The School of Art Annual Report (2013-2014)
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Plimack Mangold Selected Biography
1 2021 SYLVIA PLIMACK MANGOLD SELECTED BIOGRAPHY 1938 Born in New York 1956-1959 Cooper Union, New York 1959-1961 BFA, Yale University, New Haven, CT The artist lives and works in Washingtonville, NY AWARDS 1974 National Endowment for the Arts Fellowship 2006 Edwin P. Palmer Memorial Prize, National Academy Museum, New York 2009 William A. Paton Prize, National Academy Museum, New York Cooper Union President's Citation for Art, New York ONE-PERSON EXHIBITIONS 2021 Sylvia Plimack Mangold: The Pin Oak, 1985-2015, Krakow Witkin Gallery, Boston 2018 Sylvia Plimack Mangold: Winter Trees, Brooke Alexander, New York 2017 Summer and Winter, Alexander and Bonin, New York 2016 Sylvia Plimack Mangold: Floors and Rulers, 1967-76, Craig F. Starr Gallery, New York 2012-2013 Sylvia Plimack Mangold: Landscape and Trees, Norton Museum of Art, West Palm Beach, FL 2012 Recent Works, Alexander and Bonin, New York 2007 Sylvia Plimack Mangold, Alexander and Bonin, New York; Annemarie Verna Galerie, Zürich 2003 Sylvia Plimack Mangold: recent paintings and watercolors, Alexander and Bonin, New York 2000 Sylvia Plimack Mangold, Alexander and Bonin, New York 1999 Sylvia Plimack Mangold: Trees, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY 1997 New Paintings and Watercolors, Annemarie Verna Galerie, Zürich 1995 Sylvia Plimack Mangold, Paintings, 1990-1995, Brooke Alexander, New York 1994-1996 The Paintings of Sylvia Plimack Mangold, Albright-Knox Art Gallery, Buffalo, NY; Wadsworth Atheneum, Hartford, CT; Blaffer Art Museum, University of Houston; -
Artforum.Com / Critics' Picks
login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search ARTGUIDE DIARY PICKS NEWS IN PRINT FILM 500 WORDS VIDEO PREVIEWS TALKBACK A & E BOOKFORUM 中文版 CRITICS' PICKS New York CURRENT PAST links New York Pat Steir Pat Steir CHEIM & READ Paul Ramirez Jonas 547 West 25th Street “Project Europa: Imagining February 17–March 26 the (Im)Possible” Nature resounds throughout Pat Steir’s four-plus decades of Hiraki Sawa painting, whether in likeness (a pour of paint imaging a Judith Linhares waterfall) or as principle (the pour’s own willful, wayward Josh Smith paths, lured by gravity). It is amply visible, too, in this Andy Warhol searching suite of recent “Winter Paintings”—abstractions of Geoffrey Farmer about eleven by eleven feet halved into two tall panels of Feng Mengbo color. Their diaphanous sheen, which appears to veil vistas or sheath rock faces, marks a shift away from Steir’s Mark Bradford signature patinas (bleaching cascades, stardusty splatter) Los Angeles and toward late Rothko’s wintry horizons. Vertical vitality James Benning makes the crucial difference here, along with the depths of The Date Farmers Steir’s elemental, mineral palette—evoking by turns rust and raw silk, ash glaze and lava flow, and nary a drop in San Francisco mercury. Trevor Paglen The thin shock of verdigris streaking down the center seam Atlanta of Winter Group 6: Light Green, Payne’s Grey and Red, 2009–11, flashes a glint of light, or perhaps grows Dana Schutz lichenlike, where dusky slate blue meets a blue-brown Pat Steir, Valentine, 2009–11, oil on canvas, Austin wash. -
Yto Barrada One-Artist Exhibitions
Yto Barrada One-Artist Exhibitions Dates Born 1971, Paris Lives and works in Tangier and New York Education Sorbonne University, Paris International Center for Photography, New York 2021 Yto Barrada, Pace Gallery, 68 Park Place, East Hampton, New York, May 12–23, 2021. 2020 Yto Barrada: My Very Educated Mother Just Served Us Nougat, MATHAF: Arab Museum of Modern Art, Education City, Doha, Qatar, August 2–November 30, 2020. 