11 — 12 October 2008, Berlin
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Posing the Literary As Visual
In the age of Postmodernist flux, where boundaries become blurred and may even disappear, we encounter an unexpected engagement with visual art by its long time nemesis - the phonographic word. In the work of the Danish poet Jan Hatt-Olsen who properly calls himself a cross media artist, we witness an uncanny morphogenesis of literary art into visual art. Typically the literary appears in visual art as appropriations of simple literary devices by visual artists, stimulated by the verbiage of their literate societies. For Mr. Olsen however, this repositioning of the literary into the current visual art world encounters several challenges, as he attempts to re-brand the space as a literary site. As the poet makes several appropriations of visual practices that stumble into the realm of visual art politics, there are a number of ideological viruses carried by the avant-garde into his project through these actions. In Mr. Olsen’s The Exhibition as a Poetry Book, at gallery Dada Post in Berlin, Germany in September 2011, the poet commandeered two rooms in which he created separate installations. Upon entering the galleries, experienced visual art eyes immediately synthesize the two layouts as text based conceptual art installations. The installation in the first room titled Came From the Sky exhibits the acuity and visual hermeneutics of a tightly controlled Dennis Oppenheim installation, while also bringing to mind other visual artists who work largely with text, such as Lawrence Weiner and Louise Lawler. In this action an antique red DDR toy airplane sits landed amid the (poems) acrylic on canvas leaflets it seems to have just strewed from the air before landing – like war propaganda. -
ISSN 1611-0153 Urn: Nbn: De: 101-ND35 2012-6
Neuerscheinungsdienst Jahrgang: 2012 ND 35 Stand: 29. August 2012 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2012 ISSN 1611-0153 urn:nbn:de:101-ND35_2012-6 2 Hinweise Der Neuerscheinungsdienst ist das Ergebnis der Ko- blikation in der Deutschen Nationalbibliografie; de- operation zwischen der Deutschen Nationalbibliothek und taillierte bibliografische Daten sind im Internet über der MVB Marketing- und Verlagsservice des Buchhandels http://dnb.dnb.de abrufbar. GmbH. Ziel dieser Kooperation ist zum einen die Hebung Bibliographic information published by the Deut- des Qualitätsstandards des Verzeichnisses lieferbarer sche Nationalbibliothek Bücher (VLB) und zum anderen die Verbesserung der The Deutsche Naitonalbibliothek lists this publication in Aktualität und Vollständigkeit der Deutschen Nationalbi- the Deutsche Nationalbibliografie; detailed bibliographic bliografie. In der Titelaufnahme wird der entsprechende data are available in the Internet at http://dnb.dnb.de. Link zu den Verlagsangaben direkt geschaltet; ebenso Information bibliographique de la Deutsche Natio- alle anderen möglichen Links. nalbibliothek Die Verleger melden ihre Titel in einem einzigen Vor- La Deutsche Nationalbibliothek a répertoiré cette publi- gang für das VLB und den Neuerscheinungsdienst der cation dans la Deutsche Nationalbibliografie; les données Deutschen Nationalbibliothek. Dieser zeigt somit alle bibliographiques détaillées peuvent être consultées sur Neumeldungen von Titeln an, die auch in das VLB ein- Internet à l’adresse http://dnb.dnb.de gehen. Die VLB-Redaktion leitet die Meldungen an die Deutsche Nationalbibliothek weiter. Die Titel werden oh- Die Verleger übersenden gemäß den gesetzlichen Vor- ne weitere Änderungen im Neuerscheinungsdienst der schriften zur Pflichtablieferung zwei Pflichtexemplare je Deutschen Nationalbibliothek angezeigt. Die Titelanzei- nach Zuständigkeit an die Deutsche Nationalbibliothek gen selbst sind, wie auf der Sachgruppenübersicht an- nach Frankfurt am Main oder nach Leipzig. -
Linda Stein Cv
