SPELGBTQ Resource Guide
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NEW STATESMAN | 26 JULY – 8 AUGUST 2013 2013+30Photo Essay:NS 25/07/2013 11:30 Page 45
2013+30photo essay:NS 25/07/2013 11:30 Page 44 STEVENSON GALLERY/YOSSI MILO GALLERY Pieter Hugo (above) photographs and chose to focus on the close to the mines. Hugo was attracted to Johannesburg, Gauteng Province Witwatersrand, the gold mining region that the notion that Main Reef Road is a modern surrounds Johannesburg. He meandered equivalent of the Roman Via Appia. “All The South African Pieter Hugo was along the city’s Main Reef Road, which South Africa’s wealth was generated along commissioned to take landscape connects the towns that have sprung up this road,” he says. 44 | NEW STATESMAN | 26 JULY – 8 AUGUST 2013 2013+30photo essay:NS 25/07/2013 11:30 Page 45 PHOTO ESSAY Transition Contested landscapes in South Africa Photography by Philippe Chancel, Raphaël Dallaporta, Pieter Hugo, Santu Mofokeng, Zanele Muholi, Jo Ractliffe, Thabiso Sekgala and Alain Willaume In Southern Africa, landscape photography is invariably political. The camera was an im- portant tool to Europeans in the appropria- tion of land. In 1858, the Scottish missionary David Livingstone asked his brother Charles to photograph an expedition to the Victoria Falls (which he had “discovered” in 1855). He wanted “to extend the knowledge already attained of the geography and mineral and agricultural resources” there, in the hope that “raw material” might be “exported to England in return for British manufactures”. When those that followed came to depict the land for its own sake, they relied on a vi- sual aesthetic adopted from French art. They did not record the landscape: they “invented” it. Throughout the 19th and early 20th cen- turies, white salon photographers developed an iconography that aimed to reveal a virgin territory whose mountains, plains and tribal inhabitants illustrated the grandeur of the imperial project. -
'There's No Such Thing As Gay': Black Lesbians And
‘THERE’S NO SUCH THING AS GAY’: BLACK LESBIANS AND NATIONHOOD IN POST-APARTHEID SOUTH AFRICA Claire Stephanie Westman Dissertation presented for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. H.L. du Toit December 2019 Stellenbosch University https://scholar.sun.ac.za DECLARATION By submitting this thesis/dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. CS Westman Date: December 2019 Copyright © 2019 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za ABSTRACT Within post-apartheid South Africa, matters around lesbo-phobic rape, or what is more commonly referred to as corrective rape, have come into sharp focus. Lesbo-phobic rape may be understood as the rape of lesbian women with the intention of ‘curing’ them of their homosexuality or making them into ‘real’ women. The progressive, yet contentious, South African Constitution expressly protects the rights of everybody to freely express their sexual identity, when it forbids discrimination on the basis of sex, gender or sexual orientation. The prevalence of lesbo-phobic rape appears to go against the developing nation’s values of inclusion and equality. However, when examining lesbo-phobic rape through a critical lens, as this study does, it becomes clear that lesbo-phobic rape is at once both an affront to the nation’s values, while also playing an integral role in shaping the nation’s identity. -
Screening Guides to the Sixth Season
art:21 screening guides to the sixth season © Art21 2012. All Rights Reserved. www.pbs.org/art21 | www.art21.org season six GETTING STARTED ABOUT THIS SCREENING GUIDE unique opportunity to experience first-hand the complex artistic process—from inception to finished This screening guide is designed to help you plan product—behind some of today’s most thought- an event using Season Six of Art in the Twenty-First provoking art. These artists represent the breadth Century. This guide includes an episode synopsis, of artistic practices across the country and the artist biographies, discussion questions, group world and reveal the depth of intergenerational activities, and links to additional resources online. and multicultural talent. Educators’ Guide The 32-page color manual ABOUT ART21 SCREENING EVENTS includes information on the ABOUT ART21, INC. artists, before-viewing and Public screenings of the Art in the Twenty-First after-viewing questions, and Century series illuminate the creative process of Art21 is a non-profit contemporary art organization curriculum connections. today’s visual artists by stimulating critical reflection serving students, teachers, and the general public. FREE | www.art21.org/teach as well as conversation in order to deepen Art21’s mission is to increase knowledge of contem- audience’s appreciation and understanding of porary art, ignite discussion, and empower viewers contemporary art and ideas. Organizations and to articulate their own ideas and interpretations individuals are welcome to host their own Art21 about contemporary art. Art21 seeks to achieve events year-round. Art21 invites museums, high this goal by using diverse media to present an schools, colleges, universities, community-based independent, behind-the scenes perspective on organizations, libraries, art spaces and individuals contemporary art and artists at work and in their to get involved and create unique screening own words. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
Catherine Opie
CATHERINE OPIE: PORTRAITS AND LANDSCAPES OPENS MAY 16 NEW WORK BY THE SEMINAL AMERICAN PHOTOGRAPHER INCLUDES PORTRAITS OF MATTHEW BARNEY, KARA WALKER, JOHN BALDESSARI, JONATHAN FRANZEN, DIANA NYAD, AND MIRANDA JULY Columbus, OH—January 22, 2015—Opening in May, the Wexner Center for the Arts will present Catherine Opie: Portraits and Landscapes, an exhibition of approximately 50 recent works by the influential American photographer. Featuring formal portraits of Opie’s family and friends and nearly abstract views of landscape, the series draws upon the traditions of classical painting and the artist’s longstanding interest in American nature photography. Among the portraits’ subjects—“friends and people that I admire,” according to Opie—are visual artists Kara Walker, Matthew Barney, John Baldessari, Glenn Ligon, performers Elizabeth Streb, Ron Athey, Miranda July, Olympic athlete Diana Nyad, and writers Hamza Walker, Hilton Als, and Jonathan Franzen. Opie will also adapt one of the landscapes featured in the show so that it will fully cover the Catherine Opie, Mary, 2012 30-foot-long wall adjacent to the Wexner Center’s café. Pigment print 33 x 25 in. Organized by Wexner Center Curator at Large Bill Horrigan, © Catherine Opie, Image Courtesy of the exhibition unites various elements of Opie’s practice, Regen Projects, Los Angeles highlighting the particularities of portraiture along with the ethereal space of abstracted landscapes. The portraits, which employ classical compositions, theatrical lighting, and saturated color to render the faces and expressions of the subjects in intimate detail, hint at a tension between interior realities and external presentations. In contrast to the personal quality of the portraits, the series’ abstracted landscape photographs articulate space as a haze of blurred light and color. -
“Corrective Rape” Among Lesbian Students at the University of the Free State, Bloemfontein
Perceptions and attitudes regarding “corrective rape” among lesbian students at the University of the Free State, Bloemfontein By Nnuku E. Moleko Mini-Dissertation Submitted in fulfilment of the requirements for the degree MASTER OF ARTS In Gender Studies At The University of the Free State Bloemfontein Supervisor: N. Lake 2016 DECLARATION I declare that the mini-dissertation titled Perceptions and attitudes regarding “corrective rape” among lesbian students at the University of the Free State, Bloemfontein is my own work and has not previously been submitted at this or any other university, and that all the sources that I used are fully acknowledged. MOLEKO N.E Date i ABSTRACT Post-apartheid South Africa is a country filled with conflicting ideas. While the Constitution enshrines the rights of sexual minorities, homophobic attitudes tend to reflect discriminatory behaviour within society. Homosexuality has been defined as un- African and news reports suggest that black lesbians are a particularly vulnerable minority in the country. While much research has focused on violence directed against black lesbians living in South African townships, this study focuses on the lived experiences of black lesbians in a university environment. South African Higher Education Institutions (HEIs) are considered safe spaces where students can express their sexuality more freely. For this reason I have chosen to examine the realities of an under-researched community, black lesbian students at the University of the Free State (UFS). The study has relied on a qualitative research design and semi-structured interviews were conducted with eight participants who come from different backgrounds but all study at the UFS. -
Highly Personal Curated by Gary Schneider