2019 pacegallery.com Yto Barrada: Selected One-Artist Exhibitions 2 Yto Barrada: Cinémathèque de Tanger, Pace Live, New York, November 15, 2019. Yto Barrada: The Dye Garden, Neuberger Museum of Art, Purchase College, State University of New York, September 25–December 22, 2019. Yto Barrada: Paste Papers, Pace Gallery, 540 West 25th Street, New York, September 14–December 21, 2019 (extended through March 20, 2020). Yto Barrada: The Power of Two Suns, Lower Manhattan Culture Center Arts Center at Governors Island, New York, September 19–October 31, 2019. Yto Barrada: Double Skin, Estancia Femsa, Casa Luis Barragán, Mexico City, June 22–September 8, 2019. Yto Barrada: Moi je suis la langue et vous êtes les dents, Calouste Gulbenkian Museum, Lisbon, Portugal, February 8–May 6, 2019. (Catalogue) 2018 Yto Barrada, Pace Gallery, Seoul, September 3–October 31, 2018. Yto Barrada: Klaatu Barrada Nikto, Aspen Art Museum, Colorado, June 1–November 25, 2018. Yto Barrada: The Dye Garden, American Academy in Rome, May 10–July 8, 2018. pacegallery.com Yto Barrada: Selected One-Artist Exhibitions 3 Yto Barrada: How to Do Nothing with Nobody All Alone by Yourself, Pace Gallery, Pace/MacGill Gallery, and Pace African and Oceanic Art, 32 East 57th Street, New York, April 5–May 5, 2018. -
The Lady of Edgecliff
The Lady of Edgecliff Annie Peachman Faculty of Arts and Social Sciences, University of Technology Sydney Street art is a developing postmodern phenomenon with the profound capacity to challenge the cultural assumptions underpinning modernity and a modernist approach to art. Taking Bruno Dutot’s work, ‘The Lady of Edgecliff’, or ‘Oucha’ as a starting point, one can explore the cultural importance of street art, as it elucidates the contradictions inherent to contemporary society – which exists as a hybrid of both modernity and postmodernity. Postmodernism informs the way in which street art contests the prevalence of empiricism within modernity, which values technique over symbolic meaning and aesthetics. Street art simultaneously challenges the modernist notion of progress towards utopian ideals, often focusing more on dystopia and revisiting the past through the use of intertextuality, viewing the world as a simulacrum rather than as an absolute truth. In its total public accessibility, street art also challenges the notion of art as a commodity, as well as the modernist association of art with institutionalism, which positions the artist as a tradesperson, and the art world as a business. Yet with increasing numbers of acclaimed street artists shifting to exhibiting in galleries and accepting commissions for their work, the distinctions between postmodern and modern art are blurred. As such, street art reveals the enduring vestiges of modernity in contemporary culture, and thus questions how such ideas remain in conjunction with the ideas of postmodernism– suggesting that contemporary society is not unconditionally postmodern but instead exists as a hybridised culture, with interrelated and interdependent elements of both postmodernity and modernity central to our contemporary milieu. -
On the Basis of Art: 150 Years of Women at Yale Press Release
YA L E UNIVERSITY A R T PRESS For Immediate Release GALLERY RELEASE April 29, 2021 ON THE BASIS OF ART: 150 YEARS OF WOMEN AT YALE Yale University Art Gallery celebrates the work of Yale-educated women artists in a new exhibition from September 2021 through January 2022 April 29, 2021, New Haven, Conn.—On the Basis of Art: 150 Years of Women at Yale celebrates the vital contributions of generations of Yale-trained women artists to the national and interna- tional art scene. Through an exploration of their work, the exhibition charts the history of women at the Yale School of Art (formerly Yale School of the Fine Arts) and traces the ways in which they challenged boundaries of time and cir- cumstance and forged avenues of opportunity—attaining gallery and museum representation, developing relation- ships with dedicated collectors, and securing professorships and teaching posts in a male-dominated art world. On view at the Yale University Art Gallery from September 10, 2021, through January 9, 2022, the exhibition commemorates two recent milestones: the 50th anniversary of coeducation at Yale Irene Weir (B.F.A. 1906), The Blacksmith, College and the 150th anniversary of Yale University’s admit- Chinon, France, ca. 1923. Watercolor on paper. Yale University Art Gallery, Gift of Irene Weir, tance of its first female students who, flaunting historical B.F.A. 1906 precedent, were welcomed to study at the School of the Fine Arts upon its opening in 1869. On the Basis of Art showcases more than 75 artists working in a broad range of media, includ- ing painting, sculpture, drawing, print, photography, textile, and video. -
