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Blinky Palermo’S Work As a Whole Is an Essential Element of Any Analysis of Artistic Innovations and Concerns After 1965 in BLINKY Both Europe and the United States
drawings on paper such as Afrikanische Suite (1970) or the mur- al installations, such as the one at Galerie René Block in 1969. Blinky Palermo’s work as a whole is an essential element of any analysis of artistic innovations and concerns after 1965 in BLINKY both Europe and the United States. Himmelsrichtungen, 1976, is his last architectural work. Shown at the 1976 Venice Biennale – in the context of the show Ambiente, curated by PALERMO Germano Celant –, it is now reconstructed in an exhibition space in the neighbourhood of the MACBA building (c/ Torres i Amat), with the aim of presenting a faithful reproduction of the original installation. LECTURES 13 December 2002 - 16 February 2003 Palermo FRIDAY 10 JANUARY at 7.30 pm Given by Gloria Moure, exhibition curator. Auditorium. Admission free. Limited number of seats How to explain paintings to a dead artist FRIDAY 17 JANUARY at 7.30 pm Given by Ángel González García, lecturer in Art History at the Universidad Complutense, Madrid, National Essay Prize (2001). Auditorium. Admission free. Limited number of seats 2 Level 1 Level Blinky Palermo. Blaue Scheibe und Stab, 1968. © Blinky Palermo, VEGAP, 2002 The exhibition curated by Gloria Moure, which includes 0 a hundred or so works by Blinky Palermo, is the first retro- spective of his career to be put on in Spain. The selection includes works done between 1964 and 1977, such as the Level paintings, drawings and “painted objects” he began to pro- BOOKSHOP duce in 1964, the Stoffbilder or “textile paintings” done between 1966 and 1972, or the series of Metallbilder – met- IT IS NOT ALLOWED TO TAKE PHOTOGRAPHS al paintings – created in the last three years of his life. -
Blinky Palermo.Pdf
Blinky Palermo To the People of New York City September 15, 2018–March 9, 2019 Dia:Chelsea 545 West 22nd Street New York City www.diaart.org Blinky Palermo To the People of New York City To the People of New York City is Blinky Palermo’s last work. It was completed in 1976 upon the artist’s return to Germany, following a three-year stay in New York City. The title for this painting in multiple parts is derived from a simple dedication, “To the people of N.Y.C.,” inscribed on the backs of the work’s forty aluminum panels. In scale, size, chromatic variation, and structure, To the People of New York City is unparalleled in the artist’s oeuvre. Palermo died suddenly in 1977 and was never able to oversee a public installation of this work. However, he left detailed instructions for To the People of New York City’s arrangement in the form of sixteen preparatory studies (presented here in an adjacent gallery). The last of these sketches illustrates each of the painted panels in sequential order, providing a codex for this immersive installation. Each of To the People of New York City’s fifteen sections consists of one to four rectilinear metal panels with variable space between the set, such that the distance between the panels of the groupings must be equal to their respective width. Part VI is the only exception to this rule. It includes two panels that directly abut each other to form the illusion of a single panel. The dimensions of the panels fluctuate from about 8¼ by 6¼ inches to 49¼ by 43¼ inches to 39½ by 78¾ inches, so that the installation can be expanded or contracted to be shown in different spaces while maintaining its internal logic. -
Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue Published by WCA ● Gallery Guide
1 Wexner Center for the Arts Exhibition History Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue published by WCA ● Gallery Guide ●LaToya Ruby Frazier: The Last Cruze February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Sadie Benning: Pain Thing February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Stanya Kahn: No Go Backs January 22 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●HERE: Ann Hamilton, Jenny Holzer, Maya Lin September 21 – December 29, 2019 *+●Barbara Hammer: In This Body (F/V Residency Award) June 1 – August 11, 2019 *Cecilia Vicuña: Lo Precario/The Precarious June 1 – August 11, 2019 Jason Moran June 1 – August 11, 2019 *+●Alicia McCarthy: No Straight Lines February 2 – August 