THE D.A.P. CATALOG FALL 2019 Recent Releases from Artbook | D.A.P
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Sunshine Thoughts
S P I R I T U S – Z o o m Seminars for the Sensitive Sunshine Thoughts ALL COURSES THROUGH ZOOM Bookings Email: [email protected] Minister Matthew Smith www.matthewinspires.co.uk Challenges or This life is a schoolroom of opportunity, and we are both Opportunities? teacher and student. We never stop learning. There are even Life presents us with experiences daily. times we must unlearn to Some are not as “challenging as others” learn. How we approach the situation is vital. We are spirit with a physical On The Horizon The word “challenges” if replaced with body not a physical body with a “opportunities” gives a completely spirit with all experience having Its mid-June and Mother Nature different focus. Just changing one word value and worth for spiritual is painting our surroundings with does not change the given situation but progression. Not always easy to colour and beauty. Wildlife is perspective. Spiritualism teaches us that accept particularly when we everywhere and we can see the the mind is the builder and as we think we allow the emotions to take us importance of Nature in our become. Thousands of years ago in one of out of our power. As sensitives lives. Until a few years ago I the temples in Delphi, the inscription when we become overly never had interest in my garden. “Know thyself” was written on the wall. emotional it detaches us from It was in my reality a space That simple philosophy is as true today as our life force. This always attached to the house. -
DANH VO Education Solo Exhibitions
DANH VO 1975 Born in Bà Rịa, Vietnam Lives and works in Berlin and Mexico City Education 2000–01 Royal Academy of Fine Arts, Copenhagen, Denmark 2002–04 Städelschule, Frankfurt, Germany Solo exhibitions 2020 Chicxulub, White Cube Bermondsey Danh Vo oV hnaD, The National Museum of Art, Osaka Danh Vo, Wising Art Palace Atelier, Taipei, Taiwan Danh Vo Presents, The Nivaagaard Collection, Denmark 2019 Danh Vo: The Mudam Collection and Pinault Collection in Dialogue, Mudam Luxembourg Danh Vo Untitled, South London Gallery Danh Vo: Cathedral Block, Prayer Stage, Gun Stock, Marian Goodman Gallery, London Kurimanzutto, Mexico City 2018 Noguchi for Danh Vo: Counterpoint, M+, Hong Kong CAPC Musée d'art contemporain de Bordeaux, France Take My Breath Away, Guggenheim Museum, New York; Statens Museum for Kunst, Copenhagen, Denmark Danh Vo: Garden with Pigeons in Flight, Casa Luis Barragán, Mexico City 2016 White Cube, Hong Kong Ng Teng Fong Roof Garden Gallery Commission, National Gallery Singapore We The People, Roof Deck Sculpture Garden, Aspen Museum of Art 2015 Homosapiens, Marian Goodman Gallery, London Danish Pavilion, 56th Venice Biennale, Venice, Italy Ydob eht ni mraw si ti, Museum Ludwig, Cologne, Germany Galerie Chantal Crousel, Paris, France Banish the Faceless: Reward your Grace, Palacio de Cristal, Museo Reina Sofia, Madrid, Spain 2.2.1861, Mirrored Gardens, Guangzhou, China 2014 Metal (with Xiu Xiu), The Kitchen, New York Nottingham Contemporary, Nottingham, United Kingdom We The People, Public Art Fund, City Hall Park & Brooklyn Bridge Park, New York Museo Jumex, Mexico City, Mexico ,الحجارة وادي 2013 Go Mo Ni Ma Da, Musée d’Art moderne de la Ville de Paris, Paris, France I M U U R 2, Solomon R. -
New Work: Christopher Wool
[HRl�TOPHf R WOOl NEW WORK SAN FRANCISCO MUSEUM OF MODERN ART NEW WORK: CHRISTOPHER WOOL JULY 6 - SEPTEMBER 3, 1989 Although he has explored other art forms, including film,what Christopher Wool considers his mature work began with paintings he made in 1984. At that time, he was dissatisfied with the work he was producing (for example, a painting called Bigger Questions, which was simply a question mark on its side). Like many artists before him, he began to investigate the basic processes of painting itself, "strug gling to find some kind of meaningful imagery."1 A work he called Zen Exercise con sisted of three large, violent pours of paint. Looking back today he considers this work crucial because the pours were random, and he was "looking for location:• In the following year, with an enamel on plywood painting entitled Houdini, Wool continued his arbitrary paint application by dripping and spattering white paint onto a black surface. At first glance, Houdini looks like a Jackson Pollock achieved by recourse to the methods of John Cage: the evidently random drops of paint occasionally coalesce into larger, driplike patterns. One suspects that this adventitious painterliness was both too lush and too ambiguous for the artist, because for the next two years he produced paintings in which the application of paint was rigorously even. The result was paintings with allover compositions that although random were everywhere uniform, with no runs and only occasional larger dots of paint where one drop collided with another: Standing before such paintings for the first time is a curious experience. -
