G a G O S I a N David Reed Biography
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Beat Streuli Living Room
Beat Streuli Living Room September 3 to October 8, 2014 Yumiko Chiba Associates viewing room shinjuku Gallery Talk & Opening Reception: Saturday, September 6 (Gallery Talk will be held in HILLSIDE TERRACE café at Daikanyama Hillside Terrace.) ©Beat Streuli, Courtesy of Yumiko Chiba Associates Yumiko Chiba Associates viewing room shinjuku is pleased to present a solo exhibition by Beat Streuli, ‘Living Room’, from September 3 to October 8, 2014. Beat Streuli, a Swiss photographer who started working in the 1980s, has presented his works in cities around the globe. Presently based in Zurich and Brussels, he has been actively working all over Europe and in many other parts of the world. He first received attention for his series from the early 1990s; some of this work was photographed in Rome, Paris, and New York. Streuli takes photographs of local people in public places, often with a telephoto lens, focusing on them and their ordinary lives. He has begun to work more outside of Europe and the United States, in both Western and non-Western countries. Recently, his work has started to include more non-figurative, almost abstract elements. At the beginning of his career, Streuli produced and presented his works as small format and black and white photographs, but in the early 1990s, he developed new forms of presentation, working with floor to ceiling, multi-screen slide and video projections. He also started working with large scale images installed on the façades of public buildings in various cities, and with monumental billboard installations. For the past twenty years, Streuli's work has been frequently exhibited around the world; he has also realized many temporary and permanent projects in public spaces. -
Kunstmuseum Liechtenstein
Job Advertisement The Kunstmuseum Liechtenstein (Liechtenstein Museum of Fine Arts), which is organised as a foundation under public law, is the internationally-renowned museum of the Principality of Liechtenstein for the art of the 20th and 21st centuries. Along with several other museums in the heart of the Alps, it is characterised by the specialist profile of its content and its representative function. Since 2015, its offering has been enriched by the collection of the Hilti Art Foundation in an extension building. Starting from 1st July 2021, we are seeking a new Director at the Kunstmuseum Liechtenstein to succeed the current post holder, who is retiring. Director (m/f) We offer a committed and innovative individual a challenging remit with many creative possibilities. The profile of the role includes, in particular: ▪ Responsibility for the artistic and commercial management of the museum ▪ Maintenance, expansion and research of the collection ▪ Planning, conceptualisation and implementation of an imaginative and high-quality exhibition and publication programme at the international level ▪ Responsibility for the operation of the museum and its staff What we expect: ▪ A degree in history of art or an advanced level of expertise in modern and contemporary art with proven curatorial experience ▪ Experience and networking in the international museum environment ▪ Strong conceptual, communicative and organisational skills with team-based management experience in the museums sector ▪ Willingness to take up residence in Liechtenstein and to maintain contacts in the Rhine Valley region Please send your application byMarch 9, 2020 to www.jobs.leadershipservices.at Our consultant from Deloitte, Flora Kuras (+43 1 537 00 2536), will be pleased to respond to your questions. -
Art Basel 2019 Preview of Selected Works
ART BASEL 2019 PREVIEW OF SELECTED WORKS GALERIE THOMAS SCHULTE HALL 2.1, BOOTH M16 • Rebecca Horn, Between The Knives The Emptiness, 2014 (detail) Artists on view Also represented Contact Angela de la Cruz Dieter Appelt Galerie Thomas Schulte Hamish Fulton Alice Aycock Charlottenstraße 24 Rebecca Horn Richard Deacon 10117 Berlin Idris Khan David Hartt fon: +49 (0)30 2060 8990 Jonathan Lasker Julian Irlinger fax: +49 (0)30 2060 89910 Michael Müller Alfredo Jaar [email protected] Albrecht Schnider Paco Knöller www.galeriethomasschulte.de Pat Steir Allan McCollum Juan Uslé Iñigo Manglano-Ovalle Thomas Schulte Stephen Willats Robert Mapplethorpe PA Julia Ben Abdallah Fabian Marcaccio [email protected] Gordon Matta-Clark João Penalva Gonzalo Alarcón David Reed +49 (173) 66 46 623 Leunora Salihu [email protected] Iris Schomaker Katharina Sieverding Eike Dürrfeld Jonas Weichsel +49 (172) 30 89 074 Robert Wilson [email protected] Luigi Nerone +49 (172) 30 89 076 [email protected] Juliane Pönisch +49 (151) 22 22 02 70 [email protected] Galerie Thomas Schulte is very pleased to present at this year’s Art Basel recent works by Rebecca Horn, whose exhibition Body Fantasies will be on view at Basel’s Museum Tinguely during the time of the fair (until 22 September). Our booth will also feature works by Angela de la Cruz, Hamish Fulton, Idris Khan, Jonathan Lasker, Michael Müller, Albrecht Schnider, Pat Steir, Juan Uslé and Stephen Willats. This brochure represents a selection of the works at our booth. For further information and to learn more about works which are not shown here, please do not hesitate to contact us. -
