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Moma PS1 to PRESENT FIRST NEW YORK EXHIBITION of NIKI DE SAINT PHALLE OPENING MARCH 11
MoMA PS1 TO PRESENT FIRST NEW YORK EXHIBITION OF NIKI DE SAINT PHALLE OPENING MARCH 11 LONG ISLAND CITY, New York, February 8, 2021— MoMA PS1 presents the first New York museum exhibition of the work of visionary feminist artist Niki de Saint Phalle (American and French, 1930‒2002). On view from March 11 to September 6, 2021, Niki de Saint Phalle: Structures for Life will feature over 200 works created from the mid-1960s until the artist’s death, including sculptures, prints, drawings, jewelry, films, and archival materials. Highlighting Saint Phalle’s interdisciplinary approach and engagement with key social and political issues, the exhibition will focus on works that she created to transform environments, individuals, and society. From the beginning of her career in the 1950s, Saint Phalle pushed against accepted artistic practices, creating work that used assemblage as well as performative and collaborative modes of production. Saint Phalle initially gained attention in the early 1960s with her Tirs, paintings produced by firing a gun at plaster reliefs to release pockets of paint, and Nanas, brightly colored sculptures of female figures whose sinuous curves would inform much of her work to come. Beginning in the late 1960s, Saint Phalle started producing large-scale sculptures, which led to an expansion of her practice into architectural projects, sculpture gardens, books, prints, films, theater sets, clothing, jewelry, and, famously, her own perfume. Central to the exhibition is an examination of Saint Phalle’s large-scale outdoor sculptures and architectural projects, including Le rêve de l’oiseau (built for Rainer von Diez between 1968 and 1971); Golem, a playground in Jerusalem (1971-72); Le Dragon de Knokke, a children’s playhouse in Belgium (1973-75); and La fontaine Stravinsky (1983); among others. -
Title Page of Her First Collection of Poems, the Close Chaplet (1926), Following Their Divorce in 1925
! 1! “Hospitality to Words”: Laura Riding’s American Inheritance and Inheritors Philip John Lansdell Rowland Royal Holloway, University of London Submitted for the Degree of PhD ! 3! Abstract This thesis situates the work of Laura Riding in an American tradition of “hospitality to words” extending from Emerson and Emily Dickinson through Gertrude Stein to John Ashbery and contemporary language-oriented writing. The theme is introduced in terms of her linguistic and spiritual ideal of home as a place of truthful speaking, related in turn to her identity as an American writer who renounced the craft of poetry in mid-career. First, Riding’s poetry is “hospitable” in ways akin to Dickinson’s, broadly characterized by Riding’s term, “linguistic intimateness.” There are similarities in their word-conjunctions and styles of poetic argument, as well as their ideas of poetry as “house of possibility” and spiritual home. Riding’s work is then compared with that of her older friend of the late 1920s, Gertrude Stein. The chapter details the shift in Riding’s critical view of Stein; then focuses on the similarly “homely” characteristics of their prose writing and poetics, with particular reference made to Riding’s “Steinian” poems. The central chapters clarify Riding’s conception of truth and related questions of authority, history and responsibility. Chapter 4 explains her poetic vision of “the end of the world” as the introduction to a new world and potentially a new home, and chapter 5 extends the account to include her post-poetic work, The Telling compared to her earlier, collaborative The World and Ourselves. -
Kinetic Masters & Their Legacy (Exhibition Catalogue)
KINETIC MASTERS & THEIR LEGACY CECILIA DE TORRES, LTD. KINETIC MASTERS & THEIR LEGACY OCTOBER 3, 2019 - JANUARY 11, 2020 CECILIA DE TORRES, LTD. We are grateful to María Inés Sicardi and the Sicardi-Ayers-Bacino Gallery team for their collaboration and assistance in realizing this exhibition. We sincerely thank the lenders who understood our desire to present work of the highest quality, and special thanks to our colleague Debbie Frydman whose suggestion to further explore kineticism resulted in Kinetic Masters & Their Legacy. LE MOUVEMENT - KINETIC ART INTO THE 21ST CENTURY In 1950s France, there was an active interaction and artistic exchange between the country’s capital and South America. Vasarely and many Alexander Calder put it so beautifully when he said: “Just as one composes colors, or forms, of the Grupo Madí artists had an exhibition at the Museum of Fine Arts in Buenos Aires in 1957 so one can compose motions.” that was extremely influential upon younger generation avant-garde artists. Many South Americans, such as the triumvirate of Venezuelan Kinetic Masters & Their Legacy is comprised of a selection of works created by South American artists ranging from the 1950s to the present day. In showing contemporary cinetismo–Jesús Rafael Soto, Carlos Cruz-Diez, pieces alongside mid-century modern work, our exhibition provides an account of and Alejandro Otero—settled in Paris, amongst the trajectory of varied techniques, theoretical approaches, and materials that have a number of other artists from Argentina, Brazil, evolved across the legacy of the field of Kinetic Art. Venezuela, and Uruguay, who exhibited at the Salon des Réalités Nouvelles. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
WINTER 2018 Rainer Maria Rilke Poems from the Book of Hours
Alexander Kluge Temple of the Scapegoat: Opera Stories • Translated from the German by Isabel Cole and Donna Stonecipher • With photographs Revolving around the opera, these tales are an “archaeological excavation of the slag-heaps of our collective existence” (W. G. Sebald) Combining fact and fiction, each of the one hundred and two tales of Al- exander Kluge’s Temple of the Scapegoat (dotted with photos of famous PBK NDP 1395 operas and their stars) compresses a lifetime of feeling and thought: Kluge is deeply engaged with the opera and an inventive wellspring of narrative FICTION JANUARY notions. The titles of his stories suggest his many turns of mind: “Total Com- mitment,” “Freedom,” “Reality Outrivals Theater,” “The Correct Slowing-Down 5 X 8" 288pp at the Transitional Point Between Terror and an Inkling of Freedom,” “A Crucial Character (Among Persons None of Whom Are Who They Think They Are),” ISBN 978-0-8112-2748-3 and “Deadly Vocal Power vs. Generosity in Opera.” An opera, Kluge says, is a blast furnace of the soul, telling of the great singer Leonard Warren who died EBK 978-0-8112-2749-0 onstage, having literally sung his heart out. Kluge introduces a Tibetan scholar who realizes that opera “is about comprehension and passion. The two never 36 CQ TERRITORY W go together. Passion overwhelms comprehension. Comprehension kills pas- sion. This appears to be the essence of all operas, says Huang Tse-we: she US $18.95 CAN $24.95 also comes to understand that female roles face the harshest fates. Compared to the mass of soprano victims (out of 86,000 operas, 64,000 end with the death of the soprano), the sacrifice of tenors is small (out of 86,000 operas ALSO BY ALEXANDER KLUGE: 1,143 tenors are a write-off).” CINEMA STORIES “Alexander Kluge, that most enlightened of writers.” –W. -
The Body in Art
THE BODY IN ART MEDIATION FORM INTRODUCTION First subjected to aesthetic canons, the represented body gradually freed itself from classical values. The modern era marks a challenge to the ideal of beauty, even freeing itself from representation. From then on, the body was distorted, dislocated, stylized, transformed, shaking up the pictorial and sculptural representation of the 20th century. Beyond the representation itself, the body becomes a tool, a trace and an imprint, the artist puts his own body into play. This visit through the works in the permanent collection allows us to follow the changes in this major subject of 20th century art. Duration of the tour • Primary School 1H • Middle School 1H • High School / College 1H Objectives • To discover the different representations of the human body • Discover color as a component of the 2 artwork • Learn to understand an artwork • Familiarization with the specific vocabulary of art A STEPSA OF THE VISIT Based on this information, the teacher will have to make a choice of steps according to the level of the class and the availability of the artworks in the room. The stages can be adjusted at the convenience of the teachers. The arrival preparation form must be completed. Step 1: Representation of the body Step 2: emancipation of the body Step 3: the body at work B RELATEDA KNOWLEDGE A STEPSA OF THE VISIT STEP 1: REPRESENTATION OF THE BODY With modernity, artists are trying to shake up the traditional codes of representation of the body. Attacking figurative codes, beauty, proportion and ideas of likelihood, the artists propose a completely different range of images based on industrial and modern production techniques. -
Niki De Saint Phalle: Structures for Life Moma PS1, March 11, 2021 - September 06, 2021