A.I.R. LINDA STEIN CV SOLO EXHIBITIONS 2017 HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Maine Jewish Museum, Portland, ME 2016 THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Holter Museum of Art, Helena, MT HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Museum of Biblical Art in collaboration with University of North Texas, Dallas, TX HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Alverno College, Milwaukee, WI THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Columbia University, Teachers College, Macy Gallery, New York, NY HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Flomenhaft Gallery, New York, NY HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Jewish Federation of Greater Santa Barbara in collaboration with Morris Squire Foundation and Congregation B’nai Brith, Santa Barbara, CA THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Allegheny College Art Galleries, Meadville, PA 2015 HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Rosen Museum of the Levis JCC, Boca Raton, FL HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Futernick Gallery of the Alper JCC, Miami, FL THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Noyes Museum of Art, Oceanville, NJ THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Penn State Berks, Freyberger Gallery, Reading, PA 2014 THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Pennsylvania State University, Hub-Robeson Galleries, University Park, PA THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Andrews Art Museum, Andrews, NC THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Coastal Carolina University, Bryan Gallery, Conway, SC 2013 THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Fulton Montgomery Community College, Perrella Gallery, Johnstown, NY THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, St. -
SANDRA EULA LEE [email protected]
SANDRA EULA LEE www.sandralee-studio.com [email protected] ARTIST-IN-RESIDENCE 2020 Ox-Bow, Conversations in Practice with Karen Patterson, The Fabric Museum and Workshop 2020 Elizabeth Foundation for the Arts, Artist-in-Residence, New York, NY (postponed) Residency Unlimited, NY, Artist-in-Residence (postponed until June-July 2021) 2011 Brooklyn Botanic Garden, Brooklyn, NY 2010 Seoul Museum of Art, Nanji Art Studio, Seoul, South Korea (4 mos.) Chinese-European Art Center (CEAC), Xiamen, China (4 mos.) 2009 National Museum of Contemporary Art, International Art Studio Goyang, South Korea (6 mos.) 2008 Aljira Center for Contemporary Art, Emerge 10, Newark, NJ 2006 American Academy in Rome, Visiting Artist (6 mos.), Italy 2001-04 Elizabeth Foundation for the Arts, Subsidized Studio Space, New York, NY 2000 Vermont Studio Center, Dodge Foundation Fellowship (1 mo.) GRANTS / AWARDS 2020 Curator’s Award, Kristen Hileman and Leslie Shaffer, Delaware Contemporary 2020 2020 Individual Artist Award, New Jersey State Council on the Arts/Mid Atlantic Arts Foundation 2019 Fellow, Andrew Mellon Foundation, HIES Grant 2018 Howard Foundation Fellowship Finalist 2015-16 Faculty Research Grant, Kenyon College, Gambier, OH 2011 Smithsonian Institute Artist Research Fellowship Nominee, Washington D.C. Sindoh Artist Support Program Nominee, Seoul, South Korea Fellow, Creative Capital and Aljira Center for Contemporary Art, NJ 2009 Fellow, Asian Cultural Council, American Artists and Museum Professionals in Asia Grant, New York, NY 2008 Rema Hort Mann Art Award Nominee, New York, NY 2001-04 Fellow, Elizabeth Foundation for the Arts Studio Grant, New York, NY 2002 Fellow, Manhattan Community Art Fund Grant, Lower Manhattan Cultural Council NEA Commissioned Artist, ArtSpace, New Haven, CT 2000 Fellow, Geraldine R. -
Ja Hresber Ic Ht 2 0 11
