Vision San Francisco Art and Food #6
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Electric Mirror: Reflecting on Video Art in the 1970S
Robyn Farrell The Electric Mirror: Reflecting on Video Art in the 1970s In 1978, artist and filmmaker Lynn to say that television was the sole The desire to experiment with the Hershman Leeson wrote that, “Much antecedent of video art, but rather electronic and visual capabilities of the urgency and inspiration of art a critical relative to the developing of television dates back to 1963 video emanates from various types of medium. Representing the first with Nam June Paik’s first televisual commercial television broadcasting.”1 generation that grew up with television, manipulation in The Exposition of Included in Gregory Battock’s the artists included in this program Electronic Music-Electronic Television critical anthology, New Artists Video, were keenly aware of a viewer’s social at Galerie Parnass in Wuppertal, West Hershman Leeson’s essay “Reflections and psychological experience while Germany. Paik’s motivation to utilize on the Electric Mirror” identified TV watching TV. Their collective works the monitor and screen as a means genres that influenced video artists, encompass the interests of this “TV to assault the image provided the and declared video as “a manifestation generation,” and at the same time, the aesthetic framework for practitioners of contemporary art.”2 She went on post-war, post-pop proclivities of a in the following decade. Works in to describe video as “the extracted changing art landscape that ranged this program operate in this vein, film of television,” and pointed to the from minimal representation and illustrating how one could change a relations between the nascent medium captured action, to technophilic inquiry viewer’s perception through video and television as inextricably linked, and appropriation. -
Against Rigour in Art a Review of Landscape: the Virtual, the Actual, the Possible? Yerba Buena Center for the Arts, San Francisco October 24, 2014–January 25, 2015
Brian Karl Against Rigour in Art A Review of Landscape: the virtual, the actual, the possible? Yerba Buena Center for the Arts, San Francisco October 24, 2014–January 25, 2015 “A lady visited Matisse in his studio. Inspecting one of his latest works, she unwisely said, ‘But surely the arm of this woman is much too long.’ ‘Madame,’ the artist politely replied, ‘You are mistaken. This is not a woman, this is a picture.’” –Stelarc, “Prosthetic Head: Intelligence, Awareness and Agency,” interview with the Prosthetic Head, an artificial linguistic entity1 n the paragraph-long story “On Rigor in Science,” Jorge Luis Borges takes up a conceit from Lewis Carroll’s fnal novel, Sylvie and Bruno, Ifrst published in 1889: The proposal to expand the scale of map- making to align one-to-one to the areas that each map is meant to represent. In Carroll’s telling, some closer-to-the-earth farmers scuttle the project when they point out how such a map would kill all crops by blocking out the sun. In Borges’s telling, however, the fanciful notion went forward as the ne plus ultra or ad absurdum of representation, only to be abandoned after completion, left to decay through exposure, open to the elements by those next generations “not so fond of the study of Cartography” and who realized that the all-encompassing maps were “Useless” and “not without some Pitilessness.”2 The exhibition Landscape: the virtual, the actual, the possible? at Yerba Buena Center for the Arts, San Francisco, featured work by a group of twenty-one artists working in a broad assortment of approaches and media and engaging with different thematics of representation, hovering around a focus—or, rather, foci—on different ideas of landscape, nature, and environment. -
Department of Film and Video Archive
Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers. -
La Mamelle and the Pic
1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson -
State of Mind: New California Art Circa 1970 from Acclaimed “Pacific Standard Time” Exhibition Series Comes to the Bronx Museum of the Arts
State of Mind: New California Art circa 1970 from Acclaimed “Pacific Standard Time” Exhibition Series Comes to The Bronx Museum of the Arts Museum is Only East Coast Venue to Present Exhibition Illustrating Broad Impact “California Conceptualism” Continues to Have on Contemporary Art Bronx, NY, April 11, 2013 – This June, The Bronx Museum of the Arts will become the only East Coast venue to present State of Mind: New California Art circa 1970, an exhibition which explores the emergence of conceptual art in California in the 1960s and 70s. The exhibition was developed as part of the Getty Foundation’s collaborative exhibition series, “Pacific Standard Time,” and will feature 150 works by 60 artists in a range of media. Each of the artists featured in the exhibition—including Chris Burden, Lynn Hershman, Linda Mary Montano, Martha Rosler, Allen Ruppersberg, and Ed Ruscha—played a seminal role in the emergence of “California Conceptualism.” Marked by its radical forms and ideas, the new art movement permeated the country in the 60s and 70s and has continued to influence artists since its inception. Works in the exhibition exemplify the unrestricted style of the era, when art was produced for alternative audiences and outside of artists’ studios—in the streets, at artist-run galleries, and in other non-traditional spaces. State of Mind features video, film, photography, installation, artist's books, drawings, and extensive performance documentation and ephemera. The exhibition’s tour is organized by Independent Curators International (ICI) and will be on view at The Bronx Museum from June 22 – September 8, 2013. -
