Robin Tewes Education: 2012
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Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Grace Graupe-Pillard & Robin Tewes
“EXPOSED” Grace Graupe-Pillard & Robin Tewes A Duo Exhibition Curated by Indira Cesarine OPENING RECEPTION: September 26, 2019 6pm – 8pm EXHIBITION ON VIEW: September 24 – October 12, 2019 THE UNTITLED SPACE 45 Lispenard Street, NYC 10013 “EXPOSED” Artwork, left: Grace Graupe-Pillard, “Guerrilla Girl/Alice Neel,” 2018, Right: Robin Tewes, “Makeout Party Part 1,” 2013 The Untitled Space is pleased to present duo exhibition, “EXPOSED” featuring works by artists Grace Graupe Pillard and Robin Tewes. Curated by gallery director Indira Cesarine, the exhibit will open on September 24th, with an artist reception on September 26th, 2019 and will be on view through October 12th, 2019. Practicing since the 1970’s and 80s, pioneering feminist artists Grace Graupe-Pillard and Robin Tewes have very different artistic styles, yet both have explored through their works over the last several decades portraits of contemporary America, depicting individuals and environments that resonate with our collective conscious as familiar, recognizable and yet unconventional. Duo exhibition, “EXPOSED” presents their unique female perspective on this universe with works that inspire an ongoing dialogue and challenge the outdated notions of men and women's conventional roles. Their signature styles reveal portraits that address a shift in consciousness by examining the way we perceive one another. Voyeuristic themes have consistently inspired both artists, yet their individual styles approach it conceptually from unique angles. Exhibition “EXPOSED,” through a selection of recent as well as historical works by both artists, reflects on the fragility of being human, and reveals a vision of our culture that is at once subtle yet a remarkable reminder of the struggles faced in these challenging and changing times. -
Tesis Doctoral
Lo punk como referencia expresiva en determinada pintura contemporánea occidental Lo punk como referencia expresiva en determinada pintura contemporánea occidental Janire Sagasti Ruiz Directores: Adolfo Ramírez-Escudero Prado Daniel Rodríguez Vázquez Departamento De Pintura (cc)2018 JANIRE SAGASTI RUIZ (cc by-sa 4.0) Diseño de cubierta, composición y maquetación: Unai Basabe. “Quiero agradecer a Detritus Aramburu su tiempo y sus palabras. A Adirane Azkuenaga sus fotos y amabilidad. A David su sabiduría y apasionamiento por todo lo relacionado con el Punk. Y muy especialmente, agradecer a mi amigo Unai su eterna ayuda incondicional ahora y siempre” ÍNDICE 1. INTRODUCCIÓN A LA TESIS. 17 1.1. Las motivaciones. 17 1.2. Los objetivos y su desarrollo temático. 22 1.3. Metodología y origen del punto de vista desde el que partimos. 34 1.4. Hipótesis. 36 2. EL PUNK: UNA VISIÓN NEGADORA. 41 2.1. La doctrina del inconformismo: el Punk. La actitud. 42 2.1.1. Introducción: de la contracultura underground al Punk. 43 2.1.2. El estallido Punk. 50 2.1.3. El esplendor de 1980. 62 2.2. “¡Sentir que existimos!” El pensamiento. 77 2.2.1. Del pensamiento romántico al Punk. 78 2.2.2. El individualismo como proclama: el nihilismo y lo dionisíaco. 86 2.2.3. Acercamiento al concepto “pasión”. 92 2.3. La negatividad. 100 2.3.1. Lo feo. 104 2.3.2. Lo siniestro. 113 2.3.3. Lo cruel. 119 2.3.4. Lo violento. 124 2.3.5. Lo perverso. 128 2.3.6. Lo Punk. 135 2.4. -
520 EAST 11TH STREET Between Avenues a and B EAST VILLAGE MANHATTAN | NY EAST 23RD STREET EAST 23RD STREET
