Solo Exhibitions Selected Group Exhibitions
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The Bma to Open Solo Exhibitions of Works by Contemporary Artists Sharon Lockhart, Tschabalala Self, and Lisa Yuskavage in March 2021
THE BMA TO OPEN SOLO EXHIBITIONS OF WORKS BY CONTEMPORARY ARTISTS SHARON LOCKHART, TSCHABALALA SELF, AND LISA YUSKAVAGE IN MARCH 2021 Museum Also Announces Update to Tour Schedule for Joan Mitchell Retrospective BALTIMORE, MD (February 1, 2021)—The Baltimore Museum of Art (BMA) today announced details for three solo exhibitions opening in its Contemporary Wing on March 28, 2021. Sharon Lockhart: Perilous Life; Tschabalala Self: By My Self; and Lisa Yuskavage: Wilderness present key works by each artist that explore central and recurrent themes in their art. The exhibitions are part of the BMA’s 2020 Vision, an initiative to provide greater recognition for female- identifying artists and leaders that has been extended into 2021 following pandemic-related closures last year. The presentations are slated to remain on view through September 19, 2021. Katharina Grosse’s immersive site-related environment, Is It You? (2020), which opened in March 2020, will remain on view in the central gallery of the Contemporary Wing through that date as well. The museum also announced today a change in the tour schedule for the much-anticipated Joan Mitchell retrospective. The exhibition, which was slated to open at the BMA in March 2021, will now premiere at the San Francisco Museum of Modern Art (SFMOMA) on September 4, 2021 and remain on view there until January 17, 2022. It will then travel to the BMA, where it will be on view from March 6 through August 14, 2022. The 2020 Vision Contemporary Wing exhibitions are generously sponsored by BGE, Constellation, and Exelon. Admission is free for each of the exhibitions. -
Hammer Museum Winter 2012/13 Non Profit Org
1 COVER: LEE MULLICAN. NINNEKAH CALENDAR (DETAIL), 1951. OIL ON CANVAS. 30 x 50 ⁄8 IN. (76.2 x 127.3 CM). HAMMER MUSEUM, LOS ANGELES. For additional program information: 310-443-7000 information: program For additional 90024USA California LosAngeles, Boulevard 10899 Wilshire 2012/13 Winter Museum Hammer PURCHASE AND PARTIAL GIFT OF BILL RESNICK. PHOTOGRAPHY BY BRIAN FORREST. ON VIEW IN THE EXHIBITION SELECTIONS FROM THE GRUNWALD CENTER www.hammer.ucla.edu AND THE HAMMER CONTEMPORARY COLLECTION (SEE PAGE 10). Hammer Museum Hammer hammer_museum Los Angeles, CA Los Angeles, Non Profit Org. Profit Non Permit no. 202 no. Permit US Postage US PAID Winter 2012/13Calendar Winter 25 2 3 HAMMER NEWS news RECENT ACQUISITION director THREE WEEKS IN MAY The Los Angeles–based artist, activist, and writer the 1 Suzanne Lacy has been engaged with issues of gender, social justice, and racial inequalities since the late 1960s. Three Weeks in May is a signature piece by the from A MESSAGE FROM THE DIRECTOR artist and represents the first of a series of large-scale Creating a warm and inviting environment at the Hammer has be expanded with a dedicated small-plate menu, making it a performances on violence against women that she been an important focus for us over the past several years. We perfect place to sip and nibble before our public programs. It is created in collaboration with the artist Leslie Labowitz. started our Public Engagement and Visitor Services programs our aim to offer visitors an epicurean experience on par with During a three-week period in 1977, Lacy installed a message nearly four years ago with the intention of enhancing and their cultural experience at the Hammer. -
The Seaman Family in America Captain John Seaman
