescriptive, and artists should have the PRJ: There is something funny and sad about this question! I live in as separate or do you feel that pedagogy is part of your studio Arts Museum Houston is really spectacular.
    [Show full text]
  • Freeport, Bahamas Lives and Works in Brooklyn, NY EDUCATION 1989
    JANINE ANTONI BORN January 19, 1964 - Freeport, Bahamas Lives and works in Brooklyn, NY EDUCATION 1989 Rhode Island School of Design, MFA, Sculpture, Honors, Providence, RI 1986 Sarah Lawrence College, BA, Bronxville, New York, NY AWARDS 2014 Anonymous Was A Woman Award 2012 Creative Capital Grant 2011 John Simon Guggenheim Memorial Foundation Fellowship 2004 Artes Mundi, Wales International Visual Art Prize (nominee) 1999 New Media Award, ICA Boston, MA Larry Aldrich Foundation Award 1998 MacArthur Fellowship. The Joan Mitchell Foundation, Inc. Painting and Sculpture Grant 1996 IMMA Glen Dimplex Artists Award SOLO EXHIBITIONS 2017 “Entangle,” Janine Antoni and Stephen Petronio, Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY 2016 “Ally,” Janine Antoni in collaboration with Anna Halprin and Stephen Petronio, presented by The Fabric Workshop and Museum, Philadelphia, PA, with major support from The Pew Center for Arts & Heritage. “Honey Baby” Janine Antoni in collaboration with Stephen Petronio, University of Nevada, Reno, NV 2015 “Turn,” Anthony Meier Fine Arts, San Francisco, CA “From the Vow Made,” Luhring Augustine, New York, NY “Incubator,” testsite The Contemporary Austin, a project of Fluent-Collaborative, Austin, TX 2014 Touch, Magasin 3 Handelshögskolan, Stockholm, Sweden 2013-2014 “Within,” Mattress Factory, Pittsburgh, PA Short Notice: “Touch”, Brandts, Odense Denmark 2011 “Touch,” Museum Kunst dre Westkuste, Alkersum/Fohr, Germany 2010 “At Home in the Body,” University of Virginia Museum of Art, Charlottesville,
    [Show full text]
  • A Finding Aid to the Paul Ramírez Jonas Papers, Circa 1989-2014, in the Archives of American Art
    A Finding Aid to the Paul Ramírez Jonas Papers, circa 1989-2014, in the Archives of American Art Stephanie Ashley 2020/03/02 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Correspondence and Personal Files, 1991-circa 2014............................. 4 Series 2: Exhibition Files, 1990-2009...................................................................... 5 Series 3: Project Files, 1990-2014......................................................................... 13 Series 4: Professional Files, circa 1989-2014.......................................................
    [Show full text]
  • Teachers' Guide
    Exhibition in a Box Teachers’ Guide For School Tours and Classroom Presentations The Residue of Memory Richard Misrach Untitled (New Orleans and the Gulf Coast) 2005 Photograph, inkjet print Courtesy of the artist; Fraenkel Gallery, San Francisco; Pace/MacGill Gallery, New York; and Marc Selwyn Fine Art, Los Angeles Image: © Richard Misrach, Courtesy of Fraenkel Gallery, San Francisco; Marc Selwyn Fine Art, Los Angeles; and Pace/MacGill Gallery, New York 970.925.8050 590 North Mill Street Aspen, Colorado 81611 aspenartmuseum.org About the Aspen Art Museum MISSION The Aspen Art Museum is a noncollecting institution presenting the newest, most CONTACT important evolutions in international contemporary art. Our innovative and timely Aspen Art Museum 590 North Mill Street exhibitions, education and public programs, immersive activities, and community Aspen, Colorado, 81611 happenings actively engage audiences in thought-provoking experiences of art, Phone: 970.925.8050 culture, and society. Fax: 970.925.8054 www.aspenartmuseum.org HISTORY The Aspen Art Museum is a kunsthalle, or noncollecting museum for contemporary For questions and comments please contact: art, located in the historic mountain community of Aspen, Colorado. It is one of only four art institutions in Colorado accredited by the American Association of Genna Collins Museums and the only museum on the Western Slope with this accreditation. Youth Programs Manager E-mail: [email protected] Founded in 1979, the Aspen Art Museum continues to be at the center of Aspen’s Phone: 970.925.8050 ext. 24 renowned cultural community, which includes the Aspen Music Festival and Aspen Fax: 970.925.8054 Institute. In addition to exhibiting contemporary art, the AAM is committed to Danielle Stephens public and educational programming for communities in the Roaring Fork Valley Education Curator (Aspen, Basalt, Carbondale, Redstone, Marble, and Glenwood Springs) and the E-mail: [email protected] surrounding region (New Castle, Parachute, Rifle, Grand Junction, Avon, Eagle, Phone: 970.925.8050 ext.
    [Show full text]
  • TAEA Has Programs Workshops, and Do What They Can to Make Provoke and Explore Creative Disruption
    TRENDS The Journal of the Texas Art Education Association 2017 PRESIDENT’S MESSAGE Trends, The Journal of the ADVOCACY Texas Art Education Association This is a huge word which all art teachers need to be 2018 Call for Submissions aware of and learn. It is defined as “public support for or “Disrupting the Everyday: Encountering Awareness and New Curiosities” recommendation of a particular cause or policy.” That cause is your job. he Editors of Trends invite essays, articles and artworks that Did you know that TAEA has programs workshops, and do what they can to make provoke and explore creative disruption. As Maxine Greene to help you? Tim Lowke, our Advocacy your program stronger. TABLE OF CONTENTS wrote, “We are interested in breakthroughs and new beginnings, Chair, has a lot of information to help you Are you aware we have a very strong President's Message 2 advocate for yourself, your students, and Museum Division that is always willing to T most importantly, your art program. We are reach out to school districts to help educate 2017 Call for Manuscripts 3 in the kind of wide-awakeness that allows for wonder and unease working on improving our website to help students in the appreciation of art. They Review Board 4 you connect with others art educators who offer so many programs many teachers do and questioning and the pursuit of what is not yet.” That is to say, share your struggles. not know about. Google your local museum Artifacts of Advocacy 4 Do you connect to the other art teachers and see what they offer.
    [Show full text]