Complete Exhibition History
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Eileen Gray Chronology
The Museum of Modern Art 50th Anniversary SO NO. 79 FOR IMMEDIATE RELEASE EILEEN GRAY CHRONOLOGY 1879 Born in Ennicorthy, County Wexford, Ireland. 1895 Mother inherits title Baroness Gray. 1898 Studies drawing at Slade School in London. Discovers shop repairing oriental lacquer in Soho and begins to learn complicated technique of making lacquer. 1902 Decides to leave England and make life for herself in Paris, where she continues to study art and work in lacquer. 1905 Contracts typhoid fever, travels through North Africa during convalescence where she observes Moorish houses. 1907 Takes apartment in Paris at 21, rue Bonaparte, which she keeps throughout her life. 1913 Exhibits lacquer work in Paris Salon des Artistes Decorateurs, and is well received by critics. 1914 Designs screens, tables, etc. in lacquer for grand couturier Jacques Doucet. 1916 To London with her chief Japanese lacquer worker. 1918 Returns to Paris. 1919-22 Designs and executes interior of apartment for famous modiste Suzanne Talbot, with lacquer walls as well as furnishings. 1922 Opens gallery Jean Desert in rue du Faubourg, St. Honore, selling furniture, lamps, lacquer, and carpets she designed. Her work is discovered by de Stijl architects in Amsterdam. 1923 Exhibits bedroom-boudoir for Monte Carlo in Salon des Artistes Decorateurs, which is savagely attacked by French critics. Dutch architect J.J.P. Oud, however, sees photograph of room and writes her in praise. 1924 Entire issue of avant-garde Dutch design magazine Wendigen devoted to her work. With prompting of architects such as Oud and Le Corbusier, and especially Jean Badovici, begins to make architectural studies. -
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MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world. -
KAWS Media Release
KAWS Media release 6 February–12 June 2016 Longside Gallery and open air Yorkshire Sculpture Park (YSP) presents the first UK museum exhibition by KAWS, the renowned American artist, whose practice includes painting, sculpture, printmaking and design. The exhibition, in the expansive Longside Gallery and open air, features over 20 works: commanding sculptures in bronze, fibreglass, aluminium and wood alongside large, bright canvases immaculately rendered in acrylic paint – some created especially for the exhibition. The Park’s historically designed landscape becomes home to a series of monumental and imposing sculptures, including a new six-metre-tall work, which take KAWS’s idiosyncratic form of almost-recognisable characters in the process of growing up. Brooklyn-based KAWS is considered one of the most relevant artists of his generation. His influential work engages people across the generations with contemporary art and especially opens popular culture to young and diverse audiences. A dynamic cultural force across art, music and fashion, KAWS’s work possesses a wry humour with a singular vernacular marked by bold gestures and fastidious production. In the 1990s, KAWS conceived the soft skull with crossbones and crossed-out eyes which would become his signature iconography, subverting and abstracting cartoon figures. He stands within an art historical trajectory that includes artists such as Claes Oldenburg and Jeff Koons, developing a practice that merges fine art and merchandising with a desire to communicate within the public realm. Initially through collaborations with global brands, and then in his own right, KAWS has moved beyond the sphere of the art market to occupy a unique position of international appeal. -
Revisiting Cyberfeminism
AUTHOR’S COPY | AUTORENEXEMPLAR Revisiting cyberfeminism SUSANNA PAASONEN E-mail: [email protected] Abstract In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology Ϫ especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technol- ogy and its gendered underpinnings formed networks and groups. Conse- quently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfemi- nist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media Ϫ yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under dif- ferent names. Keywords: cyberfeminism, gender, new technology, feminism, networks Introduction Generally speaking, cyberfeminism signifies feminist appropriation of information and computer technology (ICT) on a both practical and theoretical level. Critical analysis and rethinking of gendered power rela- tions related to digital technologies has been a mission of scholars but equally Ϫ and vocally Ϫ that of artists and activists, and those working in-between and across such categorizations. -
Heretics Proposal.Pdf
A New Feature Film Directed by Joan Braderman Produced by Crescent Diamond OVERVIEW ry in the first person because, in 1975, when we started meeting, I was one of 21 women who THE HERETICS is a feature-length experimental founded it. We did worldwide outreach through documentary film about the Women’s Art Move- the developing channels of the Women’s Move- ment of the 70’s in the USA, specifically, at the ment, commissioning new art and writing by center of the art world at that time, New York women from Chile to Australia. City. We began production in August of 2006 and expect to finish shooting by the end of June One of the three youngest women in the earliest 2007. The finish date is projected for June incarnation of the HERESIES collective, I remem- 2008. ber the tremendous admiration I had for these accomplished women who gathered every week The Women’s Movement is one of the largest in each others’ lofts and apartments. While the political movement in US history. Why then, founding collective oversaw the journal’s mis- are there still so few strong independent films sion and sustained it financially, a series of rela- about the many specific ways it worked? Why tively autonomous collectives of women created are there so few movies of what the world felt every aspect of each individual themed issue. As like to feminists when the Movement was going a result, hundreds of women were part of the strong? In order to represent both that history HERESIES project. We all learned how to do lay- and that charged emotional experience, we out, paste-ups and mechanicals, assembling the are making a film that will focus on one group magazines on the floors and walls of members’ in one segment of the larger living spaces. -
