Deborah Kass
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Modern Painters William J. Simmons December 2015
BY WILLIAM J. SIMMONS TRUE PORTRAIT BY KRISTINE LARSEN TO FORM DEBORAH KASS SHAKES UP THE CANON 60 MODERN PAINTERS DECEMBER 2015 BLOUINARTINFO.COM FORM DEBORAH KASS SHAKES UP Deborah Kass in her Brooklyn THE CANON studio, 2015. BLOUINARTINFO.COM DECEMBER 2015 MODERN PAINTERS 61 intensity of her social and art historical themes. The result is a set of tall, sobering, black-and-blue canvases adorned with “THE ONLY ART THAT MATTERS equally hefty neon lettering, akin, perhaps, to macabre monuments or even something more sinister in the tradition of IS ABOUT THE WORLD. pulp horror movies. This is less a departure than a fearless statement that affirms and illuminates her entire oeuvre—a tiny retrospective, perhaps. Fueled by an affinity for the medium AUDRE LORDE SAID IT. TONI and its emotive and intellectual possibilities, Kass has created a template for a disruptive artistic intervention into age-old MORRISON SAID IT. EMILY aesthetic discourses. As she almost gleefully laments, “All these things I do are things that people denigrate. Show tunes— so bourgeois. Formalism—so retardataire. Nostalgia—not a real DICKINSON SAID IT. I’M emotion. I want a massive, fucked-up, ‘you’re not sure what it means but you know it’s problematic’ work of art.” At the core of INTERESTED IN THE WORLD.” Kass’s practice is a defiant rejection of traditional notions of taste. For example, what of Kass’s relationship to feminism, queer- Deborah Kass is taking stock—a moment of reflection on what ness, and painting? She is, for many, a pioneer in addressing motivates her work, coincidentally taking place in her issues of gender and sexuality; still, the artist herself is ambivalent Gowanus studio the day before the first Republican presidential about such claims, as is her right. -
Patricia Cronin All Not Lost
PATRICIA CRONIN ALL is NOT LOST PATRICIA CRONIN 1 PATRICIA CRONIN ALL is NOT LOST with essays by Helen Molesworth and Alexander Nemerov NEWCOMB ART GALLERY Tulane University 2 3 FOREWORD and ACKNOWLEDGMENTS 7 ALL is NOT LOST Love and Death in the Work of Patricia Cronin This catalogue is published in conjunction with Helen Molesworth Patricia Cronin: All Is Not Lost, an exhibition organized by the Newcomb Art Gallery, 11 Tulane University. Generous support for this exhibition and catalogue comes from The Andy Warhol Foundation for the Visual Arts. PLATES Additional funding provided by Sara Vance Waddell. 16 Copyright © 2012 by the Newcomb Art Gallery, Tulane University. All rights reserved. GHOSTS and SCULPTURE No part of this publication may be Harriet Hosmer and Patricia Cronin reproduced or transmitted in any manner whatsoever without written permission from the publisher. Alexander Nemerov Edited by Teresa Parker Farris 27 Designed and typeset by Beverly Joel, pulp, ink. Printed and bound by Shapco Printing, Inc. Minneapolis, MN ISBN-13 978-0-9668595-1-5 PLATES 33 photo credits Steven Bates: cover Tom Powell Imaging: pp. 8-9, 21, 25, 72 Rayographix: pp. 26, 31, 33–65 Lee Sandstead: pp. 10, 17, 18, 19, 22, 23 CHECKLIST OF THE EXHBITION 67 BIOGRAPHY 68 BIBLIOGRAPHY 70 4 5 FOREWORD and ACKNOWLEDGMENTS Charles M. Lovell director NEWCOMB ART GALLERY Patricia Cronin: All Is Not Lost presents the complete I would like to thank the artist Patricia Cronin for works from the Harriet Hosmer: Lost and Found series her enthusiastic support and cooperation in mak- (2004-2009) alongside the marble sculpture Memorial ing this exhibition available to the Newcomb Art To A Marriage (2002) from one of America’s foremost Gallery. -
Art in the Age of the Coronavirus June 6 - December 12, 2020