THE D.A.P. CATALOG MID-SUMMER 2019 Pipilotti Rist, Die Geduld [The Patience], 2016
THE D.A.P. CATALOG MID-SUMMER 2019 Pipilotti Rist, Die Geduld [The Patience], 2016. Installation view from Kunsthaus Zürich. Photo: Lena Huber. Courtesy the artist, Hauser & Wirth and Luhring Augustine. From Pipilotti Rist: Open My Glade, published by Louisiana Museum of Modern Art. See page 20. Mid-Summer 2019 New Releases 2 CATALOG EDITOR Back in Stock 9 Thomas Evans DESIGNER Lower-Priced Books 10 Martha Ormiston PHOTOGRAPHY Books for Summer 12 Justin Lubliner, Carter Seddon COPY WRITING More New Books 14 Janine DeFeo, Thomas Evans, Megan Ashley DiNoia, Arthur Cañedo, Jack Patterson Recently Published by Steidl 26 FRONT COVER IMAGE Stefan Draschan. from Coincidences at Museums, published by Hatje Cantz. See page 5. SPRING/SUMMER ■ 2019 ■ Basquiat's "Defacement": The Untold Story Text by Chaédria LaBouvier, Nancy Spector, J. Faith Almiron. Police brutality, racism, graffiti and Jean-Michel Basquiat painted Defacement (The Death of Michael Stewart) on the wall of Keith the art world of the early-1980s Haring’s studio in 1983 to commemorate the death of a young black artist, who died from injuries sustained while in police custody after being arrested for allegedly tagging a New York City subway Lower East Side converge in one station. Defacement is the starting point for the present volume, which focuses on Basquiat’s response to anti-black racism and police brutality. Basquiat’s “Defacement” explores this chapter painting by Jean-Michel Basquiat in the artist’s career through both the lens of his identity and the Lower East Side as a nexus of activism in the early 1980s, an era marked by the rise of the art market, the AIDS crisis and ongoing racial tensions in the city. -
Brazen (Spring 2011) Hollins University
Hollins University Hollins Digital Commons Brazen - Gender & Women's Studies Department Gender & Women’s Studies Newsletters Spring 2011 Brazen (Spring 2011) Hollins University Follow this and additional works at: https://digitalcommons.hollins.edu/brazen Part of the Gender and Sexuality Commons, and the Women's Studies Commons Recommended Citation Brazen: Newsletter of the Gender & Women's Studes Department. Roanoke, Virginia, Hollins University. Spring 2011. This Newsletter is brought to you for free and open access by the Gender & Women’s Studies at Hollins Digital Commons. It has been accepted for inclusion in Brazen - Gender & Women's Studies Department Newsletters by an authorized administrator of Hollins Digital Commons. For more information, please contact [email protected], [email protected]. February 21, 2011 Volume IV, Issue 2 bra.zen Contemporary Metaphorical Representations of Arab Femininity by Emily Campbell, ‘12 Note: The following poems were inspired by and informed by various writings and artwork created by contemporary Arab women. Excès du Oiseau Fruit Unafraid femininity, and more- Fall, take the bruises but You can be shapeless, over, I found that these keep them beneath your can flow with the cur- pieces were in dialogue skin—be modest, hued rent, can hide behind with one another Inside this issue: in black and white things less dangerous regarding the same thematic conflicts; these rather than the blues than yourself—things Starting Smart at 2 I identify as and greens of peacocks. which would map you, Hollins Clean yourself, sweep confine you—but you confinement versus the soil from your cage; are a pomegranate, a movement, suppression On Being a Dance Artist 3 you cannot grow any- thing of flesh and color versus subversion, and thing in there (and what and wetness. -
OAG Hearing on Interactions Between NYPD and the General Public Submitted Written Testimony
OAG Hearing on Interactions Between NYPD and the General Public Submitted Written Testimony Tahanie Aboushi | New York, New York I am counsel for Dounya Zayer, the protestor who was violently shoved by officer D’Andraia and observed by Commander Edelman. I would like to appear with Dounya to testify at this hearing and I will submit written testimony at a later time but well before the June 15th deadline. Thank you. Marissa Abrahams | South Beach Psychiatric Center | Brooklyn, New York As a nurse, it has been disturbing to see first-hand how few NYPD officers (present en masse at ALL peaceful protests) are wearing the face masks that we know are preventing the spread of COVID-19. Demonstrators are taking this extremely seriously and I saw NYPD literally laugh in the face