Foundation for Art and Preservation in Embassies Announces the First Comprehensive Exhibition of Its Collections and Site-Specific Projects

Total Page:16

File Type:pdf, Size:1020Kb

Foundation for Art and Preservation in Embassies Announces the First Comprehensive Exhibition of Its Collections and Site-Specific Projects FOR IMMEDIATE RELEASE Foundation for Art and Preservation in Embassies Announces the First Comprehensive Exhibition of its Collections and Site-Specific Projects Presented by the Museum at Guild Hall In Association with Christie’s 158 Main Street, East Hampton, New York June 21 – July 27, 2014 Opening Reception Saturday, June 28, 4:00 – 6:00 pm Washington, D.C. – June 28, 2014 – The Foundation for Art and Preservation in Embassies (FAPE) is pleased to present a comprehensive exhibition of its collections on public view for the first time presented by the Museum at Guild Hall in association with Christie’s from June 21 through July 27, 2014. Curated by Robert Storr, Chairman of FAPE’s Professional Fine Arts Committee and Dean of the Yale School of Art, this historic exhibition will include works by some of the United States’ most acclaimed artists from FAPE’s Original Print, Photography and Site-Specific Collections. “FAPE is honored to be working with the Museum at Guild Hall to exhibit its collection this summer, and we are grateful to have major support from Christie’s” said FAPE Chairman Jo Carole Lauder. “For the first time, the public will have the rare opportunity to view works commissioned William Wegman (American, 1943), View Points, 2005, 36 x 44 inches, by and donated to FAPE by some of this country’s most pigment print. Gift of the artist with additional funding provided by Bank of America. iconic artists. We celebrate these artists’ generosity and the places they hold in the history of American art.” By partnering with American artists, FAPE donates permanent works of art to U.S. embassies around the world to fulfill its mission of cultural diplomacy. As of 2014, FAPE’s contributions included works by more than 200 preeminent American artists placed in more than 140 countries. The Lee Kimche McGrath Original Print Collection began in 1989 when Frank Stella donated The Symphony in an edition large enough for a print to be sent to every U.S. embassy. The Original Print Collection is now FAPE’s longest-running program. Page 1 of 5 Since 1995, each year a distinguished American artist has donated a new print, and Gemini G.E.L.LLC has contributed its printing services for nine artist editions. Artists in the Original Print Collection include: John Baldessari Louisiana Bendolph Mary Lee Bendolph Loretta Bennett Vija Celmins Chuck Close Jasper Johns Alex Katz Ellsworth Kelly Roy Lichtenstein Robert Mangold Brice Marden Julie Mehretu Elizabeth Murray Loretta Pettway Robert Rauschenberg James Rosenquist Susan Rothenberg Ed Ruscha Julie Mehretu (American, born Ethiopia, 1970), Vertiginous Fold, 2014, Joel Shapiro 33 ½ x 47 inches, spitbite/aquatint. Gift of the artist and Gemini G.E.L.LLC with additional Frank Stella funding provided by Bank of America. Terry Winters FAPE’s newest initiative is a collection of photography. Each year, a new work is donated by an American photographer to be placed in U.S. embassies throughout the world. In 2013, the Collection was inaugurated by Tina Barney and William Wegman. This year Carrie Mae Weems, Sidney Felsen, co-founder of Gemini G.E.L., and Richard Benson contributed editions. For FAPE’s Site-Specific Collection, the organization is assisted by an advisory committee of prominent arts professionals chaired by Robert Storr. Once an artist has been selected and has agreed to create a work, FAPE works with the embassy architects, the State Department and the artist to ensure that the art is sensitively integrated within the site. The works are all donated by the artists and FAPE provides the funds to pay for their fabrication and installation. The exhibition at the Museum at Guild Hall will present drawings, photographs