Life During Wartime: Art in the Age of the Coronavirus June 6 - December 12, 2020 Deborah Kass “I use history as a readymade,” Deborah Kass has declared. “I use the language of painting to talk about value and meaning. How has art history constructed power and meaning? How has it reflected the culture at large? How does art and the history of art describe power?” Most discourses around power and meaning today are—or should be—undergoing serious reconsideration. Theories of knowledge have bent to the breaking point. The combined weight of political instability, alternative facts, a growing rejection of science and the destabilizing effects of the Covid-19 pandemic, as well as the growing use of state violence, have mined the confidence of people around the world but of Americans especially. Enter Deborah Kass’s Feel Good Paintings For Feel Bad Times. A set of canvases that use language and the sanctioned stylings of celebrated male artists to express key cultural conflicts, they marshal wit and graphic punch to force a confrontation between the canonical (the orthodoxies established by male artists) and the disruptive (their appropriation by a female artist). The results are demystifying, cutting, and often hilarious. They are also hopeful. At times being funny is simply saying what’s true. — CVF, USFCAM Deborah Kass, Isn’t It Rich, 2009. Oil and acrylic on canvas. 72 x 72 in. (182.88 x 182.88 cm). Courtesy of the artist and Kavi Gupta, Chicago, IL. Photo by Christopher Burke. Deborah Kass, Painting With Balls, 2005. Oil on linen. 84 x 60 in. -
TRIB LIVE | Aande
TRIB LIVE | AandE Artist displays her Warhol roots By Kurt Shaw Published: Saturday, November 3, 2012, 9:03 p.m. Updated: Sunday, November 4, 2012 Many artists strive to replicate the success of Andy Warhol, but few have replicated his art like Deborah Kass. The New York City-based artist spent eight years working in the vein of the Pop Art king, only to create something uniquely her own. “There’s no artist of my generation for whom Andy is not an influence. I mean, he was huge in everyone’s consciousness,” says Kass, a 1974 graduate of Carnegie Mellon University’s art department. Kass, who was born and raised in Long Island, says Warhol was a big reason she chose to attend Carnegie Mellon. But it wouldn’t be until nearly 20 years later that she would mine the artist’s oeuvre for ideas and inspiration. Now, the artist and her influence meet again, but in a different way. Just last weekend, Kass, 60, was in town for the opening of her first retrospective, “Deborah Kass: Before and Deborah Kass‘Before and Happily Ever After’ 1991 Happily Ever After.“ And it’s on display at, where else, The Andy Warhol Museum. At first glance, you might be hard pressed to tell a Warhol from a Kass, especially on the fourth floor of the museum where no fewer than 10 Warhol-inspired portraits by Kass of her friends hang alongside nearly as many by Warhol. There’s Warhol’s portrait of his friend, Victor Hugo, next to Kass’ friend, Norman Kleeblatt, fine-arts curator at the Jewish Museum in NewYork. -
Painter Deborah Kass Looks Back on Her Two-Decade Career with a New Show on the Way, Deborah Kass Weighs in on Channeling Louise Bourgeois, Andy Warhol and More
Painter Deborah Kass looks back on her two-decade career With a new show on the way, Deborah Kass weighs in on channeling Louise Bourgeois, Andy Warhol and more By Paul Laster Postered: Wednesday December 2 2015 Photograph: Rayon RIchards Deborah Kass A feminist artist who mines art history, pop culture and her own Jewish identity, Deborah Kass appropriates iconic images, quotes and song lyrics and makes them her own. Her paintings often critique the male-centric character of 20th-century art by putting a satirical spin on the efforts of famous male artists, from Picasso and