11757.Intro.Pdf
Introduction I first met David Ireland in 1975. it was during that year that he purchased his 500 Capp street home in san francisco’s Mission District while i was simulta- neously at work renovating a commercial building in the city’s south of Market street district. Cheap real estate was abundant at the time, and a year earlier i had purchased the Coast Casket Company while it was in its last throes of business. thereafter, artist Jim Pomeroy and i each set to building out our respective live- in studio lofts on the old brick warehouse’s second floor, while below us the first floor of 80 langton street was also being renovated and soon opened as a vibrant alternative artists’ space that we and others helped to cofound. it later became new langton arts, which remained a vital space for exhibitions and events until it closed in 2009. Many of us artists living in san francisco during the 1970s possessed the tools and hand skills needed to undertake such renovation projects, most of which were correctly wired, plumbed, and constructed, but seldom undertaken with proper building permits. nobody had much money back then, and hence we often relied on each other for good advice and swaps of labor and materials. i remember becoming aware of David ireland’s considerable skills with tools and materials when tom Marioni commissioned him to sensitively restore a wall that had been altered during a performance within the Museum of Conceptual art (MoCa). tom had opened MoCa in 1970, and it was yet another young south of Market arts institution that was greatly enlivening a growing community of artists who were busily working across multiple creative disciplines and media with utter comfort and curiosity. -
Tom Marioni Papers, 1970-2017, in the Archives of American Art
A Finding Aid to the Tom Marioni Papers, 1970-2017, in the Archives of American Art Christopher DeMairo The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee. 2021 March 2 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 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Address and Appointment Books, circa 1970-2011.................................. 4 Series 2: Guest Books, 1991-2017......................................................................... -
'State of Mind: New California Art Circa 1970' at the Bronx Museum Of
‘State of Mind: New California Art Circa 1970’ at the Bronx Museum of the Arts MAIKA POLLACK In the late 1960s and early 1970s, California was a contemporary-art backwater. Without a strong gallery system, work wasn’t likely to sell, and fine art existed in Hollywood’s shadow. Art professors and MFA students are always underdogs compared with the entertainment industry, but those on the West Coast—“snotty surfer upstarts,” as one artist put it—were considered even more so, by dint of the fact that they weren’t in New York. The best works in this exhibition curated by Constance Lewallen and Karen Moss take advantage of that outsider position, making use of art’s ability to conjure or invent new meanings and contexts. The standout piece is Allen Ruppersberg’s Al’s Grand Hotel (1971). Stationery announces that you can rent rooms in “The grand hotel,” a fictional/real hotel-as-art-project. Life-size http://galleristny.com/2013/07/state-of-mind-new-california-art-circa-1970-at- the-bronx-museum-of-the-arts/ cutouts show the artist as a shirtless cowboy—a kind of counterculture maître-d’—flashing a peace sign. A soundtrack of country songs played by Terry Allen on the opening night of the hotel event (from a 2011 LP) is paired with a guest book. That the whole thing takes place within the framework of art-making complicates the endeavor, blurring the line between doomed business, party, happening and savvy cultural capital- producing endeavor. Installation view. (Photo by David Familian/Bronx Museum of the Arts) Paul Kos, a Bay Area conceptual artist, has perhaps the second-coolest piece, Sound of Ice Melting (1970), with eight boom mikes, cables and speakers, and a Yamaha mixer all hooked up to a puddle of water (which presumably had once been a block of ice). -
Course Schedule
Printed on: Apr 8, 2020 at 1:54 PM Course Schedule Undergraduate : Spring 2016 : Art and Technology Course Schedule AT-100-01 Introduction to Art and Technology Credits: 3 Lasse Scherffig Tu Th 9:00AM - 11:45AM Room: 25 This course is an introduction to the practices and theoretical approaches used to produce the content and structure of art and technology; the relations between space, place and identity, as well as the ways in which these relations and their practices are produced in a range of media. Students explore the forces that shape the authority of technology in society from concepts of identity, democracy, and privacy, to the impact of technology on entertainment, economics and politics. Student projects include creative and critical project-based forms of practice completed at staged skill and conceptual levels of a gradually increased complexity. FALL ONLY. Prerequisite: none Satisfies: Introduction to Art &Technology I, Art &Technology Elective, Studio Elective, Media Breadth AT-109-01 Concepts and Tools for Artful Apps Intervention With Everyday Things Credits: 3 Chris Kubick M W 4:15PM - 7:00PM Room: 25 M W 4:15PM - 7:00PM Room: DMS2 As smartphones and tablets have become ubiquitous, these portable, location-aware, touch-screen multimedia devices and their applications are changing the way we consume, create, explore, and experience art. What's more, these apps are changing the way we live, by accelerating social interaction, challenging accepted notions of public vs. private space, informing and enabling political activism, and giving us new means to document and share our lives. As these new ways of life become more and more mundane, artists step into the breach, asking us to re-imagine the possibilities presented by these digital devices and their apps. -
