DOCSLIB.ORG

Artist Biographies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artist Biographies Biografies of the artists represented in the exhibition and Materials and Money and Crisis Terry Atkinson (born 1939, Thurnscoe, UK) was a founding member of the conceptual art group Art & Language, producing work under this rubric between 1968 and 1974. Since this time he has pursued his own practice as an artist and teacher, and is a highly influential figure for a younger generation of artists. His work has been rigorously based around questioning the semiotic and political grounds of art, spanning the production of text-based works, paintings, and multi-media assemblages. Atkinson has exhibited globally in numerous venues both with the group Art & Language and as an individual artist, including solo shows at the Whitechapel Gallery, London (1983), and the Irish Museum of Modern Art, Dublin (1993). He participated with Art & Language in documenta 6 (1974), and as an individual artist in the 41st Venice Biennale (1984). In 1985 he was nominated for the Turner Prize. Maria Eichhorn (born 1962, Bamberg, DE) pursues an artistic practice that is rooted in traditions of conceptual art and institutional critique. Her works are often based around and utilize instructional forms and systems: social, legal, economic contracts; taxonomic and bureaucratic methods of ordering. Eichhorn moves beyond the typical role of the artist and the artist’s relations with institutions, intervening in the fabric of these structures in order to make apparent and subvert their logics. Eichhorn has had recent solo exhibitions at Galerie Barbara Weiss, Berlin (2011), Van Abbemuseum, Eindhoven (2007), and Kunsthalle Bern (2005). Her work has been included in the Berlin Biennial in 2008 and 2004, documenta 11 (2002), and Skulptur Projekte Münster (1997). Melanie Gilligan (born 1979, Toronto, CA) is an artist and writer based in London and New York. Her writing has appeared in magazines and journals including Texte zur Kunst, Artforum, Mute, and Grey Room; and in edited volumes such as Canvases and Careers Today: Criticism and its Markets (Sternberg Press, 2008); Intangible Economies (Fillip, 2012); and The Market (Documents of Contemporary Art) (Whitechapel Art Gallery, 2013). In 2004–2005 she was a Fellow at the Whitney Museum of American Art’s Independent Study Program. Solo exhibitions have been held at Kölnischer Kunstverein, Cologne; Chisenhale Gallery, London; and Transmission Gallery, Glasgow; among other venues. Gareth James (born 1970, London, UK) lives and works in Vancouver, Canada. His work is rooted in complex conceptual relays between materials, images and actions. Most notably, the process of drawing and the relationship it entails between technology, body, and inscription plays a central role in works that are often principally sculptural in their realization. The materials of these works, ranging from 1 and Materials and Money and Crisis, 8.11.2013–2.2.2014, Biografies of the artists bicycle inner tubes to neon, carry particular qualities as structures of information as much as aesthetic forms. James has had recent solo exhibitions at Miguel Abreu Gallery, New York (2011), and Galerie Christian Nagel, Cologne (2008). His work has been shown in group exhibitions including at MoMA, New York (2009), and Secession, Vienna (2007). Sam Lewitt (born 1981, Los Angeles¸ US) is an artist based in New York. Solo exhibitions of his work have recently been held at Galerie Daniel Buchholz, Cologne, and Miguel Abreu Gallery, New York. He has also participated in group shows at SculptureCenter, MoMA PS1, Swiss Institute, David Zwirner, and Artists Space, all in New York; Taka Ishii Gallery, Tokyo; as well as the 2012 Whitney Biennial. Lewitt is among the authors of Société Populaire (Halmos, 2012) and has regularly contributed to publications such as Texte zur Kunst, Artforum, and Collapse. Henrik Olesen (born 1967, Esbjerg, DK) works in a variety of media, from drawing to collage and the presentation of existing objects. His conceptually rigorous yet witty practice investigates structures of power and systems of knowledge to reveal the inherent logic and rules of social and political normalization. His projects, based on in-depth research, have addressed a range