Report of the Queensland Art Gallery Board of Trustees
REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 September 2009 The Honourable Anna Bligh, MP Premier of Queensland and Minister for the Arts PO Box 15185 City East Qld 4002 Dear Premier I am pleased to present the Annual Report 2008–09 for the Queensland Art Gallery. I certify that this Annual Report complies with: • the prescribed requirements of the Financial Accountability and Audit Act 1977 and the Financial Management Standard 1997, and • the detailed requirements set out in the Annual Reporting Guidelines for Queensland Government Agencies. A checklist outlining the annual reporting requirements can be accessed at www.qag.qld.gov.au. Yours sincerely Professor John Hay, AC Chair, Board of Trustees GALLERY PROFILE QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 3 CONTENTS COVER 5 GALLERY PROFILE Works from Ah Xian’s ‘Metaphysica’ series 2007 in ‘The China Project’ at GoMA. With the generosity of Tim Fairfax, AM, a group of six of 6 HIGHLIGHTS AND ACHIEVEMENTS the sculptures was acquired for the Collection. The ‘Metaphysica’ series was loaned by the artist for 9 CHAIR’S OVERVIEW ‘The China Project’. Ah Xian ‘Metaphysica’ series (detail) 2007 13 DIRECTOR’S OVERVIEW Bronze and brass 36 sculptures: dimensions variable 16 2008–09 — CONNECTING ART AND PEOPLE OPPOSITE Installation view of 17 TWO SITES, ONE VISION acquisitions in GoMA. Foreground: Tobias Putrih 21 CULTURAL TOURISM Connection 2004 Cardboard boxes 25 COLLECTION DEVELOPMENT Purchased 2008 with funds from Tim Fairfax, AM, through the 33 ACCESSIBILITY AND EDUCATION Queensland -
A Brave New Brussels.Pdf
FOR A BRAVE NEW BRUS SEL S. Lab.01 Artistic Versus Technocentric Approaches On Smart Cities For a Brave New Brussels is an exhibition and discussion platform that Lab.01 stimulates the discourse around the future of our cities in times of technological revolution and ever-increasing global challenges. Con- Artistic Versus temporary cities are magnets that attract people, resources, ideas, Technocentric Approaches opportunities and knowledge. 50% of the world’s population already lives in cities and this percentage will rise to 70% by 2050. Today cities On Smart Cities have to respond to this speed of migration and concentration or they will become social ticking bombs. The reality of a city is never given, its evolution not immutably determined. How will they manage social From 22 until 26 October 2018, and democratic developments, but also technological, economic, and the Museum of Art, Architecture and Technology environmental issues in a global world? Each city will be confronted with different political, social, religious and ecological challenges that in Lisbon (PT) is hosting the exhibition For a Brave can only be solved by the engagement and collaboration between New Brussels. Lab.01 Artistic Versus Technocentric many different players. Approaches On Smart Cities. The initiative for this For a long time technology has been seen as a crucial element in project was taken by BOZAR, GLUON and the preparing cities for a turbulent future. Since its early days, the appli- curator Stéphanie Pécourt, with the support of cation of new digital technologies to the urban environment and pro- the Brussels-Capital Region, and is organised on cesses has been celebrated worldwide for its ability to increase the the occasion of the State visit to the Republic of quality of urban living, but this engagement has mostly been limited to a technocratic focus on energy efficiency, mobility and infrastructure. -
Abstraction: on Ambiguity and Semiosis in Abstract Painting
Abstraction: On Ambiguity and Semiosis in Abstract Painting Joseph Daws Submitted in fulfillment of the requirements of the degree of Doctor of Philosophy Visual Arts Creative Industries Faculty Queensland University of Technology 2013 2 Abstract This research project examines the paradoxical capacity of abstract painting to apparently ‘resist’ clear and literal communication and yet still generate aesthetic and critical meaning. My creative intention has been to employ experimental and provisional painting strategies to explore the threshold of the readable and the recognisable for a contemporary abstract painting practice. Within the exegetical component I have employed Damisch’s theory of /cloud/, as well as the theories expressed in Gilles Deleuze’s Logic of Sensation, Jan Verwoert ‘s writings on latency, and abstraction in selected artists’ practices. I have done this to examine abstract painting’s semiotic processes and the qualities that can seemingly escape structural analysis. By emphasizing the latent, transitional and dynamic potential of abstraction it is my aim to present a poetically-charged comprehension that problematize viewers’ experiences of temporality and cognition. In so doing I wish to renew the creative possibilities of abstract painting. 