THE SEAMAN FAMILY IN AMERICA AS DESCENDED FROM CAPTAIN JOHN SEAMAN OF HEMPSTEAD, LONG ISLAND COMPILED BY MARY THOMAS SEAMAN Author of"Links in Genealogy" Life Member of The long Island Historical Society ASSISTl!I> BY JAMES HAVII.AND SEAMAN. JR. Member of the Loag Islaod Wstorial Socicly 1928 TOBlAS A. WRIGHT, INC. PRrNTERS AND PUBLISHERS NEW\"ORK SEAMAN FAMILY All.'-fS-Bal't'V wavy of six argent and a."1.1re, a c:rcscent or. CRJ;ST-A demi-sea-horse salient argent. Mono-Spcetcmur :igendo (kt us be judged by out actiot\S). CcS'aE coNTE.,'TS OF THIS BOOK ARE AUTHEllo'TIC TO THE BEST OF MY K.-.OWLEDGE. THE CONSIDEKATIO:S OF THE PUBLIC IS ASKED FOR SUCH ERRORS AS MAY J:sADVERTE.''TLY SLIP J:sTO THE MOST CAREFULLY PRE PARED MA!lo'USCRIPT. MARY THOMAS SEAMA:S ILLUSTRATIONS Coat of Arms and Crest . Frontispiece PAGE Deed of sale of land from Indians to John Seaman and others, July 4, 1657 . 16 Account of the Seaman Family, by Jordan Seaman, January, 18oo • 24 Deed of gift from John Seaman, senior, to sons Nathaniel and Richard, March 17, 1692/3 . 28 Deed of gift of Nathaniel Seaman to son Thomas, August 31, 1752 . 40 1\farriage certificate of NathaniP.1 Seaman and Rachel \Vil!is, August 9. 16g5 42 Deed of sale of land bv Richard Seaman to brother Nathaniel, September II, 1745 44 Deed of sale of land from Thomas Seaman to brothers Jacob, Nathaniel and Samuel, January 30, 1759 61 Marriage certificate of Thomas Seaman and Hannah \Villets, December 3, 174r/2 . -
The Institute of Contemporary Art, Los Angeles (Ica La) Appoints Jamillah James As Curator
FOR IMMEDIATE RELEASE THE INSTITUTE OF CONTEMPORARY ART, LOS ANGELES (ICA LA) APPOINTS JAMILLAH JAMES AS CURATOR Los Angeles (August 2, 2016)—The Institute of Contemporary Art, Los Angeles (ICA LA) announces Jamillah James as its new curator. James joins ICA LA after serving as Assistant Curator at the Hammer Museum in Los Angeles, where she organized exhibitions and programs at Art + Practice, an arts and social services foundation in Leimert Park established by artist Mark Bradford. James’s appointment marks the first hire after ICA LA announced in May its identity change (formerly the Santa Monica Museum of Art) and relocation to the Arts District in Downtown Los Angeles. James began her position with ICA LA on August 1. “We are forming the ICA LA team by seeking strong and diverse perspectives that unite around common ideas. Jamillah brings incredible diligence, depth, and acuity to her exhibitions,” says Elsa Longhauser, ICA LA Executive Director. “She champions the values that ICA LA holds in highest regard—critique of the familiar and empathy with the different.” Since 2014, James has organized the Los Angeles solo institutional debuts of painter Njideka Akunyili Crosby, conceptual artist Alex Da Corte, and multidisciplinary artist Simone Leigh (opening September 17, 2016 at the Hammer Museum). She also garnered critical praise for A Shape That Stands Up—an ambitious group show that featured work by Kevin Beasley, Robert Colescott, Carroll Dunham, Jamian Juliano- Villani, and Amy Sillman, as well as Selections from the Brockman Gallery Archives, an exhibition that explored Leimert Park’s legendary Brockman Gallery and its work with such seminal black artists as David Hammons, Senga Nengudi, and Noah Purifoy. -
2021 Exhibition Program
2021 Exhibition Program Until 4 April 2021 Facade Marcello Maloberti | Martellate 18 April – 8 August 2021 Exhibitions Camille Henrot | Mother Tongue Susan Hiller | Lost and Found Facade Sharon Lockhart | The Future Should Always Be Better Project space Moyra Davey | My Saints 100 Years of Joseph Beuys Susan Hiller | First Aid: Homage to Joseph Beuys Soundinstallation@Nikolaikapelle Diamanda Galás | Broken Gargoyles 4 August – 1 September 2021 External location Kestner Show in the Marktkirche: A Joint Project with Students from the Braunschweig University of Art 11 September – 26 December 2021 Exhibitions Nicolas Party | Stage Fright Ericka Beckman | Fair Game Facade Tim Etchells | Let It Come, Let It Come: The Time We Can Love Outdoor opening performance Marcello Maloberti | Circus Project space TBA Please note that these dates are subject to change. Our extensive program of events will soon be available on our website: www.kestnergesellschaft.de. Exhibition Camille Henrot | Mother Tongue 18 April – 8 August 2021 How can we find a way to bring order to the chaos of our lives? How do we deal with our simultaneous need for attachment and self-assertion? And how do we position ourselves with regard to social and personal expectations? The exhibition Mother Tongue by the French artist Camille Henrot (*1978 in Paris) revolves around existential emotions. The works in the exhibition reflect being drawn between the desire to retreat and the desire to engage – on both a personal and political level. Henrot’s works navigate through a present caught between rational systems and intuitive knowledge. Kestner Gesellschaft is pleased to present the artist’s first wide-ranging institutional solo exhibition of new works in drawing, painting and sculpture in Germany, accompanied by the large-scale fresco series Monday, and film installation Saturday. -
Words Without Pictures
WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine -
Deadly Lessons: School Shooters Tell Why
DOCUMENT RESUME ED 448 359 CG 030 506 TITLE Deadly Lessons: School Shooters Tell Why. Sun-Times Exclusive Report. INSTITUTION Chicago Sun-Times, IL. PUB DATE 2000-10-00 NOTE 20p. AVAILABLE FROM For full text: http://www.suntimes.com/shoot. PUB TYPE Information Analyses (070) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Bullying; Educational Environment; Elementary Secondary Education; Guns; Listening; *Prevention; *Psychological Patterns; School Security; *Violence IDENTIFIERS *School Shootings ABSTRACT This document represents a compilation of newspaper articles analyzing information shared by the Secret Service concerning 37 school shootings. The findings are presented to educate parents and teachers concerning what has been learned about violent students. It was determined that there is no profile of a typical youth who kills. The shooter is neither impulsive nor spontaneous, but sees the shooting as a way to solve a problem. The shooters told friends of their grievances and shared information about the violence they planned. Acquiring weapons was never .a problem, since most youth had access to weapons in their homes. The articles point to the inherent problems associated with the current response schools are using to counter school shootings. They warn about over-reliance on metal detectors, SWAT teams, and zero-tolerance policies. Suggestions are made about the importance of listening to students; how to deal fairly with bullying; how to improve the school climate; the need to keep guns away from children; and the importance of investigating when a student raises a concern. The articles in Part 1 examine actions of the shooters; discuss bullying; and present tips on listening. -
Sharon Lockhart
apparent. Questions, rather than assertions, come to is not granted the sense of a particular person. This Flash: Sharon Lockhart mind: Who is this person? What is the temperature strategy opens the possibility for the viewer to identify March 28–June 20, 2015 of the water? Is the subject intentionally reaching into as the subject, or with the subject, or potentially both. the water, or catching a fall, having lost her balance on the slippery floor of the tide pool? Are we witnessing Much of Lockhart’s work begs existential questions leisure, or is it work? about being. Untitled is a singular photograph, not part of any series, and is presented alone in this gallery. The rock is covered in barnacles: primordial this untitled photograph by Sharon Lockhart conjures The photograph harkens