of subjects including legal codes, the natural sciences, distribution of capital, and art history. Olesen has had recent solo exhibitions at Museum Ludwig, Cologne (2012), Museum für Gegenwartskunst, Basel (2011), MoMA, New York (2011), and Malmo Konsthall, Malmo (2010). His work was also included in the Nordic and Danish Pavilions of the 53rd Venice Biennale (2009). Pratchaya Phinthong (born 1974, Bangkok, TH) lives and works in Bangkok. His work often revolves around a series of actions and instructions, either undertaken by the artist himself, or others involved in the constitution of the artwork—the curator, or audience. As such his projects are distinctly conceptual in nature, manifesting themselves in a variety of forms inside and outside the gallery space. These projects often address economic systems, particularly those defined principally through labor relations. Phinthong has had recent solo exhibitions at gb agency, Paris (2012), GAMeC, Bergamo (2011), and CAC Bretigny (2010). His work was included in the New Museum Triennial 2012, New York. R. H. Quaytman (born 1961, Boston, US) pursues a rigorous investigation into painting and its terms of production and reception, through the use of organizational systems that structure both the material and conceptual aspects of her work. Her paintings to date are organized into chapters, an ongoing archive in which each new painting or series is informed by what came before it. A single image or event acts as a starting point for each chapter, often relating to the context in which the chapter will be exhibited. Quaytman has had recent solo exhibitions at The Renaissance Society, Chicago 2 and Materials and Money and Crisis, 8.11.2013–2.2.2014, Biografies of the artists (2013), Museum Abteiberg, Mönchengladbach, Germany (2012), Kunsthalle Basel, Switzerland (2011), and The Institute of Contemporary Art, Boston (2009). Her work was shown at the 54th Venice Biennale (2011), and the Whitney Biennial, New York (2010). Lucy Raven (born 1977, Tucson, US) works principally with film and video, although her practice encompasses a wide variety of forms, including animated films, sculptural installations, performative lectures, curatorial projects, art criticism, and interventions. Connecting all of these disparate strands is the artist’s continuing exploration into the effects of technology on the world, specifically addressing the relationship between the circulation of “materials,” and the economic and conceptual structures this circulation inscribes. Raven’s work has been included in exhibitions and screenings internationally including the Whitney Biennial 2012, New York (2012), Manchester International Festival, UK (2011), and Greater New York, PS1 MoMA, New York (2010). Raven is a contributing editor to BOMB magazine, and in 2010 co-curated the exhibition Nachleben at the Goethe Institute, New York. Cheyney Thompson (born 1975, Los Angeles, US) is a New York based artist whose work is focused on the technology, production, and distribution of painting. At times taking on conventional form as stretcher-based painting, but at others separating out aspects of the process of painting into objects and texts, he addresses the problems that organize themselves around the medium. Thompson has had recent solo exhibitions at Kunstverein Braunschweig, Germany (2012), Andrew Kreps Gallery, New York (2012), and MIT Visual Arts Center, Cambridge, Massachusetts (2012). His work was included in the Whitney Biennial in 2008, and in the exhibition Greater New York at PS1 MoMA, in 2005. Emily Wardill (born 1977, UK) primarily works with film and video. Taking her point of departure as the relationship between materiality and ideas, she works in an original, humorous, and critical manner, mixing a wide range of filmic genres and connecting insights into historical, scientific, and philosophical information in unorthodox ways. Wardill has recently presented her work in solo shows at the Badischer Kunstverein, Karlsruhe (2012), De Appel, Amsterdam (2009), and at ICA, London (2008). Her work has also been shown at the British Art Show (2010) and the Venice Biennale (2011). In 2010 she won the prestigious Jarman Award for film art. 3 and Materials and Money and Crisis, 8.11.2013–2.2.2014, Biografies of the artists .