and maquettes for the large-scale, site-specific works. Artists in the Collection include: Lynda Benglis (Mumbai, India) Louise Bourgeois (Beijing, China) Ron Gorchov (New York, USA) Ellsworth Kelly (Beijing, China, and Berlin, Germany) Sol LeWitt (Berlin, Germany; Tunis, Tunisia; and New York, USA) Maya Lin (Istanbul, Turkey) Elie Nadelman (London, United Kingdom) Odili Donald Odita (New York, USA) Ellsworth Kelly (American, 1923), Beijing Panels, 2003, painted aluminum, two reliefs. Martin Puryear (Beijing, China) Each panel: 18 feet x 11 feet x 8 inches. Dorothea Rockburne (Kingston, Jamaica) Gift of the artist with additional funding Joel Shapiro (Ottawa, Canada, and Guangzhou, China) provided by Bank of America, The Honorable Ronald S. Lauder and Mrs. Jo Michael Singer (Athens, Greece) Carole Lauder and Maria Hummer-Tuttle Elyn Zimmerman (Dar es Salaam, Tanzania) and Robert Tuttle. Donated in honor of Agnes Gund to the U.S. Embassy in Beijing, China. © Ellsworth Kelly/ Photograph: Jack Shear Page 2 of 5 "FAPE is privileged to have worked with some of the country’s most celebrated American artists of the twentieth and twenty-first centuries," said Robert Storr, Chairman of FAPE's Professional Fine Arts Committee and Dean of the Yale School of Art. "I am constantly reminded of their extraordinary generosity, and all of us associated with FAPE have been inspired by the collection of works they have created and made available for us to place in embassies around the world." Note to press: Press Preview will be held Saturday, June 28 from 2:00 – 3:00 pm. Registration is essential. “Guild Hall is honored to have the opportunity to exhibit these great works by the most talented American artists of our time,” said Ruth Appelhof, Executive Director of Guild Hall of East Hampton. “We thank Jo Carole Lauder, our neighbor here in the Hamptons, and the Trustees of FAPE for bringing this world-class program to our community.” “Christie’s is thrilled to be able to present this important exhibition with FAPE this summer at Guild Hall. We have enjoyed a long and meaningful relationship with FAPE and share a true passion for art,” said Doug Woodham, President, Christie’s, Americas. “This is a unique opportunity for the public to gain a better understanding of the importance of FAPE’s global contribution and see so many of these site-specific works of art together in one place.” Related Public Panel Discussions During the course of the exhibition at the Museum at Guild Hall, FAPE will host events including a series of panel discussions with artists, scholars, members of the diplomatic community, and FAPE supporters. Saturday, June 28 from 3:00 to 4:00pm FAPE and the Role of the Artist, Moderated by Robert Storr in conversation with Tina Barney, Lynda Benglis, Odili Donald Odita and Joel Shapiro Sunday, July 20 at 11:00am Darren Walker, FAPE Vice President and President of the Ford Foundation, in conversation with David Rubenstein, philanthropist and Co- Founder and Co-CEO of The Carlyle Group Sunday, July 27 at 11:00am Andy Warhol: Global Phenomenon, Moderated by FAPE Board member Bob Colacello in conversation with Peter Brant, Jane Holzer, Alberto Mugrabi and Aby Rosen Carrie Mae Weems (American, 1953), Echoes For Marian, 2014, 5 x 7 feet, digital c-print. Gift of the artist with additional funding provided by Bank of America. Photo courtesy of the artist and Jack Shainman Gallery, NY. About the Museum at Guild Hall Founded 80 years ago, Guild Hall is the Hamptons’ year-round visual and performing arts center wholly dedicated to serving the residents, members, families, and artists of the East End. The center offers the community, as well as visitors and tourists, enriching experiences by presenting relevant and meaningful programs and events, working in collaboration with artists, and providing a meeting place for the community. For more information and to become a Guild Hall member, visit www.GuildHall.org. Like Guild Hall on Facebook and follow Guild Hall on Twitter and