Nancy Spero CV
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Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Nancy Spero: Paper Mirror
Paseo de la Reforma #51 +52(55) 4122-8200 Bosque de Chapultepec, 11580 México, D.F. Nancy Spero: Paper Mirror • The Museo Tamayo is presenting the first solo exhibition of Nancy Spero in Mexico. • The exhibition will comprise nearly 100 works, spanning the whole of Spero’s career. • Nancy Spero: Paper Mirror will be open to the public from October 6, 2018—February 17, 2019. • Considered as one of the firs feminist and activist artist, her work deals with the representation of women and their inequality in the art world. A celebrated figure of the feminist art movement in the United States, Nancy Spero (1926–2009) consistently addressed oppression, inequality, and women’s social roles through both her art practice and activism. Born in Cleveland, Ohio, Spero graduated from the School of the Art Institute of Chicago in 1949. Before settling with their three sons in New York in 1964, she and her husband, the painter Leon Golub (1922–2004), lived in Paris, where she created her first mature works, the Black Paintings (1959–65). For Spero, choices of material, form, mode, and subject were always political. After many years of working in oil on canvas, in 1966, she concluded that the language of painting was “too conventional, too establishment,” and decided that from then on she would work exclusively on paper. Her first cycle of work on paper, the War Series (1966–1969), was motivated by her outrage over American atrocities in Vietnam—gouache-and-ink paintings that express “the museotamayo.org Paseo de la Reforma #51 +52(55) 4122-8200 Bosque de Chapultepec, 11580 México, D.F. -
August 4, 2017
June 17 – August 4, 2017 FOR IMMEDIATE RELEASE (New York—June 20, 2017) Michael Rosenfeld Gallery proudly presents The Time Is N♀w, a group exhibition fea- turing thirty-two artists whose work the gallery has con- sistently championed for three decades through the- matic group exhibitions as well as multiple solo shows. The exhibition, which takes its title from a protest sign captured by Bettmann on Fifth Avenue in Manhattan during the Women’s Libera- tion Parade in August 1971, is curated to complement and expand on Making Space: Women Artists & Postwar Abstractioncurrently on view at the Museum of Modern Art (MoMA, New York). The Time Is N♀w features artists who represent a variety of positions on the spec- trum from figural representation to abstraction, including: Magdale- na Abakanowicz, Ruth Asawa, Hannelore Baron, Mary Bauermeister, Lee Bontecou, Deborah Butterfield, Barbara Chase-Riboud, Elaine Photo by Bettmann - Getty Images - Getty Bettmann by Photo de Kooning, Jay DeFeo, Claire Falkenstein, Gertrude Greene, Nancy Women’s Liberation Parade on Fifth Avenue in Manhattan, August 1971. Grossman, Grace Hartigan, Lee Krasner, Yayoi Kusama, Lee Lozano, Al- ice Trumbull Mason, Joan Mitchell, Alice Neel, Louise Nevelson, Agnes Pelton, Florence Miller Pierce, Irene Rice Pereira, Anne Ryan, Betye Converge/Black. Treated as two different sculptures by the art histo- Saar, Kaye Sage, Janet Sobel, Nancy Spero, Dorothea Tanning, Lenore rian Peter Selz, The Albino (aka All That Rises Must Converge/Black) Tawney, Alma Thomas, Charmion von Wiegand, and Claire Zeisler. resists a singular reading and instead, opens itself up, quite literally, to multiple readings. -
Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983