Load more

Recommended publications
  • Ausstellun- Gen Exhibitions
    Einzelausstellungen Eröffnung / inauguration: 19. November / カーテン (デニム) / 藤田祐幸氏による講演 Bernhard Fibicher, Kunsthalle Bern, Bern, Maria Eichhorn Aktiengesellschaft (Plug In #26), AUSSTELLUN- Solo Exhibitions November 19, 1993 [permanent] (1989/97) / Curtain (Denim) / Lecture by 27. Oktober – 9. Dezember / October 27 – kuratiert von / curated by Charles Esche und / Yuko Fujita (1989/97), Masataka Hayakawa December 9, 2001 and Christiane Berndes, Van Abbemuseum, 1987 1994 Gallery, Tokio / Tokyo, 28. Oktober – Eindhoven, 2. Juni 2007 – 28. Februar 2010 / GEN Arbeiten 1986/87, Galerie Paranorm, Berlin, Leinwand / Pinsel / Farbe, kuratiert von / 29. November / October 28 – November 29, 2002 June 2, 2007 – February 28, 2010 5.–19. März / March 5–19, 1987 curated by Ursula Prinz, Berlinische Galerie, 1997 23 Kurzfilme / 23 Filmplakate (1995/2002) / EXHIBITIONS Museum für Moderne Kunst, Photographie 23 Short Films / 23 Film Posters (1995/2002), 2008 Projekt Hollmannstraße, Eckgrundstück / und Architektur, Berlin, 9. September – 1998 Galerie Hauser & Wirth & Presenhuber, Joint Account No. 1711601, Bank of Fukuoka, plot of land at the corner of Hollmannstraße / 28. Oktober / September 9 – October 28, 1994 „The Artist’s Reserved Rights Transfer and Zürich / Zurich, 15. Januar – 14. Februar / Yahata Branch 411 (2001), Prohibited Imports Lindenstraße, Berlin, 6. Juni – August 1987 / Sale Agreement“ von Seth Siegelaub und Bob January 15 – February 14, 2002 (2003), Billboard Istanbul Biennial 1995 June 6 – August 1987 [genaue Laufzeit nicht 1995 Projansky, kuratiert von / curated by Hildegund (2005), von 12,37 bis 36,08 = 24,94 von dokumentiert / exact dates not documented] Chair Events, 1969, af George Brecht / 33 1/3, Amanshauser, Salzburger Kunstverein, Curtain (Red), Masataka Hayakawa Gallery, 100% (2007), Galerie Barbara Weiss, Berlin, 1969, af John Cage / Flux Ping-Pong, 1976, af Salzburg, 10.
    [Show full text]
  • CURA- TING CRI- TIQUE: 02 Issue # 09/11 : Curating Critique CONTENTS
    Issue # 09/11 Freely distributed, non - commercial, digital publication CURA- TING CRI- TIQUE: 02 Issue # 09/11 : Curating Critique CONTENTS / 5 FOREWORD MARIANNE EIGENHEER 7 CURATING CRITIQUE – AN INTRODUCTION DOROTHEE RICHTER AND BARNABY DRABBLE 11 MERZ-THINKING – SOUNDING THE DOCUMENTA PROCESS BETWEEN CRITIQUE AND SPECTACLE SARAT MAHARAJ 19 CURATORIAL CRITICALITY – ON THE ROLE OF FREELANCE CURATORS IN THE FIELD OF CONTEMPORARY ART BEATRICE VON BISMARCK 24 EXPERIMENTS ALONG THE WAY –I AM A CURATOR AND SUPPORT STRUCTURE PER HÜTTNER AND GAVIN WADE IN AN INTERVIEW WITH BARNABY DRABBLE 29 WORDS FROM AN EXHIBITION RUTH NOACK AND ROGER M. BUERGEL 32 FALSE ECONOMIES – TIME TO TAKE STOCK REBECCA GORDON NESBITT 39 GOING BEYOND DISPLAY – THE MUNICH KUNSTVEREIN YEARS MARIA LIND IN AN INTERVIEW WITH PAUL O’NEILL 43 THE CURATORIAL FUNCTION – ORGANIZING THE EX/POSITION OLIVER MARCHART 03 Issue # 09/11 : Curating Critique 47 EXHIBITIONS AS CULTURAL PRACTICES OF SHOWING: PEDAGOGICS DOROTHEE RICHTER 53 CURATING ART AFTER NEW MEDIA – ON TECHNOLOGY, TRANSPARENCY, PRESERVATION AND PLAY BERYL GRAHAM AND SARAH COOK IN AN INTERVIEW WITH BARNABY DRABBLE 59 PRODUCING PUBLICS – MAKING WORLDS! ON THE RELATIONSHIP BETWEEN THE ART PUBLIC AND THE COUNTERPUBLIC MARION VON OSTEN 68 ‘WE WERE NOBODY. WE WERE NOTHING’: SOUNDING MODERNITY & ‘MEMORIES OF UNDERDEVELOPMENT’ SARAT MAHARAJ AND GILANE TAWADROS 72 EASY LOOKING – CURATORIAL PRACTICE IN A NEO-LIBERAL SOCIETY UTE META BAUER IN AN INTERVIEW WITH MARIUS BABIAS 78 THE WHITE WALL – ON THE PREHISTORY OF THE ‘WHITE CUBE’ WALTER GRASSKAMP 04 Issue # 09/11 : Curating Critique CURATING CRITIQUE MARIANNE EIGENHEER, EDITOR BARNAY DRABBLE, DOROTHEE RICHTER, GUEST EDITORS The reader presents a cross-section of the voices that populate the ongoing debate about, on the one hand, how and in what terms curating functions as a critical cultural practice, and on the other, what methodologies and histories exist with which we can critically analyse curatorial work today.