Madonna_Sixtinisch_Jahresbericht_Anzeige_210x170mm.indd 1 26. Mai – 26. August 2012 26. – Mai 26. Staatliche KunstsammlungenDresden Alte Meister, Gemäldegalerie Raffaels KultbildfeiertGeburtstag. Die SixtinischeMadonna— 500. WIRD WELT DER FRAU SCHÖNSTE DIE 09.03.12 11:34 Staatliche KunStSammlungen Dresden · Jah reSbericht 2011 2011 Kunsthalle im Lipsiusbau Semper Building at the Zwinger Schloss Pillnitz, Bergpalais Page 5 Page 18 sPEcIAL EXHIBITIONs Foreword Back on public display at last: The “Canaletto View” Page 29 Page 19 Exhibitions in Dresden, Saxony and I N FOcUs The Dream of a King. throughout Germany Dresden’s Green Vault Page 42 Page 7 Exhibitions abroad The Art of the Enlightenment Page 10 A cHANGI NG The Power of Giving INsTITUTION FROM TH E Page 12 cOLLEcTIONs On the departure of The Third Saxon State Exhibition: Prof. Dr. Martin Roth via regia – 800 Years of Mobility Page 45 and Movement Page 21 Selected purchases and donations Motivated by cultural convictions Page 14 Page 50 Heavenly Splendour: Page 23 Selected publications Raphael, Dürer and Grünewald Ten years at the Staatliche Page 53 paint the Madonna Kunstsammlungen Dresden Selected restoration projects Page 16 On the departure of Neue Sachlichkeit in Dresden. Dr. Moritz Woelk 1920s paintings from Dix to Querner Page 26 From Benedetto Antelami to Tony Cragg – Moritz Woelk in Dresden’s Albertinum Japanisches Palais Albertinum GRASSI Museum Leipzig SCIENTIFIc AN D VIsITORs NEWs I N BRI EF REsEARcH PROJ EcTs Page 77 Page 89 Page 59 The Future of Museums – youth Scientific -
DIE ANTHOLOGIE DER KUNST Kunst Und Theorie: DIALOG
76 Jochen Gerz Die Anthologie der Kunst CHRIS KOH In the near future, minutes from now, artists will deploy artificially intelligent Teilnehmer: Sonja Abadzieva (Skopje/ *Bulgaria),Tom Ackers (London/ *Hong Kong), Nancy Adajania (Bombay), xenotransplantation artists will assemble vehicles capable of loitering over areas of Peggy Ahwesh (New York), Kathleen Anderson (Phillipsort – USA), Soren Andreasen (Copenhagen), Marie-Luise Angerer (Cologne/ *Austria), Igor Antic (Paris/ *Yugoslavia), Clover great quickening masses of human interest for up to 18 hours. These highly Archer (New York), Inke Arns (Berlin), Sara Arrhenius (Stockholm), Robert Atkins (New York), organs harvested from pygmy pigs. The efficient unmanned vehicles will be Zeigam Azizov (London/ *Azerbajgan Republic), George Baker (New York), Perry Bard (New York), Ricardo Basbaum (Rio de Janeiro), Zoe Beloff (New York/ *UK), Kenny Berger (Los artists will select donor animals from equipped with infrared and video came- Angeles), Ulrike Bergermann (Hamburg), BillyBoy, Richard Birkett (London), Jill Bliss (San screened, closed herds as free as possible ras, side-scanning radar, motion sensors Francisco), Hannes Böhringer (Berlin), Mikkel Bolt (Aarhus), Elizabeth Bond (Winnipeg), Gábor Bora (Stockholm/ *Hungary), Francois Boué (New York/ *Germany), Nancy Bowen (New York), of infectious agents and of the highest and eavesdropping assets that may gat- Robert Boyd (New York),Will Bradley (Glasgow), Deborah Bright (Boston), Suzanne Broughel esthetic value. Obviously, only the most her an endless stream of data from any (New York), Neal Brown (London), Daniel Buren (Paris), Alicia Candiani (Buenos Aires), Jackie Chang (New York/ *Taiwan),Yungshu Chao (New York/ *Taiwan), Chris Chapman (Sydney), Jodi exclusive cutting-edge galleries will opti- terrestrial source. -
Press Kit the Hot Wire English
PRESS KIT / CONTENT Introduction Seite 02 The building blocks of the collaboration: The five project components Seite 04 The Hot Wire as an Opportunity for Focused Perception. Seite 07 Questions and answers Georg Elben, Director Skulpturenmuseum Glaskasten Marl THE HOT WIRE. The Münster-Marl-Connection Seite 10 Statement by the curatorial team of Skulptur Projekte Münster Participating artists Seite 12 Facts & Figures Seite 14 Sponsors & Partners Seite 14 1 INTRODUCTION THE HOT WIRE. A collaboration between Skulptur Projekte Münster and Skulpturenmuseum Glaskasten Marl Three red and green slices of melon rise up from the top of a concrete pillar, and in the city centre a white horse and a black horse circle round the town hall lake in opposite directions: Marl, a city in the Ruhr District, presents itself as a partner of the Skulptur Projekte Münster 2017 and from 4 June to 1 October, in cooperation with the Münsteraner Kunstschau (Münster Art Exhibition), is presenting its own exhibition THE HOT WIRE. The joint project THE HOT WIRE includes various blocks such as works by artists who are active in both cities, an exchange of sculptures between Münster and Marl, an exhibition of models from the archives of the Sculpture Project and items from