Irrigation Veins: Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983 On view April 30 – May 30, 2020 Ana Mendieta. Volcán, 1979, color photograph Carolee Schneemann, Study for Up to and Including Her Limits, 1973, color © The Estate of Ana Mendieta Collection, LLC photograph, photo credit: Antony McCall Courtesy Galerie Lelong & Co., New York Courtesy of the Estate of Carolee Schneemann, Galerie Lelong & Co., and Licensed by Artists Rights Society (ARS), New York P·P·O·W, New York “These obsessive acts of re-asserting my ties with the earth are really a manifestation of my thirst for being.” Ana Mendieta Galerie Lelong & Co. and P·P·O·W present Irrigation Veins: Ana Mendieta and Carolee Schneemann, Selected Works 1966 – 1983, an online exhibition exploring the artists’ parallel histories, iconographies, and shared affinities for ancient forms and the natural world. Galerie Lelong and P·P·O·W have a history of collaboration and have co-represented Carolee Schneemann since 2017. This will be the first time the two artists are shown together in direct dialogue, an exhibition Schneemann proposed during the last year of her life. In works such as Mendieta’s Volcán (1979) and Schneemann’s Study for Up To and Including Her Limits (1973), both artists harnessed physical action to root themselves into the earth, establishing their ties to the earth and asserting bodily agency in the face of societal restraints and repression. Both artists identified as painters prior to activating their bodies as material; Mendieta received a MA in painting from the University of Iowa in 1972, and Schneemann received an MFA from the University of Illinois in 1961. -
Dear Secretary Salazar: I Strongly
Dear Secretary Salazar: I strongly oppose the Bush administration's illegal and illogical regulations under Section 4(d) and Section 7 of the Endangered Species Act, which reduce protections to polar bears and create an exemption for greenhouse gas emissions. I request that you revoke these regulations immediately, within the 60-day window provided by Congress for their removal. The Endangered Species Act has a proven track record of success at reducing all threats to species, and it makes absolutely no sense, scientifically or legally, to exempt greenhouse gas emissions -- the number-one threat to the polar bear -- from this successful system. I urge you to take this critically important step in restoring scientific integrity at the Department of Interior by rescinding both of Bush's illegal regulations reducing protections to polar bears. Sarah Bergman, Tucson, AZ James Shannon, Fairfield Bay, AR Keri Dixon, Tucson, AZ Ben Blanding, Lynnwood, WA Bill Haskins, Sacramento, CA Sher Surratt, Middleburg Hts, OH Kassie Siegel, Joshua Tree, CA Sigrid Schraube, Schoeneck Susan Arnot, San Francisco, CA Stephanie Mitchell, Los Angeles, CA Sarah Taylor, NY, NY Simona Bixler, Apo Ae, AE Stephan Flint, Moscow, ID Steve Fardys, Los Angeles, CA Shelbi Kepler, Temecula, CA Kim Crawford, NJ Mary Trujillo, Alhambra, CA Diane Jarosy, Letchworth Garden City,Herts Shari Carpenter, Fallbrook, CA Sheila Kilpatrick, Virginia Beach, VA Kierã¡N Suckling, Tucson, AZ Steve Atkins, Bath Sharon Fleisher, Huntington Station, NY Hans Morgenstern, Miami, FL Shawn Alma, -
Judith Bernstein Education Solo Shows
JUDITH BERNSTEIN * 1942, Newark, New Jersey, Lives and works in New York EDUCATION 1967 MFA & BFA, Yale University, School of Art and Architecture 1964 MS & BS, Pennsylvania State University SOLO SHOWS 2019 Blue Balls, Karma International, Zurich Diamonda Mouth, Foksal Gallery Foundation, Warsaw 2018 Money Shot, Paul Kasmin, New York 2017 Cabinet of Horrors, The Drawing Center, New York Cock in The Box, The Box, Los Angeles 2016 Kunsthall Stavanger, Stavanger, Norway DICKS OF DEATH, Mary Boone Gallery, New York 2015 Art Basel: Feature, Basel Voyeur, Mary Boone Gallery, curated by Piper Marshall, New York Freddy, Baltimore 2014 Birth of the Universe, Gavin Brown’s