    [Show full text]
  • Guide to the Colin De Land and Pat Hearn Library Collection MSS.012 Hannah Mandel; Collection Processed by Ann Butler, Ryan Evans and Hannah Mandel
    CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Colin de Land and Pat Hearn Library Collection MSS.012 Hannah Mandel; Collection processed by Ann Butler, Ryan Evans and Hannah Mandel. This finding aid was produced using ArchivesSpace on February 06, 2019 . Describing Archives: A Content Standard Guide to the Colin de Land and Pat Hearn Library Collection MSS.012 Table of Contents Summary Information ................................................................................................................................................ 3 Biographical / Historical ............................................................................................................................................. 5 Scope and Contents ................................................................................................................................................. 6 Arrangement .............................................................................................................................................................. 6 Administrative Information ......................................................................................................................................... 7 Related Materials ...................................................................................................................................................... 7 Controlled Access Headings ....................................................................................................................................
    [Show full text]
  • Maria Eichhorn’S Aktiengesellschaft, Installed at the Van Abbemuseum Since June, 2007
    The Free! Copyist new #1: “Value” Play Van Abbe About n The 18-month programme Play Van Abbe at the Van Abbe- museum consists of exhibitions, projects, performances, lec- tures and discussions, taking the collection of the Van Abbe- museum as a starting point. Play Van Abbe is subdivided into four parts, each with its own theme. Part 1, The Game and the Players, began in November 2009 and ran until March 2010. In this first part the museum focuses on the stories of artists and exhibition makers. Who are these “players” within a museum and which stories do they tell? How was the collection presented in 1983 and how is this perceived in 2010? How does the current director present the collection? In what way does an art museum position itself – both in the present and in the past? These questions were put up for discussion in The Game and the Players in three exhibitions: Repetition: Summer Display 1983, Strange and Close and Rien ne va plus. Part 1 of Play Van Abbe closed in March 2010 with the project, If I Can’t Dance… Edition III – The second part of Play Van Abbe, called Time Machines, opens in April 2010 and will be on view until the end of Au- gust 2010. This chapter investigates museum models from the past, asking: how does the museum use presentation tech- niques to tell a story and what are the hidden assumptions? Time Machines includes the exhibitions, Museum Modules and In-between Minimalisms (10/04 - 12/09/2010), as well as To the Margin and Back (10/04 - 16/08/2010).