Performance Art Context R
Literature: Literature: (...continued) Literature: Literature: Literature: (... continued) Literature: Literature: (... continued) Literature: Kunstf. Bd.137 / Atlas der Künstlerreisen Literature: (...continued) Literature: (... continued) Richard Kostelnatz / The Theater of Crossings (catalogue) E. Jappe / Performance Ritual Prozeß Walking through society (yearbook) ! Judith Butler !! / Bodies That Matter Victoria Best & Peter Collier (Ed.) / article: Kultur als Handlung Kunstf. Bd.136 / Ästhetik des Reisens Butoh – Die Rebellion des Körpers PERFORMANCE ART CONTEXT R. Shusterman / Kunst leben – Die Ästhetik Mixed Means. An Introduction to Zeitspielräume. Performance Musik On Ritual (Performance Research) Eugenio Barber (anthropological view) Performative Acts and Gender Constitution Powerful Bodies – Performance in French Gertrude Koch Zeit – Die vierte Dimension in der (Kazuo Ohno, Carlotta Ikeda, Tatsumi des Pragmatismus Happenings, Kinetic Environments ... ! Ästhetik / Daniel Charles Richard Schechner / Future of Ritual Camille Camillieri (athropolog. view; (article 1988!) / Judith Butler Cultural Studies !! Mieke Bal (lecture) / Performance and Mary Ann Doane / Film and the bildenden Kunst Hijikata, Min Tanaka, Anzu Furukawa, Performative Approaches in Art and Science Using the Example of "Performance Art" R. Koberg / Die Kunst des Gehens Mitsutaka Ishi, Testuro Tamura, Musical Performance (book) Stan Godlovitch Kunstforum Bd. 34 / Plastik als important for Patrice Pavis) Performativity and Performance (book) ! Geoffrey Leech / Principles -
Terry Fox Lita Albuquerque Stefan Simchowitz Math Bass CROWN POINT PRESS TOMMA ABTS FOUR NEW ETCHINGS SEPTEMBER 4-OCTOBER 27, 2015
Volume 2 | Issue 2 // Free Terry Fox Lita Albuquerque Stefan Simchowitz Math Bass CROWN POINT PRESS TOMMA ABTS FOUR NEW ETCHINGS SEPTEMBER 4-OCTOBER 27, 2015 Sam Lewitt is in one gallery, Frances Scholz & Mark von Schlegell are in the other gallery, & Andrea Fraser on mind.* CONCINNITAS A portfolio of ten aquatints by scientists and mathematicians. Published by Parasol Press and printed by Harlan & Weaver. On view in the Crown Point Press Gallery through October 27, 2015. Join us for a panel discussion October 8, 6-8 PM. Seating limited. Crown Point Press 20 Hawthorne San Francisco CA 94105 415-974-6273 crownpoint.com WWW.WATTIS.ORG 9.10/2015 – 11.21/2015 CALIFORNIA COLLEGE OF THE ARTS Represented by Rena Bransten Projects 1639 Market St. San Francisco, CA 94103 415.982.3292 www.renabranstengallery.com Tuesday-Friday 11am-5pm / Saturday 11am-4pm Alejandro Almanza Pereda Change the world or go home DIEGO RIVERA GALLERY | Through December 12 Everything but the kitchen sank WALTER AND McBEAN GALLERIES | Through October 3 Almanza is the 2015 recipient of The Harker Award for Interdisciplinary Studies, which supports artists-in-residence at San Francisco Art Institute. The Harker Award was established through a generous bequest by artist and SFAI faculty member Ann Chamberlain and is administered by the San Francisco Foundation. 800 Chestnut Street San Francisco, CA 94133 SFAI.EDU/ALEJANDROALMANZA Publisher & Editor in Chief SFAQ Features Andrew McClintock Managing Editor (Print and Online) Terry Fox Peter Cochrane In Conversation With Terri -
State of Mind: New California Art Circa 1970
November 13, 2013 State of Mind: New California Art Circa 1970 Una DimitriJevic State of Mind: New California Art Circa 1970 3 October 2013 – 12 January 2014 Smart Museum of Art, Chicago Review by Una DimitriJevic of Brave New Art World Organised as part of the landmark Pacific Standard Time initiative by the University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA), and the Orange County Museum of Art,’ State of Mind: New California Art Circa 1970’ is the first in-depth survey of conceptual art from California. Unlike their counterparts on the East coast, these Californian artists (whose collective output is represented here through more than 150 works by 60 artists and collectives) developed their ideas http://www.thisistomorrow.info/viewArticle.aspx?artId=2128 far from the highly monetised art-world and did not hesitate to confront questions about art-making and the role of artists with a good dose of humour. Their focus was on ideas and the artistic process, with the end-product itself seen as a secondary affair, a documentary relic. This was coupled with a desire to circumvent the traditional system of displaying and selling art. As such, much of the art produced by the California conceptualists consisted of happenings, public interventions and performances which are by their very nature ephemeral and irreproducible. All that can be represented in a gallery space is documentation of their occurrence: mainly video and photography, as well as the occasional scathing news article such as 'Conceptual Art – Just what is it?' from a 1971 edition of the Chronicle.