Enterprise, New York Judith Bernstein, Karma International, Zurich Rising, Studio Voltaire, London 2013 Keep Your Timber Limber (Works on Paper), ICA, UK The Box, Los Angeles 2012 Judith Bernstein: Hard, New Museum of Contemporary Art, New York 2011 Fuck Vietnam, 1966-2011, The Box, Los Angeles Frame: Judith Bernstein, Frieze, London 2010 Alex Zachary Gallery, New York, NY 2009 Judith Bernstein. The Box, Los Angeles, CA 2008 Judith Bernstein: Signature and Phallic Drawings 1966-2008, Mitchell Algus Gallery, New York 1987 University of Arkansas, Fayetteville, Arkansas 1984 A.I.R. Gallery, New York City, NY 1978 Brooks Jackson Iolas Gallery, New York City, NY. 1977 State University of New York at Stony Brook Gallery 1976 Drawing 1966-1976. University of Colorado Museum, Colorado 1973 A.I.R. Gallery, New York City. NY. October/April GROUP SHOWS 2020 Artists Respond: American Art and the Vietnam War, 1965-75, Minneapolis Institute of Art, Minneapolis (upcoming) 2019 Feminist Avant-Garde of the 1970s. -
Gender Performance in Photography
PHOTOGRAPHY (A CI (A CI GENDER PERFORMANCE IN PHOTOGRAPHY (A a C/VFV4& (A a )^/VM)6e GENDER PERFORMANCE IN PHOTOGRAPHY JENNIFER BLESSING JUDITH HALBERSTAM LYLE ASHTON HARRIS NANCY SPECTOR CAROLE-ANNE TYLER SARAH WILSON GUGGENHEIM MUSEUM Rrose is a Rrose is a Rrose: front cover: Gender Performance in Photography Claude Cahun Organized by Jennifer Blessing Self- Portrait, ca. 1928 Gelatin-silver print, Solomon R. Guggenheim Museum, New York 11 'X. x 9>s inches (30 x 23.8 cm) January 17—April 27, 1997 Musee des Beaux Arts de Nantes This exhibition is supported in part by back cover: the National Endowment tor the Arts Nan Goldin Jimmy Paulettc and Tabboo! in the bathroom, NYC, 1991 €)1997 The Solomon R. Guggenheim Foundation, Cibachrome print, New York. All rights reserved. 30 x 40 inches (76.2 x 101.6 cm) Courtesy of the artist and ISBN 0-8109-6901-7 (hardcover) Matthew Marks Gallery, New York ISBN 0-89207-185-0 (softcover) Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth Avenue New York, New York 10011 Designed by Bethany Johns Design, New York Printed in Italy by Sfera Contents JENNIFER BLESSING xyVwMie is a c/\rose is a z/vxose Gender Performance in Photography JENNIFER BLESSING CAROLE-ANNE TYLER 134 id'emt nut files - KyMxUcuo&wuieS SARAH WILSON 156 c/erfoymuiq me c/jodt/ im me J970s NANCY SPECTOR 176 ^ne S$r/ of ~&e#idew Bathrooms, Butches, and the Aesthetics of Female Masculinity JUDITH HALBERSTAM 190 f//a« waclna LYLE ASHTON HARRIS 204 Stfrtists ' iyjtoqra/inies TRACEY BASHKOFF, SUSAN CROSS, VIVIEN GREENE, AND J. -
AD Presentation for Exhibitors.Pdf
16. 18. 18 IMPRESSIONEN 2017 IMPORTANT REGISTRATION INFORMATION / THE APPLICATION DEADLINE FOR ART DÜSSELDORF IS MAY 8, 2018. / REGISTRATIONS FOR ART DÜSSELDORF CAN BE SUBMITTED ONLINE ONLY. / THE REGISTRATION FEE CAN BE PAID BY CREDIT CARD ONLY. / PLEASE REGISTER ONLINE AT: WWW.ART-DUS.DE KEY PARAMETER / NOV 16 – 18, 2018 / PREVIEW: NOV 15, 2018 / AROUND 100 ESTABLISHED AND YOUNG REGIONAL AND INTERNATIONAL GALLERIES / AROUND 40,000 VISITORS / MODERN AND CONTEMPORARY ART (1945-2018) / LOCATION: AREAL BÖHLER - 2 HALLS - 12,000 SQM GROSS EXHIBITION SPACE IMPRESSIONEN 2017 PRESS COMMENTS ON THE PREMIERE 2017 „THIS YEAR, FOR THE FIRST YEAR, DÜSSELDORF HOSTED ITS OWN ART FAIR. THE OPENING WAS A GLITZY EVENT– AN ENORMOUS HANGAR SWARMING WITH WEALTHY COLLECTORS IN EXPENSIVE CLOTHES.“ (BBC) „ART DÜSSELDORF WINS OVER THE RHINELAND´S COLLECTORS.“ (THE ART NEWSPAPER) „ART DÜSSELDORF DARES TO LAUNCH A NEW ART FAIR IN THE RHINELAND - THE PREMIERE WITH 80 GALLERIES IS A SUCCESS.“ (TAGESSPIEGEL) „ART DÜSSELDORF FULFILLED ALL THE REQUIREMENTS FOR VISITORS TO BECOME CUSTOMERS – NO MATTER WHETHER REGIONAL OR NOT.“ (WELT - N24) „THE NEW ART FAIR IN THE FORMER INDUSTRIAL COMPLEX AREAL BÖHLER KICKS OFF WITH AN ENTHRALLING SHOW, WHICH RECEIVES THE HIGHEST OF PRAISE.“ (WESTDEUTSCHE ZEITUNG) „A DIGESTIBLE, PLEASANT AND HIGH-QUALITY EXHIBITION WITH WIDE CORRIDORS AND LARGE STANDS THAT MAKE A VISIT A RELAXING EXPERIENCE.“ (H.ART MAGAZINE) IMPRESSIONEN 2017 MEMBERS OF THE SELECTION COMMITTEE VERONIQUE ANSORGE, DAVID ZWIRNER (NEW YORK, LONDON) CRISTINA GUERRA, CRISTINA -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