    [Show full text]
  • Art After Conceptual Art Edited by Alexander Alberro and Sabeth Buchmann
    r t edited by Alexander Alberro and Sabeth Buchmann Generali Foundation Collection Series edited by Sabine Breitwieser The MIT Press Cambridge, Massachusetts 1111111 London, England General( Foundation Vienna, Austria Art After Conceptual Art edited by Alexander Alberro and Sabeth Buchmann Generali Foundation Collection Series edited by Sabine Breilwieser foe Generali Foundation Vienna, Austria [email protected] http://foundation.generali.at ISBN: 3-901107-50-9 Text edited by Gudrun Ratzinger Copy edited by Lisa Rosenblatt Produced by Julia Heine Photo edited by !ris Ranzinger, Julia Seyr Designed by Andreas Pawlik (AO), Stephan Pieffer Paper: Munken Premium Cream, Munken Pure Typeface: Sabon, Neue Helvetica Total Production: Generali Foundation Printed and bound in Austria Library of Congress Cataloging-in-Publication Data Art After Conceptual Art/ edited by Alexander Alberro and Sabeth Buchmann. p. cm Includes bibliographical references and index. !SBN-13: 978-0-262-51195-7 (pbk.: alk. paper) !SBN-10: 0-262-51195-9 (pbk.: alk. paper) 1. Conceptual art. 2. Conceptual art-Influence. I. Alberro, Alexander. II. Buchmann, Sabeth. N6494.C63A735 2006 709.04'075-dc22 2006044881 The MIT Press Cambridge, Massachusetts London, England MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected]. All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. © Vienna 2006, Generali Foundation, authors, translators, photographers and artists TABLE OF CONTENTS Dietrich Karner Foreword 9 Sabine Breitwieser Series Editor's Note 13 Alexander Alberro Introduction: The Way Out is the Way ln Part L After Conceptual Art 21 Benjamin H.
    [Show full text]
  • 49 Chronology
    Chronology assistant at the SculptureCenter in New York. I don’t like to repeat myself too much – Develops an interest in Oriental rugs. which is of course the essence of success – Begins buying specialist books on and I was in the fortunate position to carpets from second-hand bookshops. be able to evolve into different projects fairly easily. 1964 Seth Siegelaub, 20051 Opens his gallery, Seth Siegelaub Contemporary Art, at 56th Street, [The following document is based on the New York, where he shows the work available bibliography of Seth Siegelaub’s of Pierre Clerk, Michael Eastman, projects and publications, his archives, Arne Hendin, Alfred Michael and conversations with the author.] Iarusso, Herbert Livesey, Dennis MacCarthy, Lawrence Weiner and 1941 Edward Whiteman. Exhibits the Seth Siegelaub is born in the Bronx, work of Weiner twice, showing the New York, the first of four children. paintings he was making at the time. Raised in an intellectually curious For several months the gallery also lower middle class family. deals in Oriental rugs in partnership with Robert Gaile. 1947–1959 Attends public grade school p.s. 102, the 1965 –1966 Henry Hudson Junior High School Frequents openings and bars such as in the Bronx, and then the Stuyvesant Max’s Kansas City near Union High School. Discovers art and the Square. Makes the acquaintance world of ideas through his frequenta- of many people including gallerist tion of local public libraries, and Richard Bellamy and art historian later, the Donnell Library on 53rd and curator Eugene C. Goossen, Street in Manhattan. whose critical and active support of artists impresses him.
    [Show full text]
  • Galerie Barbara Weiss Kohlfurter Strasse 41/43 10999 Berlin +49 (0)30 26 24 284 [email protected]