Oral History Interview with Robert Mangold, 2017 November 16
Oral history interview with Robert Mangold, 2017 November 16 Funding for this interview was provided by Janice Oresman. 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 recorded interview with Robert Mangold, conducted by Christopher Lyon for the Archives of American Art, at the artist's studio in Washingtonville, New York on November 16, 2017. This transcript has been reviewed and edited by Robert Mangold and Christopher Lyon. Their corrections and emendations appear below in brackets with initials. The transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview CHRISTOPHER LYON: This is Christopher Lyon. I am with Robert Mangold in his studio in Washingtonville, New York. It's November 16, 2017. Good morning, and thank you for doing this. ROBERT MANGOLD: Well, good morning to you. CHRISTOPHER LYON: So, just to reiterate, I would like to keep the ball in your court as much as possible. What I find fascinating and hope we can talk about from various angles is your investigation, your exploration, whatever the best word would be, of how paintings communicate, in terms of all their parameters: color, scale, line, and so on. You've looked at a whole range of perceptual issues in relation to your work, but at the same time, you explored at great depth the many ways that the physical manifestation of a painting can be expressive. -
Press Release
PRESS RELEASE EXHIBITION DOUBLE SKIN Yto Barrada June 22th to September 8th, 2019 Opening June 22th, 2019 12:00 AM – 05:00 PM CASA LUIS BARRAGÁN Gral. Francisco Ramírez 12-14 Col. Ampliación Daniel Garza Ciudad de México PRESS CONFERENCE Yto Barrada, Paste Papers, 2019, Courtesy of the artist, PACE, Sfeir-Semler Gallery and Galerie Polaris. Thursday 20 th, 2019 10:30 AM Casa Luis Barragán Estancia FEMSA – Casa Luis Barragán is pleased to present French-Moroccan artist With the presence of the artist and Estancia FEMSA's Yto Barrada’s first solo exhibition in Latin America, entitled Double Skin, which Artistic director. brings together a set of newly commissioned works. As the exhibition’s title ADDITIONAL PRESS TOUR suggests, Barrada deals with notions of aesthetic ambiguity –which resonate with June 26th, 2019 05:00 PM many aspects of Barragán’s work and life. Double Skin also engages Barragán’s deep interest in magic and enigma, which he understood to be crucial elements of PRESS CONTACT architecture, as well as with his use of the formal and symbolic tension between Antonio Zorrilla Inés Maldonado concepts such as opacity/clarity, desire/restriction, openness/enclosure. Estancia FEMSA Images and interviews [email protected] In the studio space of Barragán’s house, Barrada covers the walls with a second skin: a wallpaper from the series Paste Papers (2019). These works are based on designs Varsovia 3, Depto. 4, Col. Juárez, Cuauhtémoc, she found in different books belonging to Luis Barragán, such as: The Grain Silo- C.P. 06600, Ciudad de México +52 (55) 5162 3830 Citadels of Morocco; Coatlicue; The Art of Gardens; Max Ernst; Spanish Andalucia estanciafemsa.mx and Parables and Evangelical Allegories, among others. -
Peabody Museum Names Yto Barrada As the 2013 Robert Gardner Fellow in Photography