1, 2019 John Waters: Indecent Exposure February 2 – April 28, 2019 Peter Hujar: Speed of Life February 2 – April 28, 2019 *+♦Mickalene Thomas: I Can’t See You Without Me (Visual Arts Residency Award) September 14 –December 30, 2018 *● Inherent Structure May 19 – August 12, 2018 Richard Aldrich Zachary Armstrong Key: * Organized by the Wexner Center ♦ Catalogue published by WCA + New Work Commissions/Residencies ● Gallery Guide Updated July 2, 2020 2 Kevin Beasley Sam Moyer Sam Gilliam Angel Otero Channing Hansen Laura Owens Arturo Herrera Ruth Root Eric N. Mack Thomas Scheibitz Rebecca Morris Amy Sillman Carrie Moyer Stanley Whitney *+●Anita Witek: Clip February 3-May 6, 2018 *●William Kentridge: The Refusal of Time February 3-April 15, 2018 All of Everything: Todd Oldham Fashion February 3-April 15, 2018 Cindy Sherman: Imitation of Life September 16-December 31, 2017 *+●Gray Matters May 20, 2017–July 30 2017 Tauba Auerbach Cristina Iglesias Erin Shirreff Carol Bove Jennie C. -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
BLINKY PALERMO Cover: Coney Island II, 1975
BLINKY PALERMO Cover: Coney Island II, 1975. Collection Ströher, Darmstadt. Photo: Jens Ziehe This page: Blaue Scheibe und Stab [Blue Disk and Staff], 1968. Private Collection, Courtesy Hauser & Wirth. Photo: Jens Ziehe All images © 2010 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn “Blinky Palermo” was the name assumed by Peter Heisterkamp shortly after he joined the class of Joseph Beuys at the Düsseldorf Art Academy in the early 1960s. While Heisterkamp’s decision to change his identity may have had multiple causes, his deep fascination with American culture, and with Beat literature and Abstract Expressionist painting in particular, played a key role in his adoption of this idiosyncratic moniker, derived from boxer Sonny Liston’s Mafi oso manager, whom Heisterkamp supposedly resembled. During his formative years at the Academy, Palermo consolidated his painterly aesthetic, stimulated in part by his charismatic and infl uential teacher and by several young painters then gaining critical recognition, most notably Gerhard Richter. Although eleven years older, Richter would in time become Palermo’s close personal friend as well as occasional artistic collaborator. Palermo remained steadfastly committed to painting during a period and in a context in which that art form was widely contested as a viable mode of contemporary art practice. Throughout his brief career, he retained his early fascination with the work of such revered predecessors as Kasimir Malevich, Piet Mondrian, Mark Rothko, and Barnett Newman. He was nonetheless most directly challenged by those among his peers who were pushing the envelope of painting, questioning not only its conventional materials and traditional format and structure but its very identity. -
Readymade Digital Colour: an Expanding Subject for Painting
READYMADE DIGITAL COLOUR: AN EXPANDING SUBJECT FOR PAINTING Doctorate of Philosophy DAVID SERISIER 2013 College of Fine Arts University of New South Wales ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ................................................................. Date ................................................................. ii COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). -
Alyson Shotz Education 1991 University of Washington, Seattle
Alyson Shotz Education 1991 University of Washington, Seattle, Washington, MFA 1987 Rhode Island School of Design, Providence, Rhode Island, BFA Solo Exhibitions 2020 Grace Farms, New Canaan, CT (forthcoming) Derek Eller Gallery (forthcoming) 2019 Weatherspoon Art Museum, Greensboro, NC (forthcoming) Hunter Museum of American Art, Chattanooga, TN 2017 Derek Eller Gallery, NYC, Night James Harris Gallery, Seattle, WA 2016 Pennsylvania Academy of Fine Arts, Philadelphia, PA, Plane Weave Locks Gallery, Philadelphia, PA, Weave and Fold Blue Star Contemporary Art Museum, San Antonio, TX , Scattering Screen 2015 Galleri Andersson Sandstrom, Stockholm, Sweden, Light and Shadow Halsey Institute of Contemporary Art, Charleston, SC, Force of Nature 2014 Wellin Museum, Hamilton College, Force of Nature Derek Eller Gallery, NYC, Time Lapse Carolina Nitsch Project Room, New York, NY, Topographic Iterations, Tspace, Rhinebeck, NY, Interval 2013 Visual Arts Center, University of Texas, Austin, Invariant Interval Eli and Edythe Broad Museum, Geometry of Light Carolina Nitsch Project Room, New York, NY, Fluid State Derek Eller Gallery, North Room, New York, NY, Chroma 2012 Indianapolis Museum of Art, Fluid State Borås Konstmuseum, Borås, Sweden, Alyson Shotz: Selected Work Phillips Collection, Washington, DC, Ecliptic Galeria Vartai, Vilnius, Lithuania. Interval 2011 Espace Louis Vuitton, Tokyo, Geometry of Light Andersson Sandstrøm Gallery, Stockholm and Umeå, Fundamental Forces Carolina Nitsch Contemporary Art, New York, NY, Fundamental Forces Derek -