    Galerie Barbara Weiss Kohlfurter Strasse 41/43 10999 Berlin +49 (0)30 26 24 284 [email protected] Maria Eichhorn CV, last updated March 2021 Solo exhibitions 2018 Zwölf Arbeiten/Twelve Works (1988–2018), Migros Museum für Gegenwartskunst, Zurich, Switzerland 2016 1 semaine, 5 jours, 41 heures/1 Woche, 5 Tage, 41 Stunden/1 week, 5 days, 41 hours, in: Une Rétrospective d’Expositions Fermées / A Retrospective of Closed Exhibitions, Fri Art Kunsthalle, Fribourg, Switzerland Film Lexicon of Sexual Practices, Galerie Barbara Weiss, Berlin, Germany 5 weeks, 25 days, 175 hours, Chisenhale Gallery, London, United Kingdom 2015 Maria Eichhorn, Belkin Art Gallery, Vancouver, Canada 2014 Ausstellung im öffentlichen Raum/Exhibition in Public Space, Bregenz, Austria Maria Eichhorn, Kunsthaus Bregenz, Bregenz, Austria 2012 Die Zeitkapsel im Wasserfall der Steinach/The Time Capsule in the Waterfall on the Steinach River, Mülenenschlucht, St. Gallen, Switzerland 2011 Zimmerstraße 88/89, 10117 Berlin, Galerie Barbara Weiss, Berlin, Germany 2009 Maria Eichhorn. Die Multiples, Edition Block, Berlin, Germany Filmlexikon sexueller Praktiken, Galerie Eva Presenhuber, Zurich, Switzerland 2008 Joint Account No. 17111601, Bank of Fukuoka, Yahata Branch 411 (2001), Prohibited Imports (2003), Billboard Istanbul Biennal 1995 (2005), von 12,37 bis 36,08 = 24,94 von 100 % (2007), Galerie Barbara Weiss, Berlin, Germany 2007 Maria Eichhorn Aktiengesellschaft (Plug In #26), Van Abbemuseum, Eindhoven, Netherlands Die Anteilscheine der Kunsthalle Bern/Shares in the
    [Show full text]
  • Maria Eichhorn
    www.TeamGallery.com Maria Eichhorn 1962 born in Bamberg, Germany Education: 1984 - 1990 Berlin University of the Arts Solo Exhibitions: 2009 Edition Block, Berlin, Germany, Vier Multiples in Tasche Galerie Eva Presenhuber, Zurich, Switzerland, Filmlexikon sexueller Praktiken 2008 Bank of Fukuoka, Yahata, Japan, Joint Account No. 17111601 Galerie Barbara Weiss, Berlin, Billboard Istanbul Biennal 1995 (2005) 2007 Van Abbe Museum, Eindhoven, Netherlands, Aktiengesellschaft/Maria Eichhorn Public Limited Company Kunstmuseum Bern, Grafische Sammlung, Switzerland, Maria Eichhorn - Die Anteilscheine der Kunsthalle Bern 2006 Vox Centre de I’Image Contemporaine, Montreal, QC, Film, vidéo, oevre, sonore 2005 Stiftung Kunsthalle Bern, Bern, Switzerland, Die Anteilsscheine der Kunsthalle Bern Galerie Barbara Weiss, Berlin, Germany Institut für Kunstgeschichte, Bern, Switzerland, Zur Kanonisierung der Gegenwartskunst 2004 Centre d’Art Santa Monica, Barcelona, Spain, 16 Factures Freie Universität, ’CAMPUS, Bozen, Italy, Politische Mündigkeit, Political Responsibility, Emancipazione Politica 2003 Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Germany, Maria Eichhorn, Restitutionspolitik / Politics of Restitution Kasseler Kunstverein, Kassel, Germany, Maria Eichhorn Masataka Hayakawa Gallery, Tokyo, Japan, Prohibited Imports 2002 Masataka Hayakawa Gallery, Tokyo, Japan, Maria Eichhorn’s work special presentation Galerie Hauser & Wirth & Presenhuber, Zurich, Switzerland, 23 Kurzfilme / 23 Filmplakate (1995/2002) Team gallery, inc. 83 grand street New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.TeamGallery.com 2001 Kunsthalle Bern, Bern, Switzerland, Das Geld der Kunsthalle Bern/Money at the Kunsthalle Bern Galerie Barbara Weiss, Berlin, Germany 2000 Gallery Prima Piano, Rome, Italy, Wo das Ausstellen keinen Ort der Präsentation hat 1999 Galerie Barbara Weiss, Berlin, Germany Portikus, Frankfurt, Germany, Maria Eichhorn 1. Mai Film Medien Stadt Sprengel Museum, Hannover, Germany, Intervention 16: Maria Eichhorn.