Women in the City Micol Hebron Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art 1-2008 Women in the City Micol Hebron Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Part of the Art and Design Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Hebron, Micol. “Women in the City”.Flash Art, 41, pp 90, January-February, 2008. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Women in the City Comments This article was originally published in Flash Art International, volume 41, in January-February 2008. Copyright Flash Art International This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/45 group shows Women in the City S t\:'-: F RA:'-.CISCO in over 50 locations in the Los ments on um screens throughout Museum (which the Guerrilla Angeles region. Nobody walks in the city, presenting images of Girls have been quick to critique LA, but "Women in the City" desirable lu xury items and phrases for its disproportionate holdings of encourages the ear-flaneurs of Los that critique the politics of work by male artists). The four Angeles to put down their cell commodity culture. L{)uisc artists in "Women in the City," phones and lattcs and look for the Lawler's A movie will be shown renowned for their ground billboards, posters, LED screens without the pictures (1979) was re breaking exploration of gender and movie marquis that host the screened in it's original location stereotypes, the power of works in this eJ~;hibition. -
Mapping Robert Storr
Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. -
Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”). -
Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Rendering Rhythm and Motion in the Art of Black Mountain College
A Lasting Imprint Rendering Rhythm and Motion in the Art of Black Mountain College Movement and music—both time-based activities—can be difficult to express in static media such as painting, drawing, and photography, yet many visual artists feel called to explore them. Some are driven to devise new techniques or new combinations of media in order to capture or suggest movement. Similarly, some visual artists utilize elements found in music—rhythms, patterns, repetitions, and variations—to endow their compositions with new expressive potency. In few places did movement, music, visual arts, and myriad other disciplines intermingle with such profound effect as they did at Black Mountain College (BMC), an experiment in higher education in the mountains of Western North Carolina that existed from 1933 to 1957. For many artists, their introduction to interdisciplinarity at the college resulted in a continued curiosity around those ideas throughout their careers. The works in the exhibition, selected from the Asheville Art Museum’s Black Mountain College Collection, highlight approaches to rendering a lasting imprint of the ephemeral. Artists such as Barbara Morgan and Clemens Kalischer seek to capture the motion of the human form, evoking a sense of elongated or contracted muscles, or of limbs moving through space. Others, like Lorna Blaine Halper or Sewell Sillman, approach the challenge through abstraction, foregoing representation yet communicating an atmosphere of dynamic change. Marianne Preger-Simon’s drawings of her fellow dancers at BMC from summer 1953 are not only portraits but also a dance of pencil on paper, created in the spirit of BMC professor Josef Albers’s line studies as she simultaneously worked with choreographer Merce Cunningham. -
Astria Suparak Is an Independent Curator and Artist Based in Oakland, California. Her Cross
Astria Suparak is an independent curator and artist based in Oakland, California. Her cross- disciplinary projects often address urgent political issues and have been widely acclaimed for their high-level concepts made accessible through a popular culture lens. Suparak has curated exhibitions, screenings, performances, and live music events for art institutions and festivals across ten countries, including The Liverpool Biennial, MoMA PS1, Museo Rufino Tamayo, Eyebeam, The Kitchen, Carnegie Mellon, Internationale Kurzfilmtage Oberhausen, and Expo Chicago, as well as for unconventional spaces such as roller-skating rinks, ferry boats, sports bars, and rock clubs. Her current research interests include sci-fi, diasporas, food histories, and linguistics. PROFESSIONAL EXPERIENCE (selected) . Independent Curator, 1999 – 2006, 2014 – Present Suparak has curated exhibitions, screenings, performances, and live music events for art, film, music, and academic institutions and festivals across 10 countries, as well as for unconventional spaces like roller-skating rinks, ferry boats, elementary schools, sports bars, and rock clubs. • ART SPACES, BIENNIALS, FAIRS (selected): The Kitchen, MoMA PS1, Eyebeam, Participant Inc., Smack Mellon, New York; The Liverpool Biennial 2004, FACT (Foundation for Art and Creative Technology), England; Museo Rufino Tamayo Arte Contemporaneo, Mexico City; Yerba Buena Center for the Arts, San Francisco; Museum of Photographic Arts, San Diego; FotoFest Biennial 2004, Houston; Space 1026, Vox Populi, Philadelphia; National