Instagram. Page 3 of 5 About FAPE FAPE is the leading non-profit organization dedicated to providing permanent works of American art for U.S. embassies worldwide through site-specific commissions, original print collection and photography collections, preservation projects and other arts initiatives. It contributes to the U.S. Department of State’s mission of cultural diplomacy by partnering with American artists whose gifts encourage cross-cultural understanding within the diplomatic community and the international public. All artworks commissioned or placed by FAPE are gifts, representing the generosity and patriotism of some of the country’s greatest artists and donors. As of 2014, FAPE’s donations include permanent works by more than 200 preeminent American artists placed in more than 140 countries. FAPE was founded in 1986 by Leonore Annenberg, Wendy W. Luers, Lee Kimche McGrath and Carol Price. Its current leadership includes Chairman Jo Carole Lauder, President Eden Rafshoon, Vice President Darren Walker and Director Jennifer A. Duncan. A volunteer advisory committee chaired by Robert Storr, Dean of the Yale School of Art, selects and commissions all FAPE artists. FAPE underwrites the fabrication and installation, and is exclusively funded through individual, foundation and corporate donations. Further information about FAPE can be found at www.fapeglobal.org. Follow FAPE’s announcements, events and artists on Facebook. FAPE’s Sponsor is About Robert Storr Robert Storr is an artist, curator and critic who currently serves as Dean of the Yale School of Art. Storr graduated from Swarthmore with high honors in French and History in 1972. He received an M.F.A. in painting from the Art Institute of Chicago in 1978. Mr. Storr was Curator and then Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York, from 1990 to 2002. There he organized numerous exhibitions, including DISLOCATIONS (a survey of installation art), and a selection of the gifts made to MoMA by Philip Johnson, as well as retrospectives of Elizabeth Murray, Gerhard Richter, Max Beckmann, Tony Smith, and Robert Ryman, in addition to coordinating the Projects series from 1990 to 2000.
Recommended publications
  • Dorothea Rockburne in Beacon by Rebecca Allan
    Friday, January 25th, 2019 “The Substance of Art”: Dorothea Rockburne in Beacon by Rebecca Allan Over the course of several trips to Beacon for her expanding, long-term installation at Dia: Beacon, Dorothea Rockburne opens up to Rebecca Allan. On Saturday, January 26 Robert Storr will lecture on Rockburne’s work at 2PM 3 Beekman Street, Beacon, New York 12508, diaart.org Material tests for Domain of the Variable, 1972/2018. Chipboard, contact cement, paper, grease, and charcoal. 60.5 x 180 inches. Photo: Rebecca Allan “You don’t see birds’ nests along here anymore and I used to find hundreds along the Hudson River. It really troubles me.” Dorothea Rockburne and I are driving from New 1 York City on the Palisades Parkway north toward Beacon, when she points out the absence of songbirds, a critical indicator of intact woodlands. I’m watching how she looks out the window, looking at her eyes—transparent pools of turquoise and malachite, anchored by the sharpest pupils. Absence, presence, retrieval of the natural world, and our relationship to the universe are the topics that we discuss over several visits from July, 2018 until our December excursion. At Dia:Beacon, Rockburne will spend the day refining the final installation phase of her long-term exhibition, which opened last year with a presentation of the artist’s large-scale works from the late 1960s and early 1970s. In January, it reopens with newly added galleries, featuring works produced in the early 1970s through the early 1980s. Dorothea Rockburne. Photo: Rebecca Allan Dorothea Rockburne, organized by chief curator Courtney Martin, encompasses a body of work that is informed by the artist’s lifelong investigations of astronomy, dance movement, mathematics, Egyptian and Classical art, and architecture.