the collection of the Skulpturenmuseum Glaskasten Marl, an exhibition of video art in a former secondary school, and reciprocal visits, including visits by authors from the Münster writing project KUR UND KÜR. Richard Artschwager, Reiner Ruthenbeck, Thomas Schütte, Joëlle Tuerlinckx and Dominique Gonzalez-Foerster are among the best known artists taking part. For mayor Werner Arndt, the cooperation is “recognition of the high-quality collection and museum work of the Skulpturenmuseum Glaskasten, the courage with which Marl has been exhibiting contemporary sculpture since the beginning of the 70s, and the discussions about art and civic space that it has initiated”. -
Read Full Interview
What follows is an edited version of an interview of Robert Lee, director of the Asian American Art Center Carmel New York City, by Bruce Checefsky, a coordinator of the Reinberger Galleries, Cleveland Institute of Art. The interview took place March 4th 1992. Bruce Checefsky: How was "China: June 4th, 1989..." organized? Robert Lee: The exhibition began right after the incident in Tiananmen Square. We had held a panel discussion with other artists in May about what was happening in China. But when the massacre took place we responded immediately. We were able to respond so quickly because we planned to close the Centre down for the Summer. So we decided to set up an exhibition that would last the Summer and cancelled our plans for the Fall to make this a one year project. We wanted a way to gather work that would stand independently of the Gallery wall. I felt that the exhibition should be open to all people, parents, children, all people. Soon we saw it was the artists who were responding. We formed the idea of allowing each artist to submit a door, asking them to put their art on the door that could be easily mobile and linked free- standing to form a kind of wall. As it was, we exhibited in October (1989) at Blum Helman Warehouse in Soho. At the time we had 70 doors, a lot of smaller work and about 80 fax photos, and a few larger works. For the memorial one year later, the show went to P.S. 1 in Long Island City. -
Nohra Haime Gallery
NOHRA HAIME GALLERY HUGO BASTIDAS Born in Quito, Ecuador in 1956 Moves to the United States in 1960 Lives and works in New York and New Jersey EDUCATION 1987 M.F.A., Hunter College, New York 1982 Artists/Teachers Institute, Stockton State College, NJ 1980 The Brooklyn Museum Art School, Brooklyn, NY 1979 B.F.A., Rutgers University, Newark, NJ 1977 Pratt Graphics Extension Program, New York AWARDS 2014 Annual Galo Plaza Award, New York 2009 Elected National Academician, New York 2007 Changwon City Citation from the Office of the Mayor 2000 Elected Member of the Century Association, New York 1995 Award in the Visual Arts, Colombian Ecuadorian Association of America Award of Merit, Jersey City Museum Award of Merit, The Mayor’s Office 1992 Pollock-Krasner Foundation Grant 1990 Fulbright Fellowship, Full Travel Grant Honorary Full Professorship, Central University, Quito, Ecuador 1986 Schwartz and Hofflich C.P.A. Award, The Silvermine Guild of Artists 1982 ATI Scholarship, New Jersey Council on the Arts 1979-80 Robert Smithson Memorial Scholarship ONE PERSON EXHIBITIONS 2020 Nohra Haime Gallery, “Onslaught,” a virtual exhibition 2018-19 Nohra Haime Gallery, “Codefication,” New York 2017 Various locations in East Harlem, “Hugo X. Bastidas: Historical Portraits,” organized by El Museo del Barrio, New York 2016 Nohra Haime Gallery, “Illuminations I,” New York 2015 The Zagreus Projekt, “The Endangered Species Recipe Book,” Berlin, Germany The Art Students League, “Hugo Bastidas: Works on Paper and Other Small Pieces,” New York 2014 Mattatuck -
Berlin Soup 2018 Catalogue