back to Lockhart’s film Therefore we might also interpret it as allegory: the abstraction. All surface, all texture. Meanwhile the the visible and the invisible. The visible, or the tangible, Double Tide (2009), set in Maine. The film portrays a person in the photograph is not just looking for bottom half of the image is overtaken by a woman, is quite straightforward. There is a buzzing contrast woman digging for clams as the sun rises, then again abalone. She is looking for meaning. knee-deep in water and absorbed in momentary between the vulnerability of this contemporary as it sets. Wearing high boots, she trudges through activity. Subtle concentric ripples spread from her arm’s person’s body, skin, and pink shorts, and the otherwise muddy waters, repeatedly plunging one arm beneath —Amir Zaki point of entry into the water. -
DAVID WOJNAROWICZ (1954–1992) B
DAVID WOJNAROWICZ (1954–1992) b. 1954, Red Bank, NJ d. 1992, New York, NY SOLO EXHIBITIONS 2020 I is Someone Else, Morán Morán, Los Angeles CA David Wojnarowicz, Photography & Film, Morris and Helen Belkin Art Gallery, Vancouver, BC 2019 History Keeps Me Awake at Night, Museum Reina Sofia, Madrid David Wojnarowicz, Photography & Film, Kunst-Werke Institute for Contemporary Art, Berlin 2018 History Keeps Me Awake at Night, The Whitney Museum of American Art, New York, NY Soon All This Will be Picturesque Ruins: The Installations of David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Video and Photography, KW Institute for Contemporary Art, Berlin, Germany. David Wojnarowicz: Flesh of My Flesh, Iceberg Projects, Chicago, IL 2016 Raging Through: The Art of David Wojnarowicz, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2011 Spirituality, P·P·O·W, New York, NY 2009 David Wojnarowicz, Supportico Lopez, Berlin, Germany 2006 Rimbaud in New York, CABINET, London, England David Wojnarowicz, Between Bridges, London, England 2004 Out of Silence: Artworks with Original Text by David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Rimbaud in New York, Roth Horowitz Gallery, New York, NY Close Up sur David Wojnarowicz, Forum des Halles Espace Rencontres, Paris, France 2001 Featured Works VI: David Wojnarowicz: The Elements, Fire and Water, Earth and Wind, Krannert Art Museum, University of Illinois, Urbana-Champaign, IL 1999 Fever: The Art of David Wojnarowicz, New Museum, New York, NY David Wojnarowicz: The Boys Go Off -
SHARON LOCKHART Catalogues and Brochures
SHARON LOCKHART Catalogues and Brochures 2016 Mileaf, Janine. Sharon Lockhart: Rudzienko. Chicago: The Arts Club of Chicago, 2016. Mexico: Essays on a Myth. Bilbao: Iberdrola, 2016. 2015 Sharon Lockhart: Milena Milena. Milan: Silvana Editoriale, 2015. Whitney Museum of American Art: Handbook of the Collection. New York: Whitney Museum of American Art, 2015. Schwartz, Alexandra. Come As You Are: Art of the 1990s. Montclair: Montclair Art Museum, 2015. “The heroine Paint” After Frankenthaler. New York: Gagosian Gallery, 2015. Heyler, Joanne, ed. The Broad Collection. Los Angeles/Munich: The Broad/Prestel Verlag, 2015. 2014 In Context: The Portrait in Contemporary Photographic Practice. New York: Ruth and Elmer Wellin Museum of Art Hamilton College, 2014. 2013 Tormey, Jane. Photographic Realism: Late twentieth-century aesthetics. Manchester: Manchester University Press, 2013. 2012 Baron, Stephanie and Britt Salvesen, ed. Sharon Lockhart | Noa Eshkol, Los Angeles County Museum of Art, Israel Museum of Art, Jerusalem: DelMonico & Prestel, 2012. Little, David E. The Sports Show: Athletics as Image and Spectacle. Minneapolis: Minneapolis Museum of Art, 2012. Armstrong, Elizabeth. MO/RE/RE/AL? Art in the Age of Truthiness. Munich and Minneapolis: Prestel and Minneapolis Institute of Arts, 2012. Regarding Warhol: Sixty Artists Fifty Years. New York: Metropolitan Museum of Art, 2012. 2011 Lunch Break II, Secession and Mildred Lane Kemper Museum, 2011. More American Photographs, CCA Wattis Institute for Contemporary Arts, California College of the Arts, 2011. 2010 Lockhart, Sharon, Jane E. Neidhardt, and Sabine Eckmann. Sharon Lockhart: Lunch Break. St. Louis: Mildred Lane Kemper Art Museum, 2010. 2009 Living Flowers: Ikebana and Contemporary Art. Los Angeles: Japanese American National Museum, 2009. -