    [Show full text]
  • Bowdoin College Museum of Art
    Bowdoin College Museum of Art A Gift of Knowing: The Art of Dorothea Rockburne Bowdoin College Museum of Art March 14 – April 26, 2015 Since studying under Max Dehn at Black Mountain College in the early 1950s, artist Dorothea Rockburne (b. 1932) has grounded her artistic practice in a profound interest in mathematics and astronomy, with particular emphasis on geometry and topology. A Gift of Knowing: The Art of Dorothea Rockburne presented this spring at the Bowdoin College Museum of Art (BCMA) explores the significant and enduring impact of mathematics on Rockburne’s work throughout her career—from her early groundbreaking work in drawing to her most recent drawings, watercolors, and collages. Initiated by Bowdoin professor of mathematics Jennifer Taback, and curated by BCMA curator Joachim Homann in collaboration with the artist, the exhibition features 25 works in a range of media, including two works from Rockburne’s seminal Conservation Class series (1973), as well as several pieces the artist completed especially for the exhibition, which will be on public view of the first time. In her most recent works, Rockburne relates mathematical theories to the movements of the planets and the light captured by deep space telescopes. Prime examples include her Geometry of Stardust painting series (2009-2010), the colored pencil drawings of her Watermill Series (2013- 2015), which have never been on public view, as well as the drawing The Mathematical Edges of Maine (2014), inspired by Rockburne’s travels in Maine last summer—all of which will be on view at Bowdoin. Characterized by spherical movements, these works are based on mathematical equations, and their proportions correlate to harmonious patterns found in nature.
    [Show full text]
  • The Enduring Ephemeral: Dorothea Rockburne at Dia:Beacon
    The Enduring Ephemeral: Dorothea Rockburne at Dia:Beacon BY Barbara A. MacAdam POSTED 08/02/18 11:58 AM Dorothea Rockburne, installation view, Dia:Beacon, Beacon, New York.© DOROTHEA ROCKBURNE/ARTIST RIGHTS SOCIETY (ARS), NEW YORK. PHOTO: BILL JACOBSON STUDIO, NEW YORK. COURTESY DIA ART FOUNDATION, NEW YORK The confidence to direct, as if choreographing, five tall young men to interpret and execute her precise esthetic instructions embodies the way Dorothea Rockburne coordinates mind and body—hers and others’. She tells one of the preparators how to tinker with a torn edge of paper so that the tear is only slightly more ragged—that is, neatly ragged. At Dia:Beacon in Upstate New York in July, the small but strong 85-year- old artist was masterfully installing the first phase of her expansive show, consisting of six works from the 1960s and ’70s. (Phase two opens in the fall.) The process was arduous, since many of the pieces had to be re-created using new materials that differ from the originals in appearance, durability, and their reaction to their environment. But Rockburne has insisted that she’s not particularly concerned about the properties of the original materials. The works are intended to be both ephemeral and 1 reproducible. Termed “perennials” by her, they provide a subtle source of welcome tension, uncertainty, and variability. They are the same but not identical to what they were. For her dramatic two-part piece Domain of the Variable (1973)—dominating the first room of the show—Rockburne had to come up with a new petroleum-based material for the long horizontal segment, called Domain Z.
    [Show full text]
  • Carolee Schneemann, Sanctuary: Judson’S Movements, Artforum, Vol
    E s ARIFORUM H A L CAROLEE SCHNEEMANN Carolee Schneemann, Sanctuary: Judson’s Movements, Artforum, Vol. 57, September 2018, p. 231, 238-239 London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f W � @halesgallery H A L E s CATHERINEDAMMAN DEBORAHHAY CLAUDIALA ROCCO YVONNERAINER CAROLEESCHNEEMANN DEBORAHJOWITT LA MONTEYOUNG DOROTHEAROCKBURNE BARBARAMOORE STEVEPAXTON ON JULY6 , 1962 , seventeen members and affiliates of Robert Ellis Dunn's composition class convened at the Judson Memorial Church in Greenwich Village for an unorthodox concert of dance , "There should have been something for everybody , including a nap if desired ," wrote the critic Jill Johnston in her ebullient Village Voice review. "In fact there was so much that special moments arose as expected and at least three dances provoked a big response from everybody." That evening and some evenings after collec­ tively became known as the Judson Dance Theater. The program was a signpost for both democracy and postmodernism , an unlikely pair. Probably it didn't have much to do with either. Probably the wax of nostalgia obscures harsh realities. But it remains an attractive parable for how some brilliant young people made movements together , and how that togetherness was-like all togethernesses-a tricky congregation of differences amid a sameness. This month, "Judson Dance Theater : The Work Is Never Done " opens at the Museum of Modern Art in New York. In honor of the occasion , Artforum invited art historian CATHERINE DAMMAN and writers DEBORAHJOWITT and CLAUDIA LA ROCCO to consider the performances ' influence and legacies.