BERLIN SOUP BERLIN 2018 CHAOS & DESIRE Truly, it*s lovely being now embarked on the ship of Berlin Soup International Arts Festival V• When we started out, at the very beginning* we had a feeling we would love to create something that would be art translated to a community of feelings* where human reaction would be art* and surpass art* but always with simplicity in approach & practice• For us* as curators* it*s a joy to witness the growth of the Festival & the coming together of invention• So we thank you very much* all those who are with us* and without whom this Soup would not be possible* and for your spirit & for helping us take this Festival along a guided path thru Chaos & Desire* upgrading elements of a wholesome & artful Soup: with you being the main ingredient in the larger family• We wish you a HappyFeelings* beginning July 19* with a tasty appetizerOpener for the coming week*s enjoyment of the Soup & its ingredients• Share as we do in a happy gettingToKnowU atmosphere of self- inclusive nights & days until July 28 exploring multiPossibilities of Art as shamanistic healer in a disturbed* evolving world of changeling Beauty where the long•term future of Artifical Intelligence threatens to reStyle parameters of Chaos & Desire• Marianne Østergaard Marianne Østergaard But not without Challenges met by our Presence … • … Front cover + poster by Kenn Clarke www.kennclarke.wixsite.com/clarke Take art care Back cover Berlin Soup logo by Chris Calmer Jesper Dalmose Curator… JESPER DALMOSE JESPER Curator… RAHAEL LENNOX Curator… CLARKE KENN Catalogue… Web Curator… JESPER DALMOSE JESPER Curator… RAHAEL LENNOX Curator… CLARKE KENN Catalogue… Web www.chriscalmer.com Lennox Raphael Birth of BERLIN SOUP 1996 Kulturfabrikken, in Amager, Copenhagen Len- Theme of our proposed 2018 BERLIN SOUP LABARTORIUM is nox and Jesper first met at Kulturfabrikken, now Fabrikken for Kunst & De- sign, in 1996 where Jesper curated a one week workshop on food art together CHAOS & DESIRE CHANGES, with Rune Fjord Jensen. -
CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston
CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER 2 CREATING COMMUNITY. CINQUE GALLERY ARTISTS CREATING COMMUNITY. CINQUE GALLERY ARTISTS Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER MAY 3 — JULY 4, 2021 THE PHYLLIS HARRIMAN MASON GALLERY THE ART STUDENTS LEAGUE OF NEW YORK Cinque Gallery Announcement. Artwork by Malcolm Bailey (1947—2011). Cinque Gallery Inaugural, Solo Exhibition, 1969—70. 3 CREATING COMMUNITY. CINQUE GALLERY ARTISTS A CHRONICLE IN PROGRESS Former “306” colleagues. -
Droping the Trowel: Three Discourses and One Creative Archaeology
AP: Online Journal in Public Archaeology Volume 6 - 2016 p. 75-116 Droping the Trowel: Three Discourses and One Creative Archaeology José A. MARMOL MARTÍNEZ Universidad Complutense de Madrid Received: 25/04/16 — Accepted: 28/07/16 Abstract Archaeology offers insight into the values of the contemporary world. From three separate discourses, which address different temporalities and sites, an overarching archaeological narrative has been established, which reflects the role of art and heritage in artistic destruction; education and archaeology as an educational and social tool; and materiality (in the present case, the Chinese pottery sherds in Al-Andalus) in the interpretations and acts of archaeologists. The visual values of archaeology and the role of the archaeological imagination to unify disparate archaeological practices will be explored here. The permeability of the spheres of archaeology and art allow us to explore both archaeological and artistic practices, as well as reflect on universal convictions and on the potentiality of archaeological practice to intervene in social contexts. With all this, archaeology acquires relevance insofar as it is a practice that is able to address the problems of the present day. In line with the so-called ‘creative archaeologies’, with their experimentation and creation of artistic works (in this case photographic), this paper aims to reflect on new ways to ‘see’ archaeology, which has never been more necessary. Keywords Creative archaeologies, Art, Didactics, China, Archaeological theory 76 - José A. MÁRMOL - Dropping the Trowel... 1. Introduction If anything characterises a science, it is the approach taken to act upon certain problems. These problems, according to the posthumanities or the new humanities (in our case, the humanities and social sciences), are not required to exist within a historical context.