of a protester who asked why they do not. It is negligent and a blatant provocation -especially in the context of the over-policing of Black and Latinx communities for social distancing violations. The complete disregard of the NYPD for the safety of the people they purportedly protect and serve, the active attacks with tear gas and pepper spray in the midst of a respiratory pandemic, is appalling and unacceptable. Aaron Abrams | Brooklyn, New York I will try to keep these testimonies as precise as possible since I know your office likely has hundreds, if not thousands to go through. Three separate occasions highlighted below: First Incident - May 30th - Brooklyn - peaceful protestors were walking from Prospect Park through the streets early in the day. At one point, police stopped to block the street and asked that we back up. -
A Lawyer Presents the Case for the Afterlife
A Lawyer Presents the Case for the Afterlife Victor James Zammit 2 Acknowledgements: My special thanks to my sister, Carmen, for her portrait of William and to Dmitri Svetlov for his very kind assistance in editing and formatting this edition. My other special thanks goes to the many afterlife researchers, empiricists and scientists, gifted mediums and the many others – too many to mention – who gave me, inspiration, support, suggestions and feedback about the book. 3 Contents 1. Opening statement............................................................................7 2. Respected scientists who investigated...........................................12 3. My materialization experiences....................................................25 4. Voices on Tape (EVP).................................................................... 34 5. Instrumental Trans-communication (ITC)..................................43 6. Near-Death Experiences (NDEs) ..................................................52 7. Out-of-Body Experiences ..............................................................66 8. The Scole Experiment proves the Afterlife ................................. 71 9. Einstein's E = mc2 and materialization.........................................77 10. Materialization Mediumship.......................................................80 11. Helen Duncan................................................................................90 12. Psychic laboratory experiments..................................................98 13. Observation -
WHERE ARE WE? INTRODUCTION “Where Are We?”
WHERE ARE WE? INTRODUCTION “WHERE ARE WE?” An intercultural exhibition: Art from Austria in Pakistan. With this intercultural and international art programme, hinterland is taking up a temporary home in Pakistan. “Where are we?” is a series of exhibitions desig- ned to promote intercultural understanding. The first took place in June 2015 in Tehran/Iran, then it moved to Vienna, Austria and now an extended version of the exhibition will be shown in Lahore and Islamabad. For this third venue thirteen artists – all living in Vienna – were invited to create works based on their personal understanding of identity: their personal perception of, historical understanding and/or image of a (national) identity. Artists: Azra Akšamija, Vooria Aria, Carla Degenhardt, Siegfried A. Fruhauf, Clemens Krauss, Constantin Luser/Stefan Arztmann, Lisl Ponger, Frenzi Rigling, Gabriele Sturm, Niko Wahl, Nives Widauer/Ilma Rakusa Curator: Gudrun Wallenböck Exhibition Venues 2016 Lahore May 15 – 22, 2016 Alhamra Art Gallery (1 & 2), Alhamra Cultural Complex Shahrah-e-Quaid-i-Azam, Lahore / Pakistan Islamabad May 25 – 28, 2016 COMSATS Art Gallery (CAG-Library Basement), COMSATS Institute of Information Technology, Park Road, Chak Shehzad, Islamabad / Pakistan Coordination: Farrah Mahmood Rana (CAG) Exhibition Venues 2015 Tehran / Iran Vienna / Austria Vista Art Gallery hinterland galerie Tehran, Mir Emad Avenue, Alley 12, No. 11 Krongasse 20, 1050 Vienna June 5 – 14, 2015 September 10 – October 17, 2015 In cooperation and with generous support from the Austrian Embassy in Islamabad, Pakistan. A project by hinterland, Vienna / Austria. http://art.hinterland.ag NIKO WAHL Dreams, 2015 Epoxy, newspaper collage, stick Various diameters Tehran, Iran AN intercultural EXHIBITION curated BY GUDRUN WALLENBÖCK. -
Lois Conner [email protected]