Stephen Daiter Gallery is pleased to present… Highly Personal Curated by Gary Schneider South African Artists Hasan and Husain Essop; David Goldblatt; Pieter Hugo; Donna Kukama; Terry Kurgan; Senzeni Marasela; Nandipha Mntambo; Zanele Muholi; Cedric Nunn; Jo Ractliffe; Mikhael Subotzky and Andrew Tshabangu. ...and Their HandPrint Portraits Gary Schneider I left South Africa in 1977 at the age of 23. In 2011, I returned for my first exhibition there, and began making handprint portraits of South African artists. A Guggenheim Fellowship allowed me to continue the project through 2013. I embarked on the project and traveled widely in order to meet artists and, through them, understand what it means to be a South African artist two decades after the end of apartheid. These handprints do not reveal race, economic status, gender or age. They all follow the same format. I set up a process in which the person is responsible for the information deposited in the film emulsion — it is an assisted self-portrait. The variables are their performance and gesture, the physical shape of the hand, their body chemistry, and their relationship to me. For this exhibition at Stephen Daiter Gallery I have selected the work of thirteen artists — who are all photographers, or artists who use photography — to be exhibited along with their handprint. This is a very small group from the seventy-seven artists published in HandPrints: South African Artists, Fourthwall Books, 2015 which is itself a subset of the more than two hundred handprint portraits I made in South Africa over the three years I spent there. -
Catherine Opie Born
Catherine Opie Born: Sandusky, Ohio, USA, 1961 Lives and works in Los Angeles, USA Education 2001–Present Professor of Fine Art University of California, Los Angeles, USA 2000–2001 Professor of Fine Art, Yale University, New Haven, Connecticut, USA 1988 MFA CalArts, California, USA 1985 BFA San Francisco Art Institute, San Francisco, USA Solo Exhibitions (selected) 2017 700 Nimes Road, NSU Art Museum, Fort Lauderdale, Florida, USA 2016-2017 700 Nimes Road, George Eastman House, Rochester, New York, USA 2016 Portraits and Landscapes, Lehmann Maupin, New York, USA 700 Nimes Road, MOCA PDC, Los Angeles, California, USA Catherine Opie: Portraits, Hammer Museum, Los Angeles, California, USA 700 Nimes Road, University of Michigan Museum of Art, Ann Arbor, Michigan, USA Catherine Opie: O, LACMA, Los Angeles, California, USA 2015 Catherine Opie: Portraits and Landscapes, Wexner Center for the Arts, Columbus, Ohio, USA 2014 The Gang: Photographs by Catherine Opie, Walker Art Gallery, Liverpool, UK Only Miss the Sun when it Starts to Snow, Peder Lund, Oslo, Norway 2013 Catherine Opie, Regen Projects, Los Angeles, USA Catherine Opie: In & Around L.A., presented by the Julius Shulman Institute of Woodbury University, Woodbury University Hollywood Gallery, Los Angeles, USA 2012-2013 Twelve Miles to the Horizon, Long Beach Museum of Art, Los Angeles, California, USA Catherine Opie: Broadway Billboard, Socrates Sculpture Park, New York, USA 2012 High School Football, Mitchell-Innes & Nash, New York, USA Catherine Opie photographs Cliff May, AD&A Museum, -
Catherine Opie's Domestic Series
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Catherine Opie's Domestic Series Sara Harney Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/471 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Sara Greene Harney 2013 All Rights Reserved CATHERINE OPIE’S DOMESTIC SERIES A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. by Sara Greene Harney, B.A., College of William and Mary, 2009 M.A., Virginia Commonwealth University, 2013 Director: Dr. Michael Schreffler, Associate Professor & Department Chair, Art History Virginia Commonwealth University Richmond, Virginia May, 2013 ii Acknowledgement The author wishes to thank several people. I would like to thank my thesis adviser, Dr. Michael Schreffler, for advising me throughout this process, and my thesis committee members, Dr. Kathleen Chapman and Dr. Eric Garberson, for being a part of this project and allowing me to see it through to the end. Although he may not remember this, Dr. Garberson once told me that graduate school would be the hardest thing that I will ever do. While at first I was skeptical, I think I now have to agree that this is the hardest thing that I have done, aside from completing a marathon. -
Zanele Muholi B