The Art Market in 2020 04 EDITORIAL by THIERRY EHRMANN
The Art Market in 2020 04 EDITORIAL BY THIERRY EHRMANN 05 EDITORIAL BY WAN JIE 07 GEOGRAPHICAL BREAKDOWN OF THE ART MARKET 15 WHAT’S CHANGING? 19 ART BEST SUITED TO DISTANCE SELLING 29 WHO WAS IN DEMAND IN 2020? AND WHO WASN’T? 34 2020 - THE YEAR IN REVIEW 46 TOP 500 ARTISTS BY FINE ART AUCTION REVENUE IN 2020 Methodology The Art Market analysis presented in this report is based on results of Fine Art auctions that oc- cured between 1st January and 31st December 2020, listed by Artprice and Artron. For the purposes of this report, Fine Art means paintings, sculptures, drawings, photographs, prints, videos, installa- tions, tapestries, but excludes antiques, anonymous cultural goods and furniture. All the prices in this report indicate auction results – including buyer’s premium. Millions are abbreviated to “m”, and billions to “bn”. The $ sign refers to the US dollar and the ¥ sign refers to the Chinese yuan. The exchange rate used to convert AMMA sales results in China is an average annual rate. Any reference to “Western Art” or “the West” refers to the global art market, minus China. Regarding the Western Art market, the following historical segmentation of “creative period” has been used: • “Old Masters” refers to works by artists born before 1760. • “19th century” refers to works by artists born between 1760 and 1860. • “Modern art” refers to works by artists born between 1860 and 1920. • “Post-war art” refers to works by artists born between 1920 and 1945. • “Contemporary art” refers to works by artists born after 1945. -
JOSIAH Mcelheny Born 1966 in Boston
JOSIAH McELHENY Born 1966 in Boston, Massachusetts Lives and works in New York City Solo and Two-Person Exhibitions & Projects 2017 Prismatic Park, Madison Square Park Conservancy, Madison Square Park, New York, NY, June 13 – October 8 (forthcoming) The Crystal Land, White Cube, London, United Kingdom, March 1 – April 16 (forthcoming) 2016 The Ornament Museum, MAK - Österreichisches Museum für angewandte Kunst, Vienna, Austria, April 27 – April 2, 2017 2015 Josiah McElheny: Two Walking Mirrors for the Carpenter Center, Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts, October 1 – October 25 (brochure) Josiah McElheny: Paintings, Andrea Rosen Gallery, New York, NY, September 10 – October 24 (catalogue) 2014 Dusty Groove, Corbett vs. Dempsey, Chicago, IL, October 24 – December 6 (catalogue) 2013 Josiah McElheny: Two Clubs at The Arts Club of Chicago, In Collaboration with John Vinci, The Arts Club of Chicago, Chicago, IL, September 17 – December 14 Lumber Room, Portland, OR, September 8 – December 7 Josiah McElheny: Towards a Light Club, Wexner Center for the Arts, Columbus, OH, January 26 – April 7 (catalogue) 2012 The Light Club of Vizcaya: A Women’s Picture, Vizcaya Museum, Miami, FL, November 19, 2012 – March 18, 2013 Interactions of the Abstract Body, White Cube, London, UK, November 16 – January 12, 2013 (catalogue) Josiah McElheny: Some Pictures of the Infinite, Institute of Contemporary Art, Boston, MA, June 22 – October 14 (catalogue) Some thoughts about the abstract body, Andrea Rosen Gallery, -
Blinky Palermo (Eigentlich Peter Heisterkamp) Leipzig 1943, Gestorben 1977 in Kurumba (MV)
