This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
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Restoring Subjectivity and Brazilian Identity: Lygia Clark's Therapeutic
Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Eleanor R. Harper June 2010 © 2010 Eleanor R. Harper. All Rights Reserved. 2 This thesis titled Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice by ELEANOR R. HARPER has been approved for the School of Art and the College of Fine Arts by Jaleh Mansoor Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT HARPER, ELEANOR R., M.A., June 2010, Art History Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice (125 pp.) Director of Thesis: Jaleh Mansoor This thesis examines the oeuvre of Brazilian artist Lygia Clark (1920-1988) with respect to her progressive interest in and inclusion of the viewing subject within the work of art. Responding to the legacy of Portuguese occupation in her home of Brazil, Clark sought out an art that embraced the viewing subject and contributed to their sense of subjectivity. Challenging traditional models of perception, participation, and objecthood, Clark created objects that exceeded the bounds of the autonomous transcendental picture plane. By fracturing the surfaces of her paintings, creating objects that possess an interior and exterior, and by requiring her participants to physically manipulate her work, Clark demonstrated an alternative model of the art object and experience. These experiments took her into the realm of therapy under the influence of psychoanalyst D. W. Winnicott’s work. -
DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION from PICTURES to OBJECTS Monica Amor
REVIEW ARTICLE Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION FROM PICTURES TO OBJECTS monica amor suárez, osbel. cold america: geometric abstraction in latin america (1934–1973). exhibition presented by the Fundación Juan march, madrid, Feb 11–may 15, 2011. crispiani, alejandro. Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970]. buenos aires: universidad nacional de Quilmes, 2011. The literature on what is generally called Latin American Geometric Abstraction has grown so rapidly in the past few years, there is no doubt that the moment calls for some refl ection. The fi eld has been enriched by publications devoted to Geometric Abstraction in Uruguay (mainly on Joaquín Torres García and his School of the South), Argentina (Concrete Invention Association of Art and Madí), Brazil (Concretism and Neoconcretism), and Venezuela (Geometric Abstraction and Kinetic Art). The bulk of the writing on these movements, and on a cadre of well-established artists, has been published in exhibition catalogs and not in academic monographs, marking the coincidence of this trend with the consolidation of major private collections and the steady increase in auction house prices. Indeed, exhibitions of what we can broadly term Latin American © 2014 ARTMargins and the Massachusetts Institute -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
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. -
Venice's Giardini Della Biennale and the Geopolitics of Architecture
FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012). -
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 -
Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P
contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione. -
The City University of New York Committee on Academic Policy, Programs and Research
THE CITY UNIVERSITY OF NEW YORK COMMITTEE ON ACADEMIC POLICY, PROGRAMS AND RESEARCH AGENDA April 6, 2017 I. Action Items A. Approval of the minutes of the February 6, 2017 meeting B. Policy Calendar 1. Brooklyn College – MM in Global and Contemporary Jazz 2. Medgar Evers College – Establishment of the Department of Social Work 3. Brooklyn College – Resolution to Award an Honorary Degree at the College’s Commencement a) Bernard Sanders – US Senator representing the state of Vermont Degree: Doctor of Humane Letters 4. Hunter College – Resolution to Award an Honorary Degree at the College’s Commencement a) Arthur Elgort ’64 – Influential fashion photographer Degree: Doctor of Fine Arts 5. CUNY School of Law - Resolution to Award an Honorary Degree at the School’s Commencement a) Sherrilyn Ifill – President and Director – NAACP – Legal Defense and Education Fund Degree: Doctor of Law 6. The College of Staten Island - Resolution to Award Honorary Degrees at the College’s Commencement a) Margaret Ricciardi ’86 – Artist and benefactor Degree: Doctor of Arts b) Andy Shih, Senior Vice President, Public Health and Inclusion at Autism Speaks, NY Degree: Doctor of Science c) Deidre DeAngelis, Principal of New Dorp High School Degree: Doctor of Humane Letters d) Peter and Robin Jovanovich, College Benefactors Degree: Doctor of Humane Letters 7. CUNY Graduate School of Public Health and Health Policy - Resolution to Award an Honorary Degree at the School’s Commencement a) Chirlane McCray, First Lady of New York City and Mental Health Advocate Degree: Doctor of Science 8. Graduate School and University Center - Resolution to Award Honorary Degrees at the School’s Commencement a) Vanita Gupta, former Principal US Deputy Assistant Attorney General Degree: Doctor of Humane Letters b) Wael Shawky, artist Degree: Doctor of Humane Letters c) Lord Nicholas Stern, Chair of the Grantham Research Institute on Climate Change and the Environment Degree: Doctor of Humane Letters 9. -
Info Fair Resources
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From Point to Pixel: a Genealogy of Digital Aesthetics by Meredith Anne Hoy
From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, co-chair Professor Jeffrey Skoller, co-chair Professor Warren Sack Professor Abigail DeKosnik Professor Kristen Whissel Spring 2010 Copyright 2010 by Hoy, Meredith All rights reserved. Abstract From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital “look” about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated landscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of “being digital,” but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making. -
Danh Vō Bà Rja, Vietnam, 1975 Lives and Works in Berlin, Germany
kurimanzutto danh vō Bà Rja, Vietnam, 1975 lives and works in Berlin, Germany education & residencies 2013 Villa Medici Artist Residency, Rome. 2009 Kadist Art Foundation Residency, Paris. 2006 Villa Aurora Artist Residency, Los Angeles. 2002–2004 Städelschule, Frankfurt. 2000–2001 Royal Academy of Fine Arts, Copenhagen. grants & awards 2015 Arken Art Prize, Denmark. 2012 Hugo Boss Prize awarded by the Solomon R. Guggenheim Foundation, United States. 2009 Nominee for the Nationalgalerie Prize for Young Art, Germany. 2007 BlauOrange Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Germany. solo exhibitions 2020 Danh Vo. Wising Art Place Atelier, Taipei, Taiwan. Danh Vo oV hnaD. The National Museum of Art, Osaka, Japan. Danh Vo Presents. The Nivaagaard Collection, Denmark. Chicxulub. White Cube Bermondsey, London. 2019 The Mudam Collection and Pinault Collection in dialogue. Mudam, Luxemburg. Dahn Vo: Untitled. South London Gallery. kurimanzutto To Each his Due. Take Ninagawa, Tokyo. We The People. Media Gallery, New York. Danh Vo. kurimanzutto, Mexico. Danh Vo. Cathedral Block Prayer Stage Gun Stock. Marian Goodman, London. 2018 Garden with Pigeons at Flight. Estancia FEMSA – Casa Luis Barragán, Mexico City. Take My Breath Away. Guggenheim Museum, New York. Noguchi for Danh Vo: counterpoint. M+ Pavilion, West Kowloon, Hong Kong. Take My Breath Away, SMK, Copenhagen. Danh Vo. Musée d’art contemporain de Bordeaux, France. 2017 Ng Teng Fong Roof Garden Commission, National Gallery, Singapore. 2016 We the People. Aspen Art Museum, United States. Ng Teng Fong Roof Garden Commission: Danh Vo. National Gallery Singapore. Danh Vo. White Cube, Hong Kong. 2015 Destierra a los sin rostro / Premia tu gracia (Banish the Faceless / Reward your Grace).