450 SF Available for Lease STREET RETAIL/MEDICAL/OFFICE/RESTAURANT 520 EAST 11TH STREET Between Avenues A and B EAST VILLAGE MANHATTAN | NY EAST 23RD STREET EAST 23RD STREET Sally East Spa Side Cafe Gracefully Market Cork Wine & Spirit Gramercy Food Market Synergy Fitness Lucky Chicken EAST 22ND STREET Sona Nails SECOND AVENUE SECOND 8th Wonder Juice Bar Frank’s Trattoria AVENUE FIRST PETER COOPER Malt & Mold VILLAGE PATIENT FIRST MEDICAL CARE 21 RESIDENTIAL BUILDINGS 2,493 APARTMENTS EAST 21ST STREET Bank of America ATM Tal Bagel PETER’S Bangkok 2 FIELD Thai Restaurant Sweet Olive Grocery EAST 20TH STREET EAST 20TH STREET Hane Sushi SECOND AVENUE SECOND Cooper Town Diner FIRST AVENUE FIRST Ibiza Kids AUGUSTUS Cauz for Pawz ST. GAUDEN’S PLAYGROUND EAST 19TH STREET Complete Orthopedic Services Taco Bell Cantina Gracefully Market Gramercy Park Bar Ponce De Leon Federal Bank 20TH STREET LOOP Posto EAST 18TH STREET SECOND AVENUE SECOND FIRST AVENUE FIRST NYU HOSPITAL FOR JOINT DISEASES CENTER FOR CHILDREN H H LOOP AVENUE FIRST STUYVESANT C LOOP AVENUE EAST 17TH STREET TOWN 35 RESIDENTIAL BUILDINGS H 8,757 APARTMENTS STUYVESANT SQUARE Esquire Pharmacy SECOND AVENUE SECOND FIRST AVENUE FIRST Chameleon Nails David’s Bagels A’s Organic Cleaners 14TH STREET LOOP H Bagel Boss Asium Thai Cuisine EAST 15TH STREET Urban Maid Green Stuyvesant Town Leasing Oice The Madame Marcos Halal Shoe EspressoAREABarber RETAILCommunity Guys Repair Shop Ohanlon’s Grocery Joes Parks Eyes Custom Crocodile Hair Daily Papaya Upholstery on 14 Tailors Lounge Trendz Juice -
Spunky Rooms
spunky rooms Robin Tewes Headbones Gallery - The Drawers Contemporary Drawings and Works on Paper spunky rooms Robin Tewes & Aleks Bartosik November 13 - December 7, 2009 Artist Catalog: Spunky Rooms - Aleks Bartosik & Robin Tewes Copyright © 2009, Headbones Gallery This catalog was created for the two person exhibition of Spunky Rooms at Headbones Gallery, The Drawers November 13th - December 7th, 2009 Catalogue Essay - Dark Karma: Uncensored Thoughts on the Art of Aleks Bartosik Copyright © 2009, James D. Campbell Artwork Copyright © 2003 - 2009, Aleks Bartosik Catalogue Essay - Peeping Tomasina: Ruminating on the Concealment of Robin Tewes Copyright © 2009, Julie Oakes Artwork Copyright © 1991 - 2006, Robin Tewes Rich Fog Micro Publishing, printed in Toronto, 2009 All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 copyright act or in writing from Headbones Gallery. Requests for permission to use these images should be addressed in writing to [email protected]. www.headbonesgallery.com Aleks Bartosik Cover Image: Ice Maiden, Venus #8 Robin Tewes Cover Image: Pink on Pink ISBN: 978-1-926605-20-3 spunky rooms Robin Tewes Essay by Julie Oakes this picture of normality are on level ground. This is what it is like, she insists. It is this beige, monoto- nous, decorous domesticity that is making women less than they can be. Tewes speaks of a loss of human potential that happens in the modern codification of style. -
Oral History Interview with Claudia Demonte, 1991 February 13- April 24
Oral history interview with Claudia DeMonte, 1991 February 13- April 24 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Claudia DeMonte on February 13 & 27 and April 24, 1991. The interview took place in College Park, Maryland, and was conducted by Liza Kirwin for the Archives of American Art, Smithsonian Institution. Interview LIZA KIRWIN: This is Liza Kirwin interviewing Claudia DeMonte for the Archives of American Art, February l3, l99l -- Ash Wednesday -- CLAUDIA DEMONTE: Yes! LIZA KIRWIN: -- a day to think about your immortality and maybe a good day to reflect on the past. I thought we'd just lead off with a question about your childhood. What were some of your early memories? CLAUDIA DEMONTE: I grew up in a very ethnic neighborhood in Queens called Astoria, where my mother still lives, which I love and am very proud of, and I grew up thinking I was rich. If I took you to where I grew up, you'd be shocked that I ever thought that, but we lived in this little apartment building next to an empty lot, next to a huge school building. No one spoke the same language. My grandparents came from Europe and everybody's grandparents there came from Europe and everybody was kind of aiming to become middle class -- Queens is very middle class. -