____________________________________________________________________________ Peabody Museum Names Yto Barrada as the 2013 Robert Gardner Fellow in Photography (May 31, 2013, Cambridge) The Peabody Museum of Archaeology and Ethnology is pleased to announce the selection of the 2013 Robert Gardner Fellow in Photography. Following an international search, the Gardner Fellowship committee awarded the Fellowship to French-Moroccan photographer Yto Barrada. Born in Paris, and raised in Morocco and France, Barrada lives and works in Tangier, Morocco. Her work has appeared internationally in exhibitions including Art Dubai, the Tate Gallery Table d'écolier de la serre, Ferme pédagogique,Tanger, (London), the Fowler Museum (Los 2011. C-Print, 150 x 150 cm. ©2011 Yto Barrada Angeles), MoMA (New York and San Francisco), Jeu de Paume (Paris) and the 2007 and 2011 Venice Biennale. According to Phillip Prodger, Peabody Essex Museum’s Curator of Photography. “Barrada has a gift for finding personal intimate moments that capture the real-life effects of global trade and exchange.” Barrada’s artistic practice includes Page 1 of 6 photographs, film, sculpture, and print publications, all of which she will create during her fellowship year to complete the project, “A Hole is to Dig.” For “A Hole is to Dig,” Barrada will engage with the complex terrain of paleontology in her native Morocco. Since Spinosaurus (spine lizard), one of the largest carnivorous dinosaurs, was first found in Morocco in 1912, dozens of “My interest was first triggered by the paleontological expeditions have ventured into sale of a Moroccan Spinosaurus at a the Moroccan desert to explore bones big European auction house. I didn’t preserved by the dry terrain. -
Jennifer Bartlett
P A U L A C O O P E R G A L L E R Y JENNIFER BARTLETT Born: Long Beach, California, 1941 Lives and works in New York, NY Education: Mills College, Oakland, California, BA, 1963 Yale School of Art and Architecture, BFA, 1964 Yale School of Art and Architecture, MFA, 1965 Awards: Fellowship, CAPS (Creative Artists Public Services), 1974 Harris Prize, Art Institute of Chicago, 1976 Lucas Visiting Lecture Award, Carlton College, Northfield, Minnesota, 1979 Brandeis University Creative Arts Award, Waltham, Massachusetts, 1983 American Academy and Institute of Arts and Letters, New York, 1983 Harris Prize and the M.V. Kohnstamm Award, Art Institute of Chicago, 1986 American Institute of Architects Award, New York, 1987 Cultural Laureate, Historic Landmarks Preservation Center, 1999 Lotus club Medal of Merit, 2001 Mary Buckley Endowment Scholarship Honoree, Pratt Institute, 2002 Lifetime Achievement Award, Palm Springs Fine Art Fair, 2014 Instructor: School of Visual Arts, New York, 1972-77 One-Person Exhibitions 1963 Mills College, Oakland, California 1970 119 Spring Street, New York 1971 Jacob's Ladder, Washington, D.C. (with Jack Tworkov) 1972 Reese Paley Gallery, New York 1974 Paula Cooper Gallery, New York Saman Gallery, Genoa, Italy 1975 The Garage, London (with Joel Shapiro) John Doyle Gallery, Chicago Dartmouth College, Hanover, New Hampshire Contemporary Art Center, Cincinnati 1976 Paula Cooper Gallery, New York 1977 Wadsworth Atheneum, Hartford, Connecticut Paula Cooper Gallery, New York 1978 Saman Gallery, Genoa, Italy University -
Speakers Bios Magalí Arriola Is a Curator at Fundación Jumex Arte Contemporáneo, Mexico City. Previously, She Was a Chief Cu
Speakers Bios Magalí Arriola is a curator at Fundación Jumex Arte Contemporáneo, Mexico City. Previously, she was a Chief Curator at the Museo Tamayo (2009‒11) and the Museo de Arte Carrillo Gil (1997-2000). Arriola has curated Alibis, Mexican Cultural Institute, Paris, and Witte de With, Rotterdam (2002), How to Learn to Love the Bomb and Stop Worrying about It, CANAIA, México City, and Central de Arte at WTC, Guadalajara, Mexico (2003–04), What once passed for a future, or Landscapes of the living dead at Art2102, Los Angeles (2005), Prophets of Deceit at Wattis Institute for Contemporary Art, San Francisco (2006), and the 8th Panama Biennial (2008). She was also a visiting curator at the Wattis Institute for Contemporary Art in San Francisco in 2006. Arriola has contributed to publications such as