Jackson Pollock to David Salle and Ed Ruscha. Andy Warhol has proven to be an especially fertile subject: Kass’s best-known works include parodies of his “Elvis” paintings and portraits of Liz Taylor, which ironically led to a 2012 retrospective at the Andy Warhol Museum in Pittsburgh. Fresh off the unveiling of her public art sculpture, OY/YO, at Brooklyn Bridge Park, she’s readying a solo show for Paul Kasmin Gallery, which features the latest entries in her sharp and thought-provoking oeuvre. The best of Deborah Kass Portrait Of The Artist As A Young Man (1991) “For this piece, I was riffing on someone who I thought was a very important artist: David Salle. But I was coming at his work from a feminist perspective: There’s a male figure instead of the female one in the Salle painting I borrowed from, and I overlaid a portrait of Picasso. The abstraction above refer- ences Jackson Pollock, another artist I’ve appropriated, while the title comes from James Joyce.” Photograph: Courtesy the artist/Paul Kasmin Gallery Four Barbras (1992) “When I made this painting in 1992, multiculturalism and identity issues were the topics of the day. -
Deborah Kass Artist Interview – Why Que...Ah Kass Sees Much More
CR FASHION BOOK WHY QUEER ARTIST DEBORAH KASS SEES MUCH MORE WORK TO BE DONE THE ART PIONEER SPEAKS WITH CR ABOUT REWRITING WOMEN’S PLACE IN HISTORY AND WHY FEMINIST PROGRESS IS JUST BEGINNING BY JENNIFER SAUER JUN 4, 2020 PHOTO COURTESY OF KAVI GUPTA GALLERY. ARTIST RIGHT SOCIETY/ARS. eborah Kass takes in the world around her and distills it meaningfully into her artwork. This process was how she found her creative voice— D using the language of art history as a starting point for her own expression. Her practice has spanned more than five decades across painting, photography, sculpture—even neon light installations. But her most recognized style is often a pop cultural spin on the artistic greats who came before her—from Eugène Delacroix and Pablo Picasso to Jasper Johns and Jackson Pollock. In both homage and critique, Kass’ paintings rewrite their work through her lens, infusing them with Disney cartoons, female artist icons, and texts on gender and identity. “BLACK +BLUE #2,” 2015 PHOTO COURTESY OF KAVI GUPTA GALLERY. ARTIST RIGHT SOCIETY/ARS. PHOTO COURTESY OF GRACE ROSELLI PANDORA BOXX PROJECT. The Texas-born artist (b. 1952) found worlds of inspiration in New York, the city where she was raised. By the time she was in grade school, Kass decided to pursue an art career. She took drawing classes at The Art Students League and spent hours in the city’s storied museums—which now aptly house her own artworks. She pursued her dream through drawing classes at The Art Students League and hours spent in the city’s storied museums—which now aptly house her own artworks. -
CRITICAL PERSPECTIVES on ARTS, POLITICS, and CULTURE NOVEMBER 2012 Patricia Cronin with Phong Bui
CRITICAL PERSPECTIVES ON ARTS, POLITICS, AND CULTURE NOVEMBER 2012 Patricia Cronin with Phong Bui While preparing for her forthcoming solo show Dante: The Way of All Flesh at fordProject (November 8 – December 21, 2012) Patricia Cronin welcomed Rail publisher Phong Bui to her Gowanus studio one late Sunday morning to view the new body of work and to discuss her art and life. Phong Bui (Rail): You are one of very few artists whose bibliography is vaster than your exhibition history. How do you account for this? [Both laugh.] Patricia Cronin: Yes, it’s true. You make the work you believe in and oc- casionally when people want to show it, they show it. But whenever my work is shown, whether in solo or group shows, writers have always responded to it. The imbalance is interesting. Lee Bontecou, my professor when I was in graduate school at Brooklyn College, used to