    [Show full text]
  • Automobile Tire Print
    Automobile Tire Print By Sarah Roberts, July 2013 Part of the Rauschenberg Research Project Cite as: Sarah Roberts, “Automobile Tire Print,” Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, http://www.sfmoma.org/artwork/98.296/essay/ automobile-tire-print/. 1 In the fall of 1953,1 Robert Rauschenberg asked composer John Cage (1912–1992) to bring his Model A Ford to Fulton Street in Lower Manhattan, where Rauschenberg lived and worked. The artist then poured paint in front of the car’s rear tire and directed Cage to drive slowly over twenty sheets of paper that he had glued together. The resulting print records a twenty-two-foot tread mark, about three revolutions of the wheel.2 In the decades since its creation, Automobile Tire Print has been interpreted as a monoprint, a drawing, a performance, a process piece, and a primary example of Rauschenberg’s use of indexical marks. Surprisingly, few scholars have considered it within Rauschenberg’s immediate art historical context—that is, the work and thinking of artists associated with action painting and the New York School—or connected it to Cage’s ideas about process, time, and the structure of music and silence, which intersected with Rauschenberg’s evolving approach to his art and informed his turn away from Abstract Expressionism. 1. Robert Rauschenberg, Automobile Tire Print, 1953 (detail); paint on 20 sheets of paper mounted on fabric, 16 1/2 x 264 1/2 in. (41.91 x 671.83 cm); Collection SFMOMA, Purchase through a gift of Phyllis Wattis; © Robert Rauschenberg Foundation / Licensed by VAGA, New York, NY 2 In addition to Automobile Tire Print, Rauschenberg created numerous works between 1951 and 1953 that suggest a nuanced understanding of prevailing artistic conventions and reflect a desire to simultaneously claim a place among and distance himself from his immediate peers.
    [Show full text]
  • Oral History Interview with Chuck Close, 1987 May 14-September 30
    Oral history interview with Chuck Close, 1987 May 14-September 30 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Chuck Close on May 14, 1987. The interview took place at the artist's studio on 75 Spring Street, New York City, and was conducted by Judd Tully for the Archives of American Art, Smithsonian Institution. Interview JUDD TULLY: According to published information, you were born in the state of Washington in 1940. What was your actual birthdate and tell me a little bit about Monroe, Washington? CHUCK CLOSE: July 5, 1940. Monroe, Washington, was a smelly little town halfway up the Cascade Mountains, northeast of Seattle. I didn't live there very long, actually. I was born at home -- not in a hospital -- of humble beginnings. Actually, I want to go back and photograph the house, because if I were a politician it would be great to have a picture of the shack that I was born in. [They laugh.] MR. TULLY: Was it really a shack? MR. CLOSE: Well, it wasn't a real shack, but it was a very modest little cottage. "Cottage" is giving it all the benefit of the doubt. It was definitely on the wrong side of the tracks -- about thirty five feet from the tracks.