Poliéster, ArtNexus, Parachute, Exit, Spike, Afterall and Manifesta Journal. María del Carmen Carrión is an independent curator and art critic from Quito, who received an MA from the Curatorial Practice Program at California College of the Arts, in San Francisco, and taught at Universidad Católica in Quito. She is currently an Associate Director of Public Programs & Research at Independent Curators International in New York. She co-founded Constructo, an international collective platform devoted to research and debate of art and visual culture. Since 2009, she has been a member of the curatorial college of ceroinspiración, an exhibition and residency space in Quito. Former positions include: Associate Curator at New Langton Arts in San Francisco, and Research Coordinator for Museo de la Ciudad in Quito. Ekaterina Degot is an art writer and curator, Artistic director at the Academy of Arts of the World in Cologne, and professor at the Rodchenko Moscow School of Photography. -
First Friday Mural Tour Featuring 20X21eug Mural Project Artists
First Friday Mural Tour featuring 20x21EUG Mural Project artists Meet at us 5:30pm at West Broadway and Charnelton for the start of the guided tour, led by Paul Godin of 20x21EUG Mural Project. 1 Telmo Miel - Shaw-Med (198 W Broadway) 2 Beau Stanton - McDonald Theatre (1010 Willamette St) 3 Hyuro - KIVA (125 W 11th Ave) 4 Hush - Falling Sky Brewing House (1334 Oak Alley) 5 Blek le Rat - Level Up Arcade (1290 Oak St) 6 JAZ - McDonald Theatre (1010 Willamette St) 7 Blek le Rat - Actor’s Cabaret (996 Willamette St) Dan Witz - Actor’s Cabaret (996 Willamette St) 8 Acidum Project - Cowfish (62 W Broadway) ? Dan Witz - Various installations around Downtown Eugene Artist Biographies: Telmo Miel - Netherlands* Artistic duo Telmo Pieper and Miel Krutzmann, known as Telmo Miel, balance somewhere between surreal and realistic rendering with an immense attention to detail and vivid color. Beau Stanton - Brooklyn/USA Stanton lives in Brooklyn, N.Y. and draws his inspiration for his big-wall art from historic ornamentation, religious iconography, and classical painting. He does everything from large-scale installations to stained glass, mosaics, and multimedia animations. Hyuro - Spain/Argentina* Hyuro is best known for her surrealist and sometimes whimsical approach. Her work embodies a sense of eerie playfulness by blending thematic issues of politics, nature, and feminine identity. Hush - United Kingdom* Hush’s style draws upon elements of Japanese influence, including anime and geishas. His approach combines traditional artistic techniques and street art style, creating a dynamic blend of graphic elements and abstract pop. 20x21eug.com *A sample of the artist’s work, not a 20x21 mural Blek le Rat - France* Known as one of the Godfathers of Stencil Art, Blek le Rat’s work has served as inspiration for artists like Banksy and Space Invader. -
School of Art 2006–2007
ale university May 10, 2006 2007 – Number 1 bulletin of y Series 102 School of Art 2006 bulletin of yale university May 10, 2006 School of Art Periodicals postage paid New Haven, Connecticut 06520-8227 ct bulletin of yale university bulletin of yale New Haven Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and affirmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven ct 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual on PO Box 208230, New Haven ct 06520-8230 account of that individual’s sex, race, color, religion, age, disability, status as a special disabled Periodicals postage paid at New Haven, Connecticut veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation. Issued seventeen times a year: one time a year in May, November, and December; two times University policy is committed to affirmative action under law in employment of women, a year in June; three times a year in July and September; six times a year in August minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. Managing Editor: Linda Koch Lorimer Inquiries concerning these policies may be referred to Valerie O.