tell me: “Make the best decisions for the work.” And that’s what I’ve done. I haven’t thought about Portrait of the artist. Pencil on paper by Phong Bui. the reception of the work, which can be very deceptive and unpredictable. Instead, it should only be about you, the work, and the history of art of the past as well as the present day. I’ve tried to focus on those conditions, Rail: Why Brooklyn College? Just because it’s in New York? and I’ve kept reminding myself that the artist’s job is to look out, to see Cronin: Because both Philip Pearlstein and Lee Bontecou were teaching the world as incomplete, then try to complete it in my studio. -
The New Yorker, January 11, 2016 1 Contributors
PRICE $7.99 JAN. 11, 2016 JANUARY 11, 2016 5 GOINGS ON ABOUT TOWN 17 THE TALK OF THE TOWN Amy Davidson on extreme weather; lightsabers; after “Downton”; David Bowie; James Surowiecki on taxing corporations. Katherine zoepf 22 SISTERS IN LAW Saudi Arabia’s first female attorneys. Simon rich 28 DAY OF JUDGMENT NICK Paumgarten 30 THE WALL DANCER A rock-climbing prodigy. TAD Friend 36 THE MOGUL OF THE MIDDLE A studio head tries to reinvent Hollywood. BEN Lerner 50 THE CUSTODIANS The Whitney’s conservation methods. FICTION ANNE Carson 60 “1 = 1” THE CRITICS A CRITIC AT LARGE THOMAS Mallon 63 The rise of the radical right. BOOKS 69 Briefly Noted MUSICAL EVENTS ALEX Ross 70 Igor Levit and Evgeny Kissin. POEMS Frank x. Gaspar 27 “Quahogs” Jane VanDenburgh 56 “When Grace at the Bliss Café Calls” marcellus hall COVER “The Great Thaw” DRAWINGS Kim Warp, Farley Katz, Will McPhail, Benjamin Schwartz, Liana Finck, Charlie Hankin, Edward Steed, Joe Dator, Paul Noth, William Haefeli, Roz Chast, Tom Cheney, Tom Chitty, David Borchart, Tom Toro, Barbara Smaller, David Sipress, Jack Ziegler SPOTS Pablo Amargo THE NEW YORKER, JANUARY 11, 2016 1 CONTRIBUTORS Katherine Zoepf (“SISTERS IN LAW,” P. 22) is a fellow at New America. Her first book, “Excellent Daughters: The Secret Lives of Young Women Who Are Transforming the Arab World,” comes out this month. Reporting for this piece was facilitated by a grant from the Pulitzer Center on Crisis Reporting. Sarah Larson (THE TALK OF THE TOWN, P. 20)is a roving cultural correspondent for newyorker.com. -
Meg Cranston
MEG CRANSTON Born 1960, Baldwin, New York Lives and works in Venice, California EDUCATION 1986 California Institute of the Arts / CalArts, Valencia, CA, Master of Fine Arts 1988 Jan van Eyck Akademie, Maastricht, The Netherlands 1982 Kenyon College, Ohio, Bachelor of Arts SOLO EXHIBITIONS 2019 Hue Saturation Value: The Archer Paintings, Meliksetian | Briggs, Los Angeles, CA 2018 Hue Saturation Value, Eastern Star Gallery, Archer School, Los Angeles, CA 2017 Same Composition, Different Hues, Different Titles, Meliksetian | Briggs, Los Angeles, CA 2016 Pizza, Bagpipe, Carburetor, Meliksetian | Briggs, Los Angeles, CA 2015 I Suppose So, Kunstverein Heilbronn, Heilbronn, Germany 2014 Poodle Mix, Galerie Michael Janssen, Berlin, Germany Meg Cranston, Fitzroy Gallery, New York, NY 2013 Emerald City, LAX Art, Los Angeles, CA Keep It Simple, Keep it Fresh with John Baldessari, Galerie Michael Janssen, Singapore Real Painting (for Aunt Cora) with John Baldessari, Galerie Michael Janssen, Berlin, Germany 2010 Galleri Brandstrup, Oslo, Norway 2009 Meg Cranston / Michaela Eichwald, Neuer Aachen Kunstverein, Aachen, Germany 2008 Every Dog in the Pound, Mercer Union, Toronto, Canada Radiator, He Said/She Said, Chicago, IL 2007 The Pleasure of Obvious Problems: Meg Cranston 1990-2007 (survey) Artspace, Auckland, New Zealand Galerie Kapinos Berlin, Germany 2006 Venetia Kapernakas Gallery, New York, NY Museum for Contemporary Art, Seigen, Germany 2005 Rock Bottom, Galerie Michael Janssen, Cologne, Germany Volcano, Trash and Ice Cream, Happy Lion Gallery, -