    [Show full text]
  • The Essay Film After Fact and Fiction NORA M
    The Essay Film After Fact and Fiction NORA M. ALTER THE ESSAY FILM AFTER FACT AND FICTION FILM AND CULTURE SERIES FILM AND CULTURE A series of Columbia University Press Edited by John Belton For a full list of titles in this series, see pages 395–97 THE ESSAY FILM AFTER FACT AND FICTION NORA M. ALTER Columbia University Press New York Columbia University Press Publishers Since 1893 New York Chichester, West Sussex cup.columbia.edu Copyright © 2018 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Names: Alter, Nora M., 1962– author. Title: The essay film after fact and fiction / Nora M. Alter. Description: New York : Columbia University Press, 2017. | Series: Film and culture | Includes bibliographical references. Identifiers: LCCN 2017028033 (print) | LCCN 2017041800 (e-book) | ISBN 9780231178204 (cloth : alk. paper) | ISBN 9780231178211 (pbk. : alk. paper) | ISBN 9780231545983 (e-book) Subjects: LCSH: Experimental films—History and criticism. | Documentary films—History and criticism. Classification: LCC PN1995.9.E96 (e-book) | LCC PN1995.9.E96 A455 2017 (print) | DDC 791.43/611—dc23 LC record available at https://lccn.loc.gov/2017028033 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America Cover image: © Smoking Dogs Films ; Courtesy Lisson Gallery Cover design: Lisa Hamm FOR ARIELLE AND ZOË CONTENTS Acknowledgments ix INTRODUCTION1 1. BEGINNINGS31 2. SPEAKING ESSAYS OR INTERRUPTIONS57 3. THE ESSAY FILM AS ARCHIVE AND REPOSITORY OF MEMORIES, 1947–196191 4. THE ESSAY FILM AS THE FOURTH ESTATE143 5. THE ARTIST ESSAY: EXPANDING THE FIELD AND THE TURN TO VIDEO195 6.
    [Show full text]
  • Skulptur Projekte Archiv Title Works Public Collection %
    Skulptur Projekte Archiv https://www.skulptur-projekte-archiv.de title works Public Collection % 1977 Skulptur Ausstellung in Münster 1977 July 03 – November 13 8 3 37.5% Klaus Bußmann Kasper König Norbert Nobis Brigitte Kühn, Petra Haufschild Sculpture Exhibition in Münster, 1977 exhibition director projects exhibition assistant exhibition office 1987 Skulptur Projekte in Münster 1987 June 14 – October 04 53 21 39.6% Klaus Bußmann Kasper König Friedrich Meschede, Ulrich Wilmes Sculpture Projects in Münster, 1987 concept and exhibition director concept and exhibition director exhibition office and project support 1997 Skulptur. Projekte in Münster 1997 June 22 – September 28 66 9 13.6% Klaus Bußmann Kasper König Florian Matzner Ulrike Groos Claudia Büttner, Barbara Engelbach, Martina Ward Sculpture. Projects in Münster 1997 director, Landesmuseum curator project director exhibition office, manager exhibition office 2007 skulptur projekte münster 07 June 17 – September 30 33 8 24.2% Kasper König Brigitte Franzen, Carina Plath Christine Litz sculpture projects muenster 07 curator curator project management 2017 Skulptur Projekte Münster 2017 June 10 – October 01 35 6 17.1% Kasper König Britta Peters, Marianne Wagner Imke Itzen Sculpture Projects Münster 2017 artistic director curator managing director 195 47 24.1% https://www.skulptur-projekte- Skulptur Ausstellung in Münster 1977 archiv.de artist title title (English) year material Location Owner artist Concrete sculpture Outer ring: height 0.9 m, width 0.6 m, diameter 15 Lake Aa meadows
    [Show full text]
  • Maria Eichhorn