3 Keywords abstract, ambiguity, /cloud/, contemporary, Damisch, Deleuze, latency, transition, painting, passage, threshold, semiosis, Verwoert 4 Signed Statement of Originality The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due acknowledgement is made in the text. Signature: Date: 6th of February 2014 5 Acknowledgements I would like to express my gratitude to my Principal Supervisor Dr Daniel Mafe and Associate Supervisor Dr Mark Pennings and acknowledge their contributions to this research project. -
NEWS RELEASE Contact: Loretta Yarlow Or John Simpson 413-545-3670
NEWS RELEASE Contact: Loretta Yarlow or John Simpson 413-545-3670 Please Post Until End Date FOR IMMEDIATE RELEASE: 8/9/06 WHAT: Exhibition, Opening Reception: Beat Streuli/ Cities 2001-2005 WHEN: Wednesday, September 20, 2006, 6 – 8PM SPECIAL EVENT: In Conversation 7:00PM: Artist Beat Streuli and Fraser Stables, Assistant Professor, Smith College Department of Art, discuss photography and video within the context of this exhibition. WHERE: University Gallery, Fine Arts Center, UMass Amherst For more information please check the University Gallery website: www.umass.edu/fac/universitygallery The University Gallery takes great pleasure in announcing the opening of an exhibition of video work by the internationally acclaimed Swiss-born artist, BEAT STREULI, on WEDNESDAY, SEPTEMBER 20, 2006,from 6-8pm. Streuli has developed an impressive body of work in photography and video that documents the transient pedestrian activity of urban life. His images of people moving through and among one another blur the line between portraying anonymity and individuality. His art is fuelled by his interest in the movements of people in large cities around the world, in Asia, Europe, the U.S., Africa, and Australia. The dramatically slowed video images, which represent an ever-changing sea of pedestrians -- bodies and faces navigating through a given city -- offer a moving social portrait of contemporary society. "Streuli's images are typically suggestive and ambiguous, and precisely because they so often depict people in transition, they effectively conjure an entire rolling era marked by restlessness, wandering, speed, and displacement." -- Gregory Volk, independent curator and writer for "Art in America". Beat Streuli's exhibition at the University Gallery will be the artist's first exhibition in the U.S. -
THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no. -
Miguel Abreu Gallery
miguel abreu gallery FOR IMMEDIATE RELEASE Exhibition: Pieter Schoolwerth Model as Painting Dates: May 21 – June 30, 2017 Reception: Sunday, May 21, 6 – 8PM Miguel Abreu Gallery is pleased to announce the opening on Sunday, May 21st, of Model as Painting, Pieter Schoolwerth’s sixth solo exhibition at the gallery. The show will be held at both our 88 Eldridge and 36 Orchard Street locations. One of the clear characteristics of our digital age is that in it all things, bodies even are generally suspended from their material substance. This increasingly spectral state of affairs is the effect of mostly invisible forces of abstraction that can be associated with the digitization of more and more aspects of experience. We as living beings are now confronting a structural split between the substance of things and their virtual double. To speak concretely, one can point to everyday phenomena such as coffee without caffeine, or food without fat, for example, but also to money without currency, love without bodies, and soon following, to painting without paint, and art without art… In Model as Painting, Pieter Schoolwerth attempts to reverse the above described techno-cultural trend by producing a series of ‘in the last instance’ paintings, in which the stuff of paint itself reappears at the very end only of a complex, multi-media effort to produce a figurative picture. As such, paint here is not immediately used to build up an image from the ground up, if you will, one brush stroke at a time, but rather it arrives only to mark the painting after it has been fully formed and output onto canvas. -
Art Basel MIAMI BEACH 2018 Preview of Selected Works