Sold … in Cold Cash
BROOKLYN Your Neighborhood – Your News Now Including Park Slope Courier, Carroll Gardens/Cobble Hill Courier, Brooklyn Heights Courier & Williamsburg Courier Mar. 9-15, 2012 SERVING GOWANUS, PARK SLOPE, PROSPECT HEIGHTS, WINDSOR TERRACE, BROOKLYN HEIGHTS, DUMBO, METROTECH, BOERUM HILL, CARROLL GARDENS, COBBLE HILL, RED HOOK, WILLIAMSBURG & GREENPOINT Welcome SPECIAL Free The Boro’s to the coupons ultimate jungle READER to save classified See 24/Seven BONUS you$ cash section Sold … HOOPS in cold ARENA cash BY KATE BRIQUELET Truman Capote has another best seller. The Brooklyn Heights man- BURGER sion where the legend- ary author wrote “Breakfast at Tif- fany’s” sold for $12 million — mak- ing it the most ex- pensive house to change hands in the borough’s history. BOOM A buyer snatched up the stately yellow manse on Willow Street nearly two years after Sotheby’s put it on the market — and two It’s a ground beef groundswell moving trucks from Yonkers were spotted in front of the home on HAMBURGER BY ELI ROSENBERG win over thousands of hungry fans Monday night. It’s not just properties that are expected to hit the neighborhood in Despite the abode’s writerly fl ipping near the soon-to-open Bar- search of game-time grub. trappings, the new buyers say clays Center — it’s patties. No less than fi ve new burger spots they aren’t the kinds of literary Burger joints are bouncing up have opened in the last year within luminaries and art-world scenes- BEEFING UP: 67 Burger’s Ed Tretter shows off a blue cheese and bacon around the nearly completed home of a half mile of the arena — and while ters who frequented Capote’s lav- burger in front of his new arena-friendly location on Flatbush Avenue. -
Active Shooter: Recommendations and Analysis for Risk Mitigation
. James P. O’Neill . Police Commissioner . John J. Miller . Deputy Commissioner of . Intelligence and . Counterterrorism ACTIVE SHOOTER James R. Waters RECOMMENDATIONS AND ANALYSIS Chief of Counterterrorism FOR RISK MITIGATION 2016 EDITION AS RELEASED BY THE NEW YORK CITY POLICE DEPARTMENT TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................................2 EXECUTIVE SUMMARY .................................................................................................................3 RECENT TRENDS ........................................................................................................................6 TRAINING & AWARENESS CHALLENGE RESPONSE .................................................................................... 6 THE TARGETING OF LAW ENFORCEMENT & MILITARY PERSONNEL: IMPLICATIONS FOR PRIVATE SECURITY ........ 7 ATTACKERS INSPIRED BY A RANGE OF IDEOLOGIES PROMOTING VIOLENCE ................................................... 8 SOCIAL MEDIA PROVIDES POTENTIAL INDICATORS, SUPPORTS RESPONSE .................................................... 9 THE POPULARITY OF HANDGUNS, RIFLES, AND BODY ARMOR NECESSITATES SPECIALIZED TRAINING .............. 10 BARRICADE AND HOSTAGE-TAKING REMAIN RARE OCCURRENCES IN ACTIVE SHOOTER EVENTS .................... 10 RECOMMENDATIONS ................................................................................................................11 POLICY .........................................................................................................................................