Occupation Culture Art & Squatting in the City from Below
Minor Compositions Open Access Statement – Please Read This book is open access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. All Minor Compositions publications are placed for free, in their entirety, on the web. This is because the free and autonomous sharing of knowledges and experiences is important, especially at a time when the restructuring and increased centralization of book distribution makes it difficult (and expensive) to distribute radical texts effectively. The free posting of these texts does not mean that the necessary energy and labor to produce them is no longer there. One can think of buying physical copies not as the purchase of commodities, but as a form of support or solidarity for an approach to knowledge production and engaged research (particularly when purchasing directly from the publisher). The open access nature of this publication means that you can: • read and store this document free of charge • distribute it for personal use free of charge • print sections of the work for personal use • read or perform parts of the work in a context where no financial transactions take place However, it is against the purposes of Minor Compositions open access approach to: • gain financially from the work • sell the work or seek monies in relation to the distribution of the work • use the work in any commercial activity of any kind • profit a third party indirectly via use or distribution of the work • distribute in or through a commercial body (with the exception of academic usage within educational institutions) The intent of Minor Compositions as a project is that any surpluses generated from the use of collectively produced literature are intended to return to further the development and production of further publications and writing: that which comes from the commons will be used to keep cultivating those commons. -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
Kevin Larmee·S Impressionis Tic Subway Scenes Are from the Expressionistic
JULY 9 - SEPTEMBER 27, 1986 THE FINE ARTS CENTER AR~ GALLERY STATE UNIVERSITY OF NEW YORK AT STONY BROOK INTRODUCTION ACKNOWLEDGMENTS As real estate prices 1n SoHo have continued to soar. I would like to express my gratitude to the eight New York's East Village - from Houston Street to 14th ariists and to the collectors and galleries who have Street and trom Second Avenue to the East River - has emerged as the home. workplace. and marketplace of generously agreed to participate in this exhibition. In hundreds of aspiring young artists who have begun to make their voices heard over the past several years. That particular. I want to thank Jonas and Pamela Aarons; some of the galleries fining the crowded streets of the East Martin Hason. Allyson Marks. and Bruce Polin. Village are less than elegant m appearance is a reflection not only of the tough urban sens1b11illes of the arllsts whose Avenue B Gallery; Elaine Terner Cooper; Harriet and works are displayed therein but of the low-rent origins of Lester Lipton; Gracie Mansion. Sur Rodney. and Eva the Manhattan neighborhood itself. Lundsager. Gracie Mansion Gallery; A.G. Rosen; Despite the many gencraflhes that have been wrillen about the blossoming East Village scene 1n recent years. II Barry Blinderman and Karen Brown. Semaphore would be wrong to assume that the various arllsts who live Gallery: Annie Herron. Semaphore East Gallery; and and work in the neighborhood comprise a single "school" of arllsllc expression. As any survey of these various arllsts Deborah Sharpe and Katherine Chapin. Sharpe and their works should make abundanlly clear. -