In Re Johnson & Johnson Talcum Powder Prods. Mktg., Sales
Neutral As of: May 5, 2020 7:00 PM Z In re Johnson & Johnson Talcum Powder Prods. Mktg., Sales Practices & Prods. Litig. United States District Court for the District of New Jersey April 27, 2020, Decided; April 27, 2020, Filed Civil Action No.: 16-2738(FLW), MDL No. 2738 Reporter 2020 U.S. Dist. LEXIS 76533 * MONTGOMERY, AL; CHRISTOPHER MICHAEL PLACITELLA, COHEN, PLACITELLA & ROTH, PC, IN RE: JOHNSON & JOHNSON TALCUM POWDER RED BANK, NJ. PRODUCTS MARKETING, SALES PRACTICES AND PRODUCTS LITIGATION For ADA RICH-WILLIAMS, 16-6489, Plaintiff: PATRICIA LEIGH O'DELL, LEAD ATTORNEY, COUNSEL NOT ADMITTED TO USDC-NJ BAR, MONTGOMERY, AL; Prior History: In re Johnson & Johnson Talcum Powder Richard Runft Barrett, LEAD ATTORNEY, COUNSEL Prods. Mktg., Sales Practices & Prods. Liab. Litig., 220 NOT ADMITTED TO USDC-NJ BAR, LAW OFFICES F. Supp. 3d 1356, 2016 U.S. Dist. LEXIS 138403 OF RICHARD L. BARRETT, PLLC, OXFORD, MS; (J.P.M.L., Oct. 5, 2016) CHRISTOPHER MICHAEL PLACITELLA, COHEN, PLACITELLA & ROTH, PC, RED BANK, NJ. For DOLORES GOULD, 16-6567, Plaintiff: PATRICIA Core Terms LEIGH O'DELL, LEAD ATTORNEY, COUNSEL NOT ADMITTED TO USDC-NJ BAR, MONTGOMERY, AL; studies, cancer, talc, ovarian, causation, asbestos, PIERCE GORE, LEAD ATTORNEY, COUNSEL NOT reliable, Plaintiffs', cells, talcum powder, ADMITTED TO USDC-NJ BAR, PRATT & epidemiological, methodology, cohort, dose-response, ASSOCIATES, SAN JOSE, CA; CHRISTOPHER unreliable, products, biological, exposure, case-control, MICHAEL PLACITELLA, COHEN, PLACITELLA & Defendants', relative risk, testing, scientific, opines, ROTH, PC, RED BANK, [*2] NJ. inflammation, consistency, expert testimony, in vitro, causes, laboratory For TOD ALAN MUSGROVE, 16-6568, Plaintiff: AMANDA KATE KLEVORN, LEAD ATTORNEY, PRO HAC VICE, COUNSEL NOT ADMITTED TO USDC-NJ Counsel: [*1] For HON. -
Joseph Beuys 1 Joseph Beuys
Joseph Beuys 1 Joseph Beuys Joseph Beuys Offset poster for Beuys' 1974 US lecture-series "Energy Plan for the Western Man", organised by Ronald Feldman Gallery - Courtesy Ronald Feldman Fine Arts, New York Born May 12, 1921Krefeld, Germany Died January 23, 1986 (aged 64)Düsseldorf Nationality German Field Performances, sculpture, visual art, aesthetics, social philosophy Training Kunstakademie Düsseldorf Joseph Beuys (German pronunciation: [ˈjoːzɛf ˈbɔʏs]; May 12, 1921, Krefeld – January 23, 1986, Düsseldorf) was a German performance artist, sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the 20th century.[1] [2] Biography Childhood and early life in the Third Reich (1921-1941) Joseph Beuys was the son of the merchant Josef Jakob Beuys (1888–1958) and Johanna Maria Margarete Beuys (born Hülsermann, 1889–1974). The parents had moved from Geldern to Krefeld in 1910, and Beuys was born there on May 12, 1921. In autumn of that year the family moved to Kleve, an industrial town in the Lower Rhine region of Germany, close to the Dutch border. There, Joseph attended primary school (Katholische Volksschule) and secondary/high- school (Staatliches Gymnasium Cleve, now the Freiherr-vom-Stein-Gymnasium). His teachers considered him to have a talent for drawing; he also took piano- and cello lessons.