Douglas Gordon Bibliography
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Anya Gallaccio
ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition, -
Contemporary Art Society Annual Report 1993
THE CONTEMPORARY ART SOCIETY The Annual General Meeting of the Contemporary Art Society will be held on Wednesday 7 September, 1994 at ITN, 200 Gray's Inn Road, London wcix 8xz, at 6.30pm. Agenda 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December 1993, together with the auditors' report. 2. To reappoint Neville Russell as auditors of the Society in accordance with section 384 (1) of the Companies Act 1985 and to authorise the committee to determine their remunera tion for the coming year. 3. To elect to the committee Robert Hopper and Jim Moyes who have been duly nominated. The retiring members are Penelope Govett and Christina Smith. In addition Marina Vaizey and Julian Treuherz have tendered their resignation. 4. Any other business. By order of the committee GEORGE YATES-MERCER Company Secretary 15 August 1994 Company Limited by Guarantee, Registered in London N0.255486, Charities Registration No.2081 y8 The Contemporary Art Society Annual Report & Accounts 1993 PATRON I • REPORT OF THE COMMITTEE Her Majesty Queen Elizabeth The Queen Mother PRESIDENT Nancy Balfour OBE The Committee present their report and the financial of activities and the year end financial position were VICE PRESIDENTS statements for the year ended 31 December 1993. satisfactory and the Committee expect that the present The Lord Croft level of activity will be sustained for the foreseeable future. Edward Dawe STATEMENT OF COMMITTEE'S RESPONSIBILITIES Caryl Hubbard CBE Company law requires the committee to prepare financial RESULTS The Lord McAlpine of West Green statements for each financial year which give a true and The results of the Society for the year ended The Lord Sainsbury of Preston Candover KG fair view of the state of affairs of the company and of the 31 December 1993 are set out in the financial statements on Pauline Vogelpoel MBE profit or loss of the company for that period. -
Translation in the Work of Omer Fast Kelli Bodle Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 (Mis)translation in the work of Omer Fast Kelli Bodle Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Bodle, Kelli, "(Mis)translation in the work of Omer Fast" (2007). LSU Master's Theses. 4069. https://digitalcommons.lsu.edu/gradschool_theses/4069 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. (MIS)TRANSLATION IN THE WORK OF OMER FAST A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Kelli Bodle B.A., Michigan State University, 2002 August 2007 Table of Contents Abstract……...……………………………………………………………………………iii Chapter 1 Documentary and Alienation: Why Omer Fast’s Style Choice and Technique Aid Him in the Creation of a Critical Audience……………………………… 1 2 Postmodern Theory: What Aspects Does Fast Use to Engage Audiences and How Are They Revealed in His Work……………………………………….13 3 Omer Fast as Part of a Media Critique……………………….………………31 4 Artists and Ethics……………….……………………………………………39 5 (Dis)Appearance of Ethics in Omer Fast’s Videos..…………………………53 Bibliography……………………………………………………………………………..64 Vita...……………………………………………………………………………………..69 ii Abstract For the majority of people, video art does not have a major impact on their daily lives. -
Antagonism and Relational Aesthetics Author(S): Claire Bishop Source: October, Vol
Antagonism and Relational Aesthetics Author(s): Claire Bishop Source: October, Vol. 110 (Autumn, 2004), pp. 51-79 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3397557 Accessed: 19/10/2010 19:54 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org Antagonism and Relational Aesthetics CLAIRE BISHOP The Palais de Tokyo On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. -
Douglas Gordon
G A G O S I A N G A L L E R Y Douglas Gordon: portrait of the evolving artist With his sublime new film installation, k.364, Douglas Gordon breaks down the boundaries between video art and portraiture Memorable journey ... Douglas Gordon's k.364, at the Gagosian Gallery, follows two musicians travelling to Warsaw. Photograph: Mike Bruce By Jonathan Jones, 7 March 2011 Douglas Gordon is as profound, serious, imaginative and stylistically bold as anyone could wish an artist to be. He has matured in richer, more surprising ways than any of his contemporaries. He is the best British artist of my generation and I am glad his sublime exhibition now on at London's Gagosian Gallery gives me an opportunity to say so. The powerful qualities of Gordon's art grip you right at the start of this exhibition in a photograph of an arm holding a candle. The candle is lit and has been burning for some time, dripping great grotesque dollops of wax. With a shock, you observe how the hot wax has flowed in rivulets that 6 – 2 4 B R I T A N N I A S T R E E T L O N D O N W C 1 X 9 J D T . 0 2 0 . 7 2 9 2 . 8 2 2 2 F . 0 2 0 . 7 2 9 2 . 8 2 2 0 L O N D O N @ G A G O S I A N . C O M W W W . G A G O S I A N . -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
Cómo Citar El Artículo Número Completo Más Información Del