    www.TeamGallery.com Maria Eichhorn Born 1962 in Bamberg, Germany Lives and works in Berlin, Germany Education: 1984 - 1990 Berlin University of the Arts Solo Exhibitions: 2011 Galerie Barbara Weiss, Berlin, Germany, Zimmerstrasse 88/89, 10117 Berlin 2009 Edition Block, Berlin, Germany, Vier Multiples in Tasche Galerie Eva Presenhuber, Zurich, Switzerland, Filmlexikon sexueller Praktiken 2008 Bank of Fukuoka, Yahata Branch 411, Yahata, Japan, Joint Account No. 17111601 Galerie Barbara Weiss, Berlin, Joint Account No. 1711160, Bank of Fukuoka, Yahata Branch 411 (2001); Prohibited Imports (2003); Billboard Istanbul Biennal 1995 (2005); Von 12,37 bis 36,08 = 24,94 2007 Van Abbe Museum, Eindhoven, Netherlands, Aktiengesellschaft (Public Limited Company) (with catalog) Kunstmuseum Bern, Bern, Switzerland, Maria Eichhorn - Die Anteilscheine der Kunsthalle Bern 2006 Vox Centre de L’Image Contemporaine, Montreal, QC, Canada 2005 Kunsthalle Bern, Bern, Switzerland, Die Anteilsscheine der Kunsthalle Bern Galerie Barbara Weiss, Berlin, Germany Institut für Kunstgeschichte, Bern, Switzerland, Zur Kanonisierung von Gegenwartskunst 2004 Centre d’Art Santa Monica, Barcelona, Spain, 16 Factures 2003 Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Germany, Maria Eichhorn, Restitutionspolitik (with catalog) Kasseler Kunstverein, Kassel, Germany, Maria Eichhorn Masataka Hayakawa Gallery, Tokyo, Japan, Prohibited Imports 2002 Galerie Hauser & Wirth & Presenhuber, Zurich, Switzerland, 23 Kurzfilme / 23 Filmplakate Team gallery, inc. 83 grand street New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.TeamGallery.com 2001 *Kunsthalle Bern, Bern, Switzerland, Das Geld der Kunsthalle Bern/Money at the Kunsthalle Bern Galerie Barbara Weiss, Berlin, Germany 2000 Gallery Prima Piano, Rome, Italy, Wo das Ausstellen keinen Ort der Präsentation hat 1999 Galerie Barbara Weiss, Berlin, Germany Portikus, Frankfurt, Germany, Maria Eichhorn 1.
    [Show full text]
  • Maria Eichhorn
    www.TeamGallery.com Maria Eichhorn 1962 born in Bamberg, Germany lives and works in Berlin, Germany Education: 1984 - 1990 Berlin University of the Arts Solo Exhibitions: 2011 Galerie Barbara Weiss, Berlin, Germany, Zimmerstrasse 88/89, 10117 Berlin 2009 Edition Block, Berlin, Germany, Vier Multiples in Tasche Galerie Eva Presenhuber, Zurich, Switzerland, Filmlexikon sexueller Praktiken 2008 Bank of Fukuoka, Yahata Branch 411, Yahata, Japan, Joint Account No. 17111601 Galerie Barbara Weiss, Berlin, Joint Account No. 1711160, Bank of Fukuoka, Yahata Branch 411 (2001); Prohibited Imports (2003); Billboard Istanbul Biennal 1995 (2005); Von 12,37 bis 36,08 = 24,94 2007 Van Abbe Museum, Eindhoven, Netherlands, Aktiengesellschaft (Public Limited Company) (with catalog) Kunstmuseum Bern, Bern, Switzerland, Maria Eichhorn - Die Anteilscheine der Kunsthalle Bern 2006 Vox Centre de L’Image Contemporaine, Montreal, QC, Canada 2005 Kunsthalle Bern, Bern, Switzerland, Die Anteilsscheine der Kunsthalle Bern Galerie Barbara Weiss, Berlin, Germany Institut für Kunstgeschichte, Bern, Switzerland, Zur Kanonisierung von Gegenwartskunst 2004 Centre d’Art Santa Monica, Barcelona, Spain, 16 Factures 2003 Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Germany, Maria Eichhorn, Restitutionspolitik (with catalog) Kasseler Kunstverein, Kassel, Germany, Maria Eichhorn Masataka Hayakawa Gallery, Tokyo, Japan, Prohibited Imports Team gallery, inc. 83 grand street New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.TeamGallery.com 2002 Galerie Hauser & Wirth & Presenhuber, Zurich, Switzerland, 23 Kurzfilme / 23 Filmplakate 2001 *Kunsthalle Bern, Bern, Switzerland, Das Geld der Kunsthalle Bern/Money at the Kunsthalle Bern Galerie Barbara Weiss, Berlin, Germany 2000 Gallery Prima Piano, Rome, Italy, Wo das Ausstellen keinen Ort der Präsentation hat 1999 Galerie Barbara Weiss, Berlin, Germany Portikus, Frankfurt, Germany, Maria Eichhorn 1.
    [Show full text]