Aura Rosenberg
AURA ROSENBERG Biography Born in 1949, New York, NY Lives and works in New York, NY Education 1974 Master of Arts, Hunter College, New York, NY 1971 Whitney Museum of American Art Independent Study Program, New York, NY Bachelor of Arts, Sarah Lawrence College, Bronxville, NY Solo Exhibitions 2019 Statues Also Fall in Love, Martos Gallery, New York, NY (forthcoming) 2017 Head Shots: Mike Kelley, Martos Gallery at Frieze, New York, NY Angel of History, Studio Teatr Galeria, Warsaw, Poland 2016 Head Shots (1991-1996), JOAN, Los Angeles, CA 2015 Who Am I? What Am I? Where Am I?, Meliksetian Briggs Gallery, Los Angeles, CA 2014 Martos Gallery at Independent Projects, New York, NY 2013 Scene/Obscene, MJ Briggs / Anna Meliksetian Gallery, Los Angeles, CA The Angel of History (with John Miller), 3A Gallery, New York, NY I Know It When I See It, Martos Gallery, New York, NY 2012 Fourway, Sometimes (works of art), New York, NY 2011 The Golden Age, Sassa Trülzsch, Berlin, Germany 2010 It Goes On All the Same, Sometimes (works of art), New York, NY 2008 Sassa Trülzsch, Berlin, Germany 2006 Sassa Trülzsch, Berlin, Germany 2003 Kathe Kollwitzplatz Lightbox Project, Berlin, Germany 2002 Klemens Gasser and Tanja Grunert Gallery, New York, NY Galerie 20/21, Essen, Germany 2001 daadgalerie, Berlin, Germany 1998 Wooster Gardens, New York, NY Windows, Brussels, Belgium 1997 Richard Telles Fine Arts, Los Angeles, CA 1996 Art and Public, Geneva, Switzerland Wooster Gardens, New York, NY Galerie Moussion, Paris, France 1994 Galerie Martina Detterer, Frankfurt-am-Main, Germany 1993 Likorfabrik, Kunst-Werke Berlin, Berlin, Germany Kunsthalle St. -
Deborah Kass
DEBORAH KASS Born 1952 San Antonio, TX EDUCATION 1974 BFA, Painting, Carnegie-Mellon University, Pittsburgh, PA 1972 Whitney Museum Independent Studies Program, New York, NY 1968-70 Art Students League, New York, NY SELECTED SOLO EXHIBITIONS 2014 “feel good paintings for feel bad times,” Arthur Roger Gallery, New Orleans, LA 2013 “My Elvis +,” Paul Kasmin Gallery, New York, NY 2012 “Deborah Kass: Before and Happily Ever After, a Mid-Career Retrospective,” Andy Warhol Museum, Pittsburgh, PA 2010 “MORE feel good paintings for feel bad times,” Paul Kasmin Gallery, New York 2007 “Feel good paintings for feel bad times,” Paul Kasmin Gallery, New York “Armory Show,” Paul Kasmin Gallery, New York, NY 2001 “Deborah Kass: The Warhol Project,“ Weatherspoon Art Gallery, University of North Carolina at Greensboro, NC 2000 “Deborah Kass: The Warhol Project,” University Art Museum, University of California at Santa Barbara, Santa Barbara, CA “Deborah Kass: The Warhol Project,” Blaffer Gallery, University of Houston, Houston, TX 1999 Exhibition catalogue, “Deborah Kass: The Warhol Project,” Newcomb Art Gallery, Tulane University, New Orleans, LA 1998 Arthur Roger Gallery, New Orleans, LA 1996 “My Andy: a retrospective,” Kemper Museum of Contemporary Art and Design, Kansas City, MO 1995 “My Andy: a retrospective,” Jose Freire Fine Art, New York, NY “My Andy: a retrospective,” Arthur Roger Gallery, New Orleans, LA 1994 Barbara Krakow Gallery, Boston, MA 1993 “Chairman Ma,” Jose Freire Fine Art, New York, NY “Chairman Ma,” Arthur Roger Gallery, New Orleans, -
Alyson Shotz Education 1991 University of Washington, Seattle, Washington, MFA 1987 Rhode Island School of Design, Providence, R
Alyson Shotz Education 1991 University of Washington, Seattle, Washington, MFA 1987 Rhode Island School of Design, Providence, Rhode Island, BFA Solo Exhibitions 2020 Derek Eller Gallery Grace Farms, New Canaan, CT (postponed) 2019 Weatherspoon Art Museum, Greensboro, NC 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 Eller Gallery, New York, NY, Wavelength