    [Show full text]
  • Media Release
    NEW YORK CITY March 3, 2010: The New York Studio School will present the exhibition, Dorothea Rockburne: Astronomy Drawings, the final venue of its national tour, from Thursday, March 18 to Saturday, May 1, 2010. The exhibition originated at the Beard Gallery, Wheaton College, Norton, Massachusetts, in March 2009, and was subsequently seen at the Black Mountain College Museum & Arts Center, Asheville, North Carolina. The exhibition surveys two decades of works on paper by Rockburne that explore the theme of astronomy. The New York Studio School show is augmented by significant recent works that extend her thinking in this area. Dorothea Rockburne is an internationally renowned abstract painter whose works have dealt with a broad range of themes derived from mathematics and physics, including set theory, the Golden Section, chaos theory, and sacred geometry. Rockburne's interest in mathematics dates from her period of study at Black Mountain College from 1950 where she was a student of Max Dehn, the topologist, who was in turn a friend of Einstein’s. Rockburne’s painting teachers at Black Mountain included Franz Kline, Philip Guston and Jack Tworkov. Dorothea Rockburne was born in Montreal, Canada, in 1932, where she attended the School of Fine Arts while still at high school. After Black Mountain she relocated to New York City where she supported herself and her young daughter as a bookkeeper at the Metropolitan Museum. She also helped catalog the Met’s collection of Egypitan antiquities, beginning a long fascination with that subject that informed her Egyptian series of 1979-80. Dance and performance art were important activities for Rockburne in the early 1960s.
    [Show full text]
  • 5441 Ca Object Representations
    (1) Robin Winters and Christy Rupp at the (2) Arleen Schloss at the opening reception for (3) Anton van Dalen, Two-Headed Monster (4) Dave Sander and Ethan Swan at the opening reception for “Come Closer: Art Around “Come Closer: Art Around the Bowery, 1969– Destroys Community, 1981. Aerosol paint on opening reception for “Come Closer: Art the Bowery, 1969–1989,” New Museum, 1989,” New Museum, New York, September 19, paper, 29 x 23 in (73.7 x 58.4 cm). Installation Around the Bowery, 1969–1989,” New New York, September 19, 2012. Photo: Jesse 2012. Photo: Jesse Untracht-Oakner view: “Come Closer: Art Around the Bowery, Museum, New York, September 19, 2012. Untracht-Oakner 1969–1989,” New Museum, New York, 2012. Photo: Jesse Untracht-Oakner Courtesy the artist. Photo: Jesse Untracht-Oakner Published by When we announced that the New To date, the Bowery Artist Tribute has We are indebted to Hermine and Museum would construct a freestanding conducted over seventy interviews David B. Heller for funding the research, building on a parking lot at 235 Bowery, with artists, curators, and authors who development, and presentation of this one of our first concerns was finding a helped build the creative community archive, and for providing endowment newmuseum.org way to acknowledge the rich history of of the Bowery for the past seventy funds for its future. We are also grateful creative activity in our new neighbor- years. We’ve encountered artists who to a number of individuals who have Editor: Ethan Swan Designer: Chelsea Amato hood. We thought about 222 Bowery, were grateful for the opportunity to tell been instrumental in the research and Copy Editors: Frances Malcolm and Olivia Casa Printed by: Linco William Burroughs’s “Bunker” that shel- their Bowery stories for the first time, coordination of these efforts over the tered Lynda Benglis, John Giorno, Mark and others who weren’t convinced past nine years: Ethan Swan, Eungie Cover: Sylvia Plimack Mangold on the roof of her Grand Rothko, and a dozen more.
    [Show full text]
  • Dorothea Rockburne and Max Dehn at Black Mountain College
    COMMUNICATION Dorothea Rockburne and Max Dehn at Black Mountain College David Peifer Communicated by Thomas Garrity ABSTRACT. The artist Dorothea Rockburne was in- spired by the mathematician Max Dehn while a student at Black Mountain College. Dorothea Rockburne is a New York based artist whose paintings are inspired by her fascination with mathe- matics. Over her more than fifty years as a successful exhibiting artist, Rockburne has won many awards for her work, including the 1999 American Academy of Arts and Letters Jimmy Ernst Lifetime Achievement Award in Figure 1. Dorothea Rockburne is a distinguished Art and the 2009 National Academy Museum and School artist with a fascination for mathematics. Rockburne of Fine Arts Lifetime Achievement Award. A major retro- in 2014, photo by Zia O’Hara, (on left) and in her New spective, “Dorothea Rockburne: In My Mind’s Eye,” held in York studio in 2009 (on right). 2012 at the Parrish Art Museum, ex- hibited works spanning her career, an experimental liberal arts college including works from her Pascal with an emphasis on the arts (see series and paintings inspired by her the ability of sidebar). reading of Poincaré. A multi-gallery In 1945, the BMC faculty was exhibition at the Museum of Mod- mathematics to shed joined by the German refugee math- ern Art in 2014, Dorothea Rock- ematician Max Dehn. Dehn taught burne: Drawing Which Makes Itself, light on the underlying mathematics, philosophy, Greek, included some of her earliest works principles of nature and Latin. He and his wife lived on from her Set Theory series.