Blinky Palermo (eigentlich Peter Heisterkamp) Leipzig 1943, gestorben 1977 in Kurumba (MV) Blinky Palermo besuchte 1961 Grafik- und Bildhauerkurse an der Werkkunstschule in Münster. Von 1962 bis 1967 studierte er Malerei an der Düsseldorfer Kunstakademie und wechselte 1964 in die Klasse von Joseph Beuys, bei dem er Meisterschüler war. Im Jahr 1970 unternahm er mit Gerhard Richter eine Studienreise nach New York (USA), wo er sich ab 1973 ein Studio einrichtete. Mit Imi Knoebel bereiste er 1974 die USA und besuchte u.a. die „Rothko-Kapelle“ in Houston (USA) und das „Las Vegas Piece“ von Walter De Maria. Er kehrte 1976 nach Düsseldorf zurück. Blinky Palermos Œuvre umfasst Malerei, Zeichnungen und Wandobjekte; er arbeitete mit unterschiedlichen Medien und Techniken und entwickelte sein Werk auf der Grundlage eines komplexen und experimentellen Umgangs mit Form, Raum und Farbe. Die Relationen der einzelnen Elemente und ihr vielschichtiger Bezug zum jeweiligen Raum werden dadurch überprüft. Seine Wandobjekte sind erste Abweichungen vom üblichen Tafelbild, mit Leinwand oder Klebeband umwickelte Holzformen und die Stoffbilder aus verschiedenfarbigen Nesselbahnen von 1966 bis 1972. Diese bestehen aus zusammengenähten und auf Keilrahmen gespannten, handelsüblichen Textilstoffen, die Palermo mit Industriefarben bemalte. Ab 1974 fertigte er seine Metallbilder an, bei denen er Acrylfarben auf Aluminium- und Stahlplatten aufbrachte. Wie bei seiner Wandmalerei sind auch bei den Metallbildern Raumbezüge wichtig: Nicht das einzelne Bild steht im Mittelpunkt, sondern die Gesamtwirkung und Interaktion mehrerer Werke im Raum. Die Präsentation und Hängung der Bilder bzw. Objekte ist wichtiger Teil des Werks. Einzelausstellungen (Auswahl): Palermo. Bilder und Zeichnungen. Galerie Friedrich & Dahlem, München, 1966; Palermo. Bilder und Objekte. -
Glenn Ligon Biography
GLENN LIGON BIOGRAPHY Born in Bronx, New York, 1960. Lives and works in New York, NY. Education: Whitney Museum Independent Study Program, New York, NY, 1985 BA, Wesleyan University, Middletown, CT, 1982 Rhode Island School of Design, Providence, RI, 1980 Selected Solo Exhibitions: 2021 “Glenn Ligon,” Hauser and Wirth, New York, NY, November 10 – December 23, 2021 “First Contact,” Hauser and Wirth, Zürich, Switzerland, September 17 – December 23, 2021 2019 “Glenn Ligon: In A Year with a Black Moon,” Rat Hole Gallery, Tokyo, Japan, December 20, 2019 – March 14, 2020 “Des Parisiens Noirs,” Musée d’Orsay, Paris, France, March 26 – July 21, 2019 “Glenn Ligon: Selections from the Marciano Collection,” Marciano Art Foundation, Los Angeles, CA, February 12 – May 12, 2019 “Glenn Ligon: To be a Negro in this country is really never to be looked at.,” Maria & Alberto De La Cruz Art Gallery, Georgetown University, Washington, D.C., January 24 – April 7, 2019 “Glenn Ligon: Untitled (America)/Debris Field/Synecdoche/Notes for a Poem on the Third World,” Regen Projects, Los Angeles, CA, January 12 – February 17, 2019; catalogue 2018 “Glenn Ligon: Debris Field/Notes for a Poem on the Third World/Soleil Nègre,” Galerie Chantal Crousel, Paris, France, September 8 – October 4, 2018; catalogue “Glenn Ligon: Tutto poteva, nella poesia, avere una soluzione / In poetry, a solution to everything,” Thomas Dane Gallery, Naples, Italy, April 24 – July 28, 2018 2017 “Glenn Ligon,” Baltimore Museum of Art, Baltimore, MD, Fall 2017 – 2018 2016 “Glenn Ligon, A Small -
JOSIAH Mcelheny 1966 Born in Boston, MA Lives and Works in New
JOSIAH McELHENY 1966 Born in Boston, MA Lives and works in New York City EDUCATION 1992 Apprentice to Master Glassblower Lino Tagliapietra; various locations: Seattle, Washington, New York, Switzerland 1989 Apprentice to Master Glassblower Jan-Erik Ritzman and Sven-Ake Carlsson, Transjö, Sweden 1988 BFA, Rhode Island School of Design, Providence, Rhode Island 1987 European Honors Program, Rhode Island School of Design, Rome, Italy; Study with Master Glassblower Ronald Wilkinson, London, England SOLO AND TWO PERSON EXHIBITIONS & PROJECTS 2021 Libraries, James Cohan, New York, NY, April 17 – May 22 2019 Observations at Night, James Cohan, New York, NY, September 6 – October 23 Island Universe, Cantor Arts Center, Stanford University, Stanford, CA, February 23 – August 18 2018 Cosmic Love, Corbett vs. Dempsey, Chicago, IL, June 1 – August 4 Island Universe, Moody Center for the Arts, Rice University, Houston, TX, February 2 – June 2 2017 Prismatic Park, Madison Square Park Conservancy, Madison Square Park, New York, NY, June 13 – October 8 The Crystal Land, White Cube, London, United Kingdom, March 1 – April 16 2016 The Ornament Museum, MAK - Österreichisches Museum für angewandte Kunst, Vienna, Austria, April 27 – April 2, 2017 2015 Josiah McElheny: Two Walking Mirrors for the Carpenter Center, Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts, October 1 – October 25 (brochure) Josiah McElheny: Paintings, Andrea Rosen Gallery, New York, NY, September 10 October 24 (catalogue) 2014 Dusty Groove, Corbett vs.