Niki de Saint Phalle: Structures for Life MoMA PS1, March 11, 2021 - September 06, 2021 NIKI DE SAINT PHALLE (French and American, 1930–2002) Clarice Again 1966–1967 Polyester and polyurethane paint 82 × 65 × 63" (208.3 × 165.1 × 160 cm) Private collection NIKI DE SAINT PHALLE (French and American, 1930–2002) Buste c. 1967 Painted plaster 4 1/2 × 6 1/8 × 3 15/16" (11.4 × 15.6 × 10 cm) Courtesy Salon 94, New York NIKI DE SAINT PHALLE (French and American, 1930–2002) Sphinx / Sphinge (1ere version) 1969 Painted polyester 11 5/8 × 16 1/8 × 10 5/8" (29.5 × 41 × 27 cm) Private collection NIKI DE SAINT PHALLE (French and American, 1930–2002) JEAN TINGUELY (Swiss, 1925–1991) Études pour Nana Maison c. 1969 Black marker on paper 16 1/4 × 11 11/16" (41.3 × 29.7 cm) Private collection 3/29/2021 Niki de Saint Phalle: Structures for Life Page 1 of 43 Niki de Saint Phalle: Structures for Life MoMA PS1, March 11, 2021 - September 06, 2021 NIKI DE SAINT PHALLE (French and American, 1930–2002) What Is Now Known Was Once Only Imagined 1979 Offset-printed poster 17 15/16 × 24" (45.6 × 61 cm) Courtesy Salon 94, New York NIKI DE SAINT PHALLE (French and American, 1930–2002) Golem 1991 Two lithographs and one book in folio, with photographs by Leonardo Bezzola; published by Bätterkinden 16 1/8 × 16 15/16" (41 × 43 cm) Courtesy Salon 94, New York RICO WEBER (Swiss, 1942 – 2004) Golem 1972 Video (color, sound) 1 hrs., 17 min., 37 sec. -
Harry Mathews Interview Final
loggernaut reading series – summer 2012 Harry Mathews: A Meal Should Last Forever Harry Mathews has written some of the most formally inventive, and perversely moving, American fiction and poetry of the last 50 years. As the American standard-bearer for the otherwise predominantly European OuLiPo, his influence can be felt throughout the cultural sphere. He splits his time between France and Key West, where we conducted this interview last April. Mathews has increasingly seemed to me a sage arbiter not only of all things literary, but also of living well. It made sense, therefore, to ask him a few questions about food and wine and their relationship to literature, all of which I have enjoyed heartily in his presence. This conversation between Mathews, the Key-West-based poet and publisher Arlo Haskell, and myself took place over dinner at the erstwhile Key West Italian restaurant Antonia's. We were joined by Marie Chaix, Mathews's wife, and Ashley Kamen, who by the time you read this will have become Haskell's. -Stuart Krimko Harry Mathews: Is the recorder on now? Arlo Haskell: It is, but we'll pretend like it's not. HM: You've already asked me an extremely recordable question. Stuart Krimko: It was really just an appetizer question. I'd asked you whether anyone had asked you in particular about the ways in which food and wine play into your work. HM: One basic thing is that I don't drink whiskey. I love it, but I don't drink it so much anymore. T.S. Eliot said that he often had a glass or two of whiskey to get the creative juices flowing, which was amazing, coming from him, and quite understandable. -
PRESS Basel, September 2016 INFO
PRESS Basel, September 2016 INFO 20 Years of Museum Tinguely “Out of Order Day” Anniversary Celebration Museum Tinguely, Basel: September 25, 2016, 11 a.m. – 6 p.m. On Sunday, September 25, 2016, Museum Tinguely is celebrating its 20th anniversary with a big party. On the final day of the temporary exhibition “Michael Landy. Out of Order” the Museum is inviting guests to a wide variety of attractions all about Jean Tinguely and Michael Landy in the Museum and in Solitude Park. In crowning conclusion, the EepyBirds will bring the day to a close with one of their spectacular Mentos & Coke Experiments. Since its opening in October 1996, Museum Tinguely has recorded more than 2.5 million visitors and put on more than eighty exhibitions. With an alternating focus, the permanent exhibition presents a comprehensive overview of Tinguely’s diverse creative activity. Temporary exhibitions take place alongside this, showcasing a broad spectrum of 20th and 21st-century artists and themes based on Tinguely’s “ideas universe”: Inspirations such as Marcel Duchamp and Kurt Schwitters, Tinguely’s contemporaries such as Arman, Niki de Saint Phalle, and Yves Klein, just as much as current themes, such as sensory perceptions in art, and contemporary artists. Museum Tinguely has established itself as an institution for interdisciplinary co-operations, among others in the fields of music, dance, and education, and, in collaboration with both local and international partners, offers art projects a platform that is open to an extensive public. Museum Tinguely’s program is known beyond Basel for promising the surprising, the unconventional, and plenty of interactivity. -
Laura Riding Pointed to the Fact That, Looking at the Canon Of
UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLÊS E LITERATURA CORRESPONDENTE MINDSCAPES: LAURA RIDING’S POETRY AND POETICS por RODRIGO GARCIA LOPES Tese submetida à Universidade Federal de Santa Catarina em cumprimento parcial dos requisitos para obtenção do grau de DOUTOR EM LETRAS FLORI.\NOPOLIS Dezembro de 2000 Esta Tese de Rodrigo Garcia Lopes, intitulada MINDSCAPES: LAURA RIDING’S POETRY AND POETICS, foi julgada adequada e aprovada em sua forma final, pelo Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, da Universidade Federal de Santa Catarina, para fms de obtenção do grau de DOUTOR EM LETRAS Área de concentração; Inglês e Literatura Correspondente Opção: Literaturas de Língua Inglesa Anelise Reich Corseuil Coordenadora BANCA EXAMINADORA; é Roberto O ’Shea ientador e Presidente 'h/y Maria Lúcia MiUéo Martins Examinadora Susana Bornéo Funck Examinadora J^iz Angé^o da Costa Examinador ífid Renaux Examinadora Florianópolis, 11 de dezembro de 2000 In the memory of Laura (Riding Jackson (1901-1991) To my parents, Antonio Ubirajara Lopes and Maria do Carmo Garcia Lopes IV ACKNOWLEDGEMENTS I would like to thank the several people and institutions that helped me, in inestimable ways, to succeed in accomplishing the present thesis. To my advisor, José Roberto O’Shea, for his infinite patience, collaboration, and understanding. To CAPES, for conceding me the scholarship that provided the necessary means to carry out original research on Laura Riding collections in the United States. To The Board of Literary Management of tiie late Laura (Riding Jackson: Dr. James Tyler, Dr. William Harmon, Robert Nye, Theodore Wilentz, Joan Wilentz, and especially to Alan J. -
Niki De Saint Phalle's International Workshop
Niki de Saint Phalle’s International Workshop Like the great cathedrals of Europe that inspired her work, Niki de Saint Phalle’s own monumental projects are the creation of both a singular vision and a collective ideal. Since the 1970s, she has collaborated with a team of artists, artisans, and other specialists whose own unique talents and fierce dedication were critical to the realization of many of her large-scale environmental gardens, parks, and public art projects. The building of Queen Califia’s Magical Circle is no exception and for the four individuals whose stories are highlighted below, the opportunity to work with Saint Phalle over the years has been deeply affecting on both a personal and professional level. “I have been very fortunate in my life to work with many leading artists like Richard Serra and Jasper Johns and I think that Niki has been one of my major influences,” said Ron McPherson, whose company La Paloma has fabricated many of the artist’s large sculptures since 1994. “It is just incredible to see a person that can live in so many different worlds at one time—a mature woman, a child, a mystic, and a realist.” Marcelo Zitelli, La Jolla, California Argentinean-born Marcelo Zitelli first met Saint Phalle in 1987 in Paris where he had come to work in the theater. For the first five years, he lived in the artist’s home, assisting her in the making of small maquettes from original drawings, and working with her and Jean Tinguely on the fountain at Château Chinon for French President Mitterand, and at the Tarot Garden in southern Tuscany. -
JESUS RAFAEL SOTO B. 1923, Ciudad Bolívar, Venezuela D. 2005, Paris, France “… in Order to Achieve Abstraction, I Thought I
JESUS RAFAEL SOTO b. 1923, Ciudad Bolívar, Venezuela d. 2005, Paris, France “… in order to achieve abstraction, I thought it was important to find a graphic system that would allow me to codify a reality rather than represent it.” One of the most important kinetic artists of the 20th century, Jesús Rafael Soto began his artistic career at a very young age, painting posters for movie theaters in his hometown of Ciudad Bolívar. In 1942, he received a scholarship to study art and art history at the Escuela de Artes Plásticas in Caracas, where he met fellow students Carlos Cruz-Diez, Mercedes Pardo, Omar Carreño, and Alejandro Otero. During these studies, he began making paintings inflected with Cubism. He noted, “For me, Cubism was an exercise in construction, in the ordering a planes, a tool that helped me to translate the tropical light.” In Caracas, he regularly attended meetings and discussions at the Taller Libre de Art (Open Air Studio), an institution sponsored by the Ministry of Education, in which intellectuals, critics, and artists debated current avant- garde ideas from Europe and Latin America; his first solo exhibition was held at the Taller in 1949. In 1947, Soto was invited to direct the Escuela de Bellas Artes de Maracaibo, where he remained until 1950. That year, he received a grant to travel to France; he settled in Paris, where he found a dynamic community of artists associated with the Salon des Realités Nouvelles and the Galerie Denise René, including Yaacov Agam, Jean Tinguely, Victor Vasarely. He also rejoined many of his friends from school, including Otero and Pardo.