Lois Conner [email protected] www.loisconner.net Education 1981-Yale University-MFA, Photography; 1975-Pratt Institute, BFA, Photography Fashion Institute of Technology, New York (1971-73); University of Delaware, Newark (1969-1971) Grants and Fellowships 2010, 2011 Sol and Carol Lewitt Artist-in-Residence, Praiano, Italy 2007 Anonymous was a Woman Fellowship 2006, 2010 Princeton University Research Fellowship 1984 Guggenheim Fellowship 1983 New York State Council on the Arts Fellowship 1979 National Endowment of the Arts Fellowship Collections (selected) Metropolitan Museum of Art; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; National Museum of American Art; Smithsonian Institution; Corcoran Gallery of Art; Sackler Gallery, Washington, D.C; Philadelphia Museum of Art; New Orleans Museum of Art; Santa Barbara Museum of Art, California; Brooklyn Museum of Art; Chicago Art Institute; Cleveland Museum of Art; Toledo Art Museum; Yale University Art Gallery; The Getty Museum; Chicago Art Institute; Museum of Fine Arts, Boston; Fogg Art Museum, Harvard; The New York Public Library; The British Library; Victoria and Albert Museum, London; National Gallery of Art, Canberra; National Gallery of Victoria, Australia Solo Exhibitions 2018 Shanghai Center of Photography, “A Long View” Wairapa Academy, Featherston, New Zealand, “Lotus Leaves”; 2017 Zhizhusi, Gallery at Temple, Beijing, “Diandao: Downside Up” 2016 Naumkeag, Stockbridge, Massachusetts, “Arcadian Realms”; 2015 KMR Arts, Connecticut, -
'The East' As a Transit Space in the New Europe?
Adapted from: https://doi.org/10.1111/glal.12079 (Accessed 1st November 2018) ‘The East’ as a transit space in the new Europe? Transnational train journeys in prose poems by Kurt Drawert, Lutz Seiler and Ilma Rakusa1 Sabine Egger (Mary Immaculate College, University of Limerick) Abstract The past three decades, following the collapse of the Iron Curtain, have seen the development of a ‘European literature’ characterised by the emergence of transnational subjects and spaces. This also applies to a Europe traditionally defining itself by means of a frontier to the ‘East’. In German writing, this has been a more recent phenomenon than in other Central or Eastern European literatures, and is not restricted to ‘Migrantenliteratur’. In texts subverting East- West dichotomies by contemporary German-speaking writers with an ‘Eastern Bloc biography’, the train journey into the East emerges as a recurrent motif. The traveller encounters this East in Siberia, but also in various places or spaces in Central and Eastern Europe. Examples discussed here include poems and short narrative texts by Kurt Drawert, Lutz Seiler and Ilma Rakusa, which could be defined as prose poetry.My analysis, based on spatial concepts by Michel de Certeau and Michel Foucault, will focus on movement in these texts, which tends to affect temporal and genre boundaries as much as those between self and Other. The train itself or the landscape travelled through becomes a transit space in which national borders and frontiers to the East are, at least temporarily, transcended. 1 The article is part of a book project in process, supported by Seed Funding of Mary Immaculate College, University of Limerick, and a DAAD research grant awarded in 2013. -
Info Fair Resources
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Eugenics and Domestic Science in the 1924 Sociological Survey of White Women in North Queensland
This file is part of the following reference: Colclough, Gillian (2008) The measure of the woman : eugenics and domestic science in the 1924 sociological survey of white women in North Queensland. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/5266 THE MEASURE OF THE WOMAN: EUGENICS AND DOMESTIC SCIENCE IN THE 1924 SOCIOLOGICAL SURVEY OF WHITE WOMEN IN NORTH QUEENSLAND Thesis submitted by Gillian Beth COLCLOUGH, BA (Hons) WA on February 11 2008 for the degree of Doctor of Philosophy in the School of Arts and Social Sciences James Cook University Abstract This thesis considers experiences of white women in Queensland‟s north in the early years of „white‟ Australia, in this case from Federation until the late 1920s. Because of government and health authority interest in determining issues that might influence the health and well-being of white northern women, and hence their families and a future white labour force, in 1924 the Institute of Tropical Medicine conducted a comprehensive Sociological Survey of White Women in selected northern towns. Designed to address and resolve concerns of government and medical authorities with anxieties about sanitation, hygiene and eugenic wellbeing, the Survey used domestic science criteria to measure the health knowledge of its subjects: in so doing, it gathered detailed information about their lives. Guided by the Survey assessment categories, together with local and overseas literature on racial ideas, the thesis examines salient social and scientific concerns about white women in Queensland‟s tropical north and in white-dominated societies elsewhere and considers them against the oral reminiscences of women who recalled their lives in the North for the North Queensland Oral History Project.