ZANELE MUHOLI B. 1972 in Umlazi, Durban. Lives and works in Johannesburg SOLO EXHIBITIONS 2021 Awe Maaah!, Yancey Richardson, New York Somnyama Ngonyama: Hail the Dark Lioness, Cummer Museum, Jacksonville, FL Somnyama Ngonyama: Hail the Dark Lioness, Center for Visual Art, Denver, CO Zanele Muholi, Stevenson, Amsterdam, the Netherlands Somnyama Ngonyama: Hail the Dark Lioness, Pearl Lam Galleries, Hong Kong 2020 Zanele Muholi, Tate Modern, London, UK And Then You See Yourself, Norval Foundation, Cape Town, South Africa Somnyama Ngonyama: Hail the Dark Lioness, Ethelbert Cooper Gallery of African and African American Art, Harvard University, Massachusetts, USA 2019 Somnyama Ngonyama: Hail the Dark Lioness, Seattle Art Museum, Seattle, WA Somnyama Ngonyama: Hail the Dark Lioness, Colby College Museum of Art, Maine, USA Faces and Phases 13, Stevenson Gallery, Johannesburg, South Africa 2018 Somnyama Ngonyama: Hail the Dark Lioness, Spelman College Museum of Fine Art, Georgia, US Somnyama Ngonyama: Hail the Dark Lioness, New Art Exchange, Nottingham, UK Somnyama Ngonyama, Fotografiska, Stockholm, Sweden Somnyama Ngonyama: Hail the Dark Lionness, Museo de Arte moderno de Buenos Aires, Argentina Zanele Muholi, LUMA Westbau, Zurich, Switzerland 2017 Zanele Muholi, Stedelijk Museum, Amsterdam Homecoming, Durban Art Gallery, Durban South Africa Somnyama Ngonyama: Hail the Dark Lioness, Reid Gallery at Glasgow School of Art, Scotland Faces and Phases 11, Market Photo Workshop, Johannesburg, South Africa Zanele Muholi: Somnyama Ngonyama, Yancey -
Media Contact
FOR IMMEDIATE RELEASE Friday, January 18, 2013 THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES (MOCA), ANNOUNCES 2012 ACQUISITIONS 117 significant objects added to museum’s renowned permanent collection through generous gifts and new acquisitions Two permanent collection exhibitions MOCA’s Permanent Collection: A Selection of Recent Acquisitions and A Point of View: Selected Gifts from the Lawrence A. Rickels Collection opening at MOCA Grand Avenue Los Angeles - The Museum of Contemporary Art announced today the acquisition of 117 important objects, adding to its renowned collection of more than 6,700 works. 2012 saw an extremely generous level of giving among its donors and artists, and the efforts of the museum’s Acquisition & Collection, Photography, and Drawings committees, as well as those of many philanthropic individuals and institutions have enabled MOCA to cultivate one of the premier collections of contemporary art in the world. ‚2012 was an extraordinary year for gifts and new acquisitions to the MOCA collection. Several major works acquired have been presented in recent MOCA exhibitions, including the original storyboard for Kenneth Anger’s seminal film Puce Moment, one of the great body prints by David Hammons, a large-scale gunpowder drawing by Cai Guo-Qiang, an installation by the late Mike Kelley donated as a gift from the artist, and the first work by Mark Bradford to enter the MOCA collection,‛ said MOCA Director Jeffrey Deitch. Among the 2012 acquisition highlights are; MOCA Announces 2012 Acquisitions Page 2 of 5 MAJOR GIFTS Continuing her generous tradition of giving, one of MOCA’s most engaged patrons and long-serving trustee Dallas Van Breda made a promised gift of Ghost and Stooges (2011), a new painting by Los Angeles artist Mark Bradford, recently presented at MOCA in The Painting Factory, and the first work by the artist to enter the museum’s permanent collection. -
Zanele Muholi's Intimate Archive: Photography and Post-Apartheid Lesbian Lives
Safundi ISSN: 1753-3171 (Print) 1543-1304 (Online) Journal homepage: http://www.tandfonline.com/loi/rsaf20 Zanele Muholi's Intimate Archive: Photography and Post-apartheid Lesbian Lives Kylie Thomas To cite this article: Kylie Thomas (2010) Zanele Muholi's Intimate Archive: Photography and Post-apartheid Lesbian Lives, Safundi, 11:4, 421-436, DOI: 10.1080/17533171.2010.511792 To link to this article: http://dx.doi.org/10.1080/17533171.2010.511792 Published online: 23 Sep 2010. Submit your article to this journal Article views: 1372 View related articles Citing articles: 10 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsaf20 Download by: [University of Cape Town Libraries] Date: 11 January 2016, At: 02:21 Safundi: The Journal of South African and American Studies Vol. 11, No 4, October 2010, 421–436 Zanele Muholi’s Intimate Archive: Photography and Post-apartheid Lesbian Lives Kylie Thomas The ones who fear me think they know who I am. Minnie Bruce Pratt1 This paper focuses on the work of South African black lesbian photographer Zanele Muholi and raises the question of how experience that is deemed unspeakable can enter representation. If we always read images through ‘‘codes of connotation,’’ through what Roland Barthes terms the ‘‘studium’’ of our knowing, how is it possible to overturn ways of seeing that render lesbian subjectivity invisible?2 And if lesbian subjectivity is made visible through suspending the structures of recognition,