ART BASEL MIAMI BEACH 2018 PREVIEW OF SELECTED WORKS GALERIE THOmaS SCHULTE BOOTH C18 • Alice Aycock, Alien Twister, 2018 (detail, rendering) Artists on view Also represented Contact Alice Aycock Dieter Appelt Galerie Thomas Schulte Angela de la Cruz Richard Deacon Charlottenstraße 24 Alfredo Jaar David Hartt 10117 Berlin Idris Khan Julian Irlinger fon: +49 (0)30 2060 8990 Jonathan Lasker Paco Knöller fax: +49 (0)30 2060 89910 Robert Mapplethorpe Iñigo Manglano-Ovalle [email protected] Allan McCollum Gordon Matta-Clark www.galeriethomasschulte.de Michael Müller Fabian Marcaccio Pat Steir João Penalva Gonzalo Alarcón Jonas Weichsel David Reed +49 (173) 66 46 623 Leunora Salihu [email protected] Iris Schomaker Katharina Sieverding Eike Dürrfeld Juan Uslé +49 (172) 30 89 074 Stephen Willats [email protected] Robert Wilson Luigi Nerone +49 (172) 30 89 076 [email protected] Thomas Schulte PA Julia Ben Abdallah [email protected] As the most prominent artistic positions of this year’s booth at Art Basel Miami Beach, Galerie Thomas Schulte is pleased to present major works by two of America’s most renowned women artists of the past decades, Alice Aycock and Pat Steir, whose outstanding work is currently being reassessed and revalued by museums and institutions world-wide. The main section of the booth will feature an installation of works by Allan McCollum, Jonathan Lasker, and Alfredo Jaar—three of the defining positions of the gallery’s program—alongside works by younger, upcoming European artists from the program including Angela de la Cruz, Idris Khan, Michael Müller, and Jonas Weichsel. Finally, a highlight of this year’s presentation will be a selection of works by American star photographer Robert Mapplethorpe. -
Jonathan Lasker
GALERIE THADDAEUS ROPAC JONATHAN LASKER RECENT PAINTINGS SALZBURG VILLA KAST 21 Saturday - 21 Tuesday "My painting is both spontaneous and highly conscious. There is a split between the conscious and the unconscious. My painting is very flexible, it goes back and forth between the two." Jonathan Lasker We are delighted to announce our fourth exhibition with new works by the American painter Jonathan Lasker. Jonathan Lasker was born in Jersey City, New Jersey, in 1948; he lives and works in New York City. Since the early 1980s, his work has been exhibited in many one-man shows, including the ICA Philadelphia, Kunsthalle Bielefeld, Stedelijk Museum Amsterdam and Kunstverein St. Gallen. He participated in the 1992 documenta IX in Kassel. After a highly acclaimed travelling exhibition in 2000 (St. Louis, Toronto, Waltham and Birmingham) with a selection of pictures from the 1990s, Jonathan Lasker's presence in the art world culminated in a major retrospective, Jonathan Lasker 1977-2003, in the North Rhine-Westphalia Art Collection in Düsseldorf and the famous Reina Sofía Museum in Madrid. From the late 1970s, Lasker's formal language developed from a reaction to an increasingly conceptual trend in art, against which he wished to explore the possibilities of painting, aiming at a system of painting "which could legitimise itself" (Jonathan Lasker). The formal language of Lasker's pictures is abstract. The spectrum ranges from cipher-like markings to forms which might be categorised more as emblematic. They are always, however, self-referential, thus concerning painting itself, which Lasker takes as his actual theme by conjugating its multifarious linguistic and syntactic possibilities. -
Jonathan Lasker's Dramatis Personae
“Jonathan Lasker’s Dramatis Personae.” In Jonathan Lasker: Paintings, Drawings, Studies. Madrid: Museo Nacional Centro de Arte Reina Sofía in co-production with K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2003; pp. 110-119. Text © Robert Hobbs Robert Hobbs Jonathan Laskers Dramatis Personae After attending Queens College for less than a year in the artists as Allan Kaprow, Nam June Paik., John Baldessari, late 1960s, Jonathan Lasker quit school to play bass guitar Michael Asher, and Douglas Huebler. The school was also and blues harmonica with rock bands. At age twenty-two heir to a relatively recent California Neo-Dadaist tradi this quest took him to Europe for four years, first to Eng tion that curator Walter Hopps inaugurated in 1963 when 110 land, where he worked with a couple of short-lived he staged a full-scale, highly celebrated Marcel Duchamp groups, and then to Germany, where he was employed retrospective at the Pasadena Museum of Art. The pri intermittently as a longshoreman and a house painter. He mary conduits between this particular exhibition and the then came to grips with what he calls his "lack of success Institute's pedagogy were the Californians Baldessari and as a musician" and decided to maximize his strengths, Asher. Lasker called the latter "the Grand Inquisitor which included a long-term fascination with art, coupled against painting," since he assumed personal responsibi with "excellent eye-hand coordination," by becoming a lity for eradicating the last vestiges of modernist senti painter. 1 He returned to New York, where he became an ments in students' works.