    [Show full text]
  • FOR IMMEDIATE RELEASE Systemic Paper Kwon Young
    FOR IMMEDIATE RELEASE Systemic Paper Kwon Young-woo, Rakuko Naito, and Dorothea Rockburne Blum & Poe, Tokyo April 15 – June 17, 2017 Opening reception: Saturday, April 15, 2017, 6 – 8pm Blum & Poe is pleased to present Systemic Paper, an exhibition of Kwon Young-woo, Rakuko Naito, and Dorothea Rockburne—three artists who have methodically explored the material properties of paper. Kwon, Naito, and Rockburne began their careers in the 1960s when minimalist and systemic practices in all media were at their height. In 1966, the influential critic Laurence Alloway organized Systemic Painting, a landmark survey of geometric abstraction, at the Solomon R. Guggenheim Museum in New York. While the exhibited artworks were simple, methodical explorations of repetition and pattern, Alloway’s definition of “systemic” practice was expansive—encompassing shaped canvases, Color Field and Hard Edge. Nevertheless, the term was rooted in the medium of painting, and in an American context. Few contemporary artists have prioritized paper not merely as a ground for painting or drawing but as an active material in its own right; fewer still have approached it from a systemic, modular, or mathematical perspective. Kwon Young-woo was one of the founding figures of Dansaekhwa, the Korean monochrome painting movement of the 1970s. Schooled in ink-painting traditions, Kwon forged a new direction in the 1960s by abandoning the use of ink and scratching the surface of the delicate, multilayered hanji paper with his fingernails. Leaving his works untitled or assigning them ordinal numbers that referred to their order of creation within a given year, Kwon quietly persisted with an iterative, serial practice.
    [Show full text]
  • Dorothea Rockburne's Visionary Installation at Dia:Beacon by Joan Waltemath
    Brooklyn Rail: July – August 2019 Issue 1 by 1 Dorothea Rockburne's Visionary Installation at Dia:Beacon by Joan Waltemath Installation view: Dorothea Rockburne, Dia:Beacon, Beacon, New York. © Dorothea Rockburne/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York. Already open and much lauded, Dorothea Rockburne’s installation works from the early ’70s reconstructed at Dia:Beacon are light-filled and 1 dense meditations on ideal conditions that slowly and elegantly reconfigure themselves through the process of viewing into relational metaphors. The work is tweaked regularly and will change periodically as it responds to weather conditions and seasonal shifts. Crude oil rolled out between two sheets of plastic climbs up the wall and then retreats from us as we stand at the entrance to the Rockburne rooms. The installation team informs me that she refers to Intersection (1971/2018) as her bed, like Rauschenberg's bed assemblage (1955) with her quilt on it from their days together at Black Mountain College. Now it has become our bed, the bed we lie in as a nation, with our oil lobbies and our oil wars and our war dead, not to mention the absence of viable forms of sustainable energy, which is the place where we are now mired. These aspects of life determine the limits of our mobility, our habitat and equity in ways that were not being thought out at the time that Dorothea made this work. Then the US was at the top of its imperial game with Iran accomplished, Vietnam pending, and Chile still on the horizon.
    [Show full text]
  • Jean-Noel Archive.Qxp.Qxp
    THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs.
    [Show full text]