MARTIN WONG B
MARTIN WONG b. 1946, Portland, OR d. 1999, San Francisco, CA EDUCATION 1970 BA, Humboldt State University, Arcata, CA SOLO EXHIBITIONS 2021 1981–2021, Martin Wong / Aaron Gilbert, P·P·O·W, New York, NY 2017 Human Instamatic, UC Berkeley Art Museum, Berkeley, CA 2016 Voices, P·P·O·W, New York, NY Human Instamatic, Wexner Center for the Arts, Columbus, OH 2015 Human Instamatic, The Bronx Museum of the Arts, Bronx, NY Painting is Forbidden, CCA Wattis Institute for Contemporary Arts, San Francisco, CA 2010 Martin Wong Works 1980 – 1998, Galerie Daniel Buchholz, Cologne, Germany 2009 Everything Must Go, P·P·O·W, New York, NY Art, Archives and Activism = Martin Wong’s Downtown Crossing, Asian/Pacific/American Institute, New York University, NY 2004 Martin Wong’s Utopia, Chinese Historical Society of America Museum of Art, San Francisco, CA 2001 Martin Wong: Storefronts 1984-86, P·P·O·W, New York, NY 1999 Martin Wong: The Eureka Years, Humboldt State University First Street Gallery, Eureka, CA 1998 Sweet Oblivion: The Urban Landscape of Martin Wong, The New Museum of Contemporary Art, New York, NY; University Galleries, Illinois State University, Normal, IL Martin Wong: New Work, P·P·O·W, New York, NY 1994 York College, Queens, NY 1993 San Francisco Art Institute, San Francisco, CA Chinatown USA, P·P·O·W, New York, NY 1991 Soap, Erotic Jail Paintings, The Pyramid Club, New York, NY 1988 Martin Wong, EXIT ART, New York, NY Frank Bernarducci Gallery, New York, NY 1987 Here and Now, Greenville County Museum of Art, Greenville, SC Signs of Significance, -
280 EAST 10TH STREET 350 SF Between First Avenue and Avenue a for Lease EAST VILLAGE NEW YORK | NY AREA RETAIL SPACE DETAILS
RETAIL SPACE 280 EAST 10TH STREET 350 SF Between First Avenue and Avenue A For Lease EAST VILLAGE NEW YORK | NY AREA RETAIL SPACE DETAILS EAST 14TH STREET EAST 14TH STREET EAST 14TH STREET LOCATIONEAST 14TH STREET TERM Optyx Artichokes Pizza Petopia Akina Sushi Muzarella Pizza Bright Horizons Brothers Candy & Grocery M&J Lex SECOND AVENUE SECOND Taverna Kyclades Big Arc Chicken AVENUE FIRST Exchange AVENUE C AVENUE AVENUE A AVENUE AVENUE B AVENUE Long-term Vinny Vicenz Jewelry Between First Avenue and Planet Rose Revolution 2 Bros Pizza Salon Icon IMMACULATE Subway CONCEPTION Bens Barber NEW YORK EYE $1 Dollar Pizza & EAR INFIRMARY CHURCH SCHOOL AvenueRESIDENTIAL A MEE H&W Hardware East Village Horse Box H Gourmet Deli Senor Pollo Johnny Art POSSESSION Drop O Service Fat Buddha Citadel Redhead Phoenix The Spotted Owl Tavern Perce’s Tavern C McCormack Inc Management Sal’s Deli Grocery Dollar Plus SIZE EAST 13TH STREET EAST 13TH STREET EAST 13TH STREET EAST 13TH STREET Immediate Meadow Komo On the Mark Sembrado Inkstop Tattoo Hampton Market Guerra Print The Roberto East Village Flowers Kumo Sushi Barber Shop Obscura Baroness Clemente Café Michael GeorgeGround Floor 350 SF Luzzo's La Pizza Tallgrass Burger Keybar M White Bar Hair Center Napoletana Sexy Flow The Garret Gena’s Kuwayana Glitz Nail Little Pakistanian Deli Corp Fashion Nails RENT BSide Baker’s Pizza RESIDENTIAL Little Poland Balade Mikeys Like It Empire Bisquit FRONTAGE Ducks Sao Mai Pharmacy Psychic Nigel the Cat Goat Milk Top Beauty Preservation Convive Wine & Spirits Upon request