Revista de Estudios de la Administración Local y Autonómica ISSN: 1989-8975 Instituto Nacional de Administración Pública (INAP) Forte, Pierpaolo Breves consideraciones sobre la adquisición de obras de arte en la regulación europea de los contratos públicos Revista de Estudios de la Administración Local y Autonómica, núm. 8, 2017, Noviembre-Abril, pp. 97-115 Instituto Nacional de Administración Pública (INAP) DOI: 10.24965/reala.v0i8.10436 Disponible en: http://www.redalyc.org/articulo.oa?id=576462577005 Cómo citar el artículo Número completo Sistema de Información Científica Redalyc Más información del artículo Red de Revistas Científicas de América Latina y el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Recibido: 22-06-2017 Aceptado: 09-10-2017 DOI: 10.24965/reala.v0i8.10436 Breves consideraciones sobre la adquisición de obras de arte en la regulación europea de los contratos públicos Brief considerations on the acquisition of works of art in the European regulation of public contracts Pierpaolo Forte Università degli studi del Sannio [email protected] RESUMEN La obra, renunciando a una definición precisa de arte, reconoce que hay objetos de arte y objetos culturales, que, propiamente en esa capacidad, son relevantes también en términos legales, y trata de avanzar algunas reflexiones sobre la relevancia del arte en relación con la disciplina europea de contratos públicos y, en particular, con lo que puede deducirse de la Directiva 2014/24/UE, que puede entenderse como una especie de signo cultural capaz de ofrecer indicaciones sobre cómo se percibe el arte en Europa, también en términos políticos, en esta fase histórica. -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
A Dissertation Submitted to the Faculty of Humanities And
Temporality and the Evocation of Fear and Unease in Selected Video Installations Patricia Driscoll A dissertation submitted to the Faculty of Humanities and Social Sciences, University of Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Masters of Arts in Fine Arts by Dissertation. Johannesburg, 2012 Declaration: I declare that this dissertation is my own unaided work. It is submitted for the degree of Master of Arts in Fine Arts in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. _________________________ Patricia Driscoll __________ day of _________, 2012 ii Abstract: In this research I explore the evocation of fear and unease in selected video installations and how time impacts upon such evocation. For this purpose I consider the works of selected contemporary artists who deal directly with a form of time-based hyper-awareness linked to the experience of trauma, fear and panic. Amongst others, I discuss selected video artworks by Douglas Gordon, Ed Atkins, and South African artists William Kentridge, Kendell Geers and Berni Searle. I examine how such artworks engage with the expansion and collapse of time and experiences of being stuck or being absorbed in a significant moment. In undertaking this research I closely examine the mediums of film and video as well as contexts and the installation formats in which they are presented. I explore similar aspects of evoking unease in my own video installation titled Night-light and the supporting video work submitted for this degree. My previous creative experience has been in still photography in which I had become interested in exploring the capturing of time and movement and imparting an immersive temporal dimension or an extended moment in time in the still image. -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
EINLADUNG INVITATION Attractions Onoffer Outside Kubonkarl-Tizian-Platz
EINLADUNG INVITATION Invitation GEZÄHMT UNGEZÄHMT We would like to cordially invite you and your friends to attend the official ceremony in the neighboring Vorarlberger Landestheater, on the occasion of the 20th anni ver sary of Kunsthaus Bregenz, on Saturday, July 15, 2017, at 7 pm. Throughout the weekend of July 15 to 16, 2017, free admission to KUB and free short guided tours will enable you to experience Adrián Villar Rojas’ ex- hibition “The Theater of Disappearance.” Guests will also have the opportunity of enjoying the catering, prize competition, music, dance, and other spectacular attractions on offer outside KUB on Karl-Tizian-Platz. Adrián Villar Rojas’ exhibition will transport visitors to spaces full of experiences that could hardly be any more impressive. Rather than merely looking at art, you will find yourself being immersed in it. A monumental Piero della Francesca painting covers the ground floor. Stone slabs from Morocco have been laid and plants from the Far East arranged on the floors above it. A fire flickers in front of gigantic paintings, the two floors darkened in a cavernous bunker-like atmosphere. On the third floor the legs of Michelangelo’s “David” rise in a hall of reflecting light. The exhibition is worthy of an anniversary. Kunsthaus Bregenz, which is 20 years old in the summer, is able to look back upon a story of success. The list of artists who have exhibited at KUB reads like a “Who’s 2007 BREGENZ, KUNSTHAUS KOONS, JEFF © Who” of contemporary art. Many of the exhibitions, indeed the majority, have undoubtedly become part of recent art history. -
Dead Zone Back to the Beach I Scored! the 250 Greatest
Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ ��������������������������