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. -
Drama Queer Exhibition Catalogue 2016 by Jonathan D
EXHIBITION CATALOGUE CURATED BY Jonathan D. Katz and Conor Moynihan I 21-30 JUNE 2016 EXHIBITION CATALOGUE Queer Arts Festival 2016 CURATED BY Jonathan D. Katz and Conor Moynihan ARTISTIC DIRECTOR SD Holman iii ESSAY: Jonathan D. Katz and Conor Moynihan Publication Notes Drama Queer Exhibition Catalogue 2016 By Jonathan D. Katz and Conor Moynihan, with an introduction by SD Holman Drama Queer, Queer Arts Festival, Vancouver, BC Curated by Jonathan D. Katz and Conor Moynihan June 21-30, 2016 Copyright © 2017 by Pride in Art Society EXHIBITION CATALOGUE All rights reserved. This book and any versions thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. First printing, 2017 ISBN 978-0-9937185-2-6 Library and Archives Canada Cataloguing in Publication Table of Contents Queer Arts Festival (2016 : Vancouver, BC) Drama Queer : exhibition catalogue / curated by Jonathan D. Katz and Conor Moynihan ; artistic director, SD Holman. Catalogue of an exhibition held at the Queer Arts Festival, Vancouver, BC, 2016. Issued in print and electronic formats. Introduction: SD Holman, Artistic Director ...................................................................................1 ISBN 978-0-9937185-2-6 (softcover).--ISBN 978-0-9937185-1-9 (PDF) 1. Homosexuality in art--Exhibitions. 2. Homosexuality and art--Exhibitions. 3. Emotions in art--Exhibitions. 4. Sex customs in art--Exhibitions. 5. Sex symbolism--Exhibitions. 6. Lesbianism in art--Exhibitions. 7. Gender identity in art--Exhibitions. 8. Transgender people in art--Exhibitions. Drama Queer: Conor Moynihan and Jonathan D. Katz, Curators ................................................6 9. -
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. -
Art AIDS America Co-Curator Talks Activism, Exhibition
VOL 32, NO. 11 NOV. 30, 2016 www.WindyCityMediaGroup.com THE ART OF ACTIVISM Roger Brown, Peach Light, 1983. Copyright The School of the Art Institute of Chicago and the Brown family Art AIDS America co-curator talks activism, exhibition BY GREtcHEN RACHEL HAMMOND The Alphawood Gallery and the city of Chicago will be the exhibit’s final home—a host to work that, for the most part, On World AIDS Day Dec. 1, The Alphawood Gallery in Chicago’s was never before seen until co-curators Chicagoan gay-rights Lincoln Park neighborhood will officially open the extraor- activist/Leslie-Lohman Museum of Gay and Lesbian Art Presi- dinary and historic new exhibit for which the building was dent Jonathan David Katz (who is also director of the visual CITIZEN JANE conceived and designed. studies doctoral program at State University of New York- Buffalo), alongside Tacoma Art Museum Chief Curator Rock Jane Lynch on Glee, new holiday CD. Since its Oct. 3, 2015 premiere at the Tacoma Art Musuem (TAM), Art AIDS America has been touring the country with Hushka, began years of painstaking work. Photo by Jake Bailey pieces depicting the history of AIDS in the United States as Katz spoke with Windy City Times about that work and the 34 seen through the uncompromising eyes and limitless creativ- life which gave rise to it. ity of the visual artist. Turn to page 23 UBER RELATIONSHIP HOLIDAY GIFT GUIDE FIDEL CASTRO Couple unites, thanks to ridesharing. Controversial world leader Photo of Tanya Serrano-Bargas and Marisela Bargas dies; LGBTs react. -
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. -
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, -
CV-2021V4-New Path
DAVID J. GETSY [email protected] // http://davidgetsy.com // pronouns: he/him Department of Art; University of Virginia; Fayerweather Hall 205; P.O. Box 400130; Charlottesville, VA 22904-4130 EDUCATION Ph.D., 2002, Department of Art History, Northwestern University M.A., 1996, Department of Art History, Northwestern University B.A. with Highest Honors, 1995, Oberlin College ACADEMIC AND PROFESSIONAL APPOINTMENTS University of Virginia 2021-present Eleanor Shea Professor of Art History, Department of Art, College and Graduate School of Arts and Sciences School of the Art Institute of Chicago 2011-2021 Goldabelle McComb Finn Distinguished Professor of Art History 2018-2019 Interim Director, Low-Residency MFA in Studio Program 2015-2016 Interim Dean of Graduate Studies 2013-2015 Chair of the Department of Art History, Theory, and Criticism 2008 named to Goldabelle McComb Finn Chair in Art History 2008-2011 Associate Professor, Department of Art History, Theory, and Criticism 2005-2008 Assistant Professor, Department of Art History, Theory, and Criticism Dartmouth College 2002-2004 Mellon Postdoctoral Fellow in the Humanities, Department of Art History Visiting professorships and appointments Freie Universität Berlin, John F. Kennedy Institute for North American Studies 2020-2021 Terra Foundation Visiting Professor of American Art University of York, Department of History of Art 2017 Honorary Visiting Professor of History of Art 2010 Honorary Visiting Professor of History of Art Ox-Bow School of Art 2014 Critic-in-Residence FELLOWSHIPS, GRANTS, -
2006 Annual Conference Program Sessions
24 CAA Conference Information 2006 ARTspace is a conference within the Conference, tailored to the interests and needs of practicing artists, but open to all. It includes a large audience session space and a section devoted to the video lounge. UNLESS OTHERWISE NOTED. ALL ARTSPACE EVENTS ARE IN THE HYNES CONVENTION GENTER, THIRD LEVEl, ROOM 312. WEDNESDAY, FEBRUARY 22 ------------------- 7:30 AM-9:00 AM MORNING COFFEE, TEA, AND JUICE 9:30 AM-NOON SlOPART.COM BRIAN REEVES AND ADRIANE HERMAN Slop Art corporate representatives will share popular new product distribution and expression-formatting strategies they've developed to address mounting consumer expectation for increasing affordability, portability, familiar formatting, and validating brand recognition. New franchise opportunities, including the Slop Brand Shippable Showroom™, will be outlined. Certified Masterworks™ and product submission guidelines FREE to all attendees. 12:30 PM-2:00 PM RECENT WORK FROM THE MIT MEDIA LAB Christopher Csikszelltlnihalyi, a visual artist on the faculty at the MIT Media Lab, coordinates a presentation featuring recent faculty work from the MIT Media Lab; see http;llwww.media.mit.edu/about! academics.htm!. 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII PAINTING Chairs; Alfredo Gisholl, Brandeis University; John G. Walker, Boston University Panelists to be announced. BOSTON 25 THURSDAY, FEBRUARY 23 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII 7:30 AM-9:00 AM PRINTERLY PAINTERLY: THE INTERRELATIONSHIP OF PAINTING AND PRINTMAKING MORNING COFFEE, TEA, AND JUICE Chair: Nona Hershey, Massachusetts College of Art Clillord Ackley, Museum of Fine Arts, Boston 9:00 AM-5:30 PM Michael Mazur, independent artist James Stroud, independent artist, Center Street Studio, Milton Village, VIDEO lOUNGE: EXPANDED CINEMA FOR THE DIGITAL AGE Massachusetts A video screening curated by leslie Raymond and Antony Flackett Expanded Cinema emerged in the 19605 with aspirations to explore expanded consciousness through the technology of the moving image.