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National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
We Went to No Man's Land: Women Artists from the Rubell Family Collection
We Went to No Man’s Land: Women Artists from The Rubell Family Collection 12/22/15, 11:06 AM About Features AFC Editions Donate Sound of Art Search Art F City We Went to No Man’s Land: Women Artists from The Rubell Family Collection by Paddy Johnson and Michael Anthony Farley on December 21, 2015 We Went To... Like 6 Tweet Mai-Thu Perret with Ligia Dias, “Apocalypse Ballet (Pink Ring) and “Apocalypse Ballet (3 White Rings,” steel, wire, papier-mâché, emulsion paint, varnish, gouache, wig, flourescent tubes, viscose dress and leather belt, 2006. No Man’s Land: Women Artists from The Rubell Family Collection 95 NW 29 ST, Miami, FL 33127, U.S.A. through May 28, 2016 Participating artists: Michele Abeles, Nina Chanel Abney, Njideka Akunyili Crosby, Kathryn Andrews, Janine Antoni, Tauba Auerbach, Alisa Baremboym, Katherine Bernhardt, Amy Bessone, Kerstin Bratsch, Cecily Brown, Iona Rozeal Brown, Miriam Cahn, Patty Chang, Natalie Czech, Mira Dancy, DAS INSTITUT, Karin Davie, Cara Despain, Charlotte Develter, Rineke Dijkstra, Thea Djordjadze, Nathalie Djurberg, Lucy Dodd, Moira Dryer, Marlene Dumas, Ida Ekblad, Loretta Fahrenholz, Naomi Fisher, Dara Friedman, Pia Fries, Katharina Fritsch, Isa Genzken, Sonia Gomes, Hannah Greely, Renée Green, Aneta Grzeszykowska, Jennifer Guidi, Rachel Harrison, Candida Höfer, Jenny Holzer, Cristina Iglesias, Hayv Kahraman, Deborah Kass, Natasja Kensmil, Anya Kielar, Karen Kilimnik, Jutta Koether, Klara Kristalova, Barbara Kruger, Yayoi Kusama, Sigalit Landau, Louise Lawler, Margaret Lee, Annette Lemieux, Sherrie Levine, Li Shurui, Sarah Lucas, Helen Marten, Marlene McCarty, Suzanne McClelland, Josephine Meckseper, Marilyn Minter, Dianna Molzan, Kristen Morgin, Wangechi Mutu, Maria Nepomuceno, Ruby Neri, Cady Noland, Katja Novitskoval Catherine Opie, Silke Otto-Knapp, Laura Owens, Celia Paul, Mai-Thu Perret, Solange Pessoa, Elizabeth Peyton, R.H. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
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. -
Alphabetical List of Catalogues Raisonnés in the Collection Of
Alphabetical List of Catalogues Raisonnés in the Collection of Ricker Library of Art and Architecture University of Illinois at Urbana-Champaign Last updated 04/10/14 ARX = Circulating book in our stacks ARR = Non-circulating book in our Reference collection ARC = Non-circulating book held in the Closed Stacks, behind our desk ARV = Non-circulating book held in our Vault IL BACHIACCA (a.k.a. Francesco d’Ubertino Verdi, Francesco Bachiacca) LaFrance, Robert G. Bachiacca : Artist of the Medici Court. Firenze : L. S. Olschki, 2008. Q.759.5B124l (ARX) Nikolenko, Lada. Francesco Ubertini Called il Bacchiacca. Locust Valley/NY: J. J. Augustin, 1966. 759.5IL1N (STX) BACKER, JACOB van den Brink, Peter and Jaap van der Veen. Jacob Backer (1608/9-1651). Zwolle: Waanders, 2008. Text and accompanying CD-Rom available. Q.759.9492B126br (ARV) BACON, FRANCIS Alley, Ronald. Francis Bacon. New York: Viking, 1964. 759.2 B132a (ARC) BAJ, ENRICO Enrico Baj. Baj: Catalogue del’Oeuvre Graphique et des Multiples = Catalogue of the Graphic Work and Multiples. 2 volumes. Genève: Rousseau, 1973. 709.45 B167ba (ARV) BALDESSARI, JOHN Baldessari, John et al. John Baldessari: Catalogue Raisonné. New Haven: Yale University Press, 2012. Vol. One, 1956-1974 Vol. Two, 1975-1986 Q.709.73B192j (ARV) Hurowitz, Sharon Coplan. John Baldessari : A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester : Hudson Hills Press, 2009. Q. 709.73 B192h (ARV) BALDUNG, HANS (a.k.a. Hans Baldung Grien/Grün) Mende, Matthias. Hans Baldung Grien: das Graphische Werk. Unterschneidheim: UHL, 1978. Q.769.943B19m (ARV) Alphabetical list of Catalogue Raisonnés in the Collection of the Ricker Library of Architecture and Art B:2. -
Mdms Fraser List of Works E.Docx
Andrea Fraser List of Works This list of works aims to be comprehensive, and works are listed chronologically. A single asterisk beside the title (*) indicates that an installation or project is represented in the exhibition only as documentation. Two asterisks (**) indicate that a work is not included in the exhibition. The context of a performance or work (for example commission, project, or exhibition) is listed after the medium. When no other performer is listed, the artist performed the work alone. When no other location is listed, videotapes document the original performance. Unless otherwise specified, videotapes are standard definition. If no other language is indicated, texts, performances, and videos are in English. Dates of performances are noted where possible. Dimensions are given as height x width x depth. Collection credits have been listed for series up to editions of three and public collections have been listed for editions of four to eight. Unless otherwise specified, exhibited works are on loan from the artist. Woman 1/ Madonna and Child 1506–1967 , 1984 Artist’s book Offset print, 16 pages 8 5/8 x 10 1/16 in. (22 x 25.5 cm) Edition: 500 Untitled (Pollock/Titian) #1 , 1984/2005 (**) Digital chromogenic color print 26 3/4 x 60 in. (67.9 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #2, 1984/2005 (**) Digital chromogenic color print 27 x 60 in. (68.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #3 , 1984/2005 (**) Digital chromogenic color print 40 x 60 in. (101.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #4 , 1984/2005 (**) Digital chromogenic color print 40 x 61 in, (101.6 x 154.94 cm) Edition: 5 + 1 AP 1/5 Kemper Museum of Art, Kansas City, MO Untitled (de Kooning/Raphael) #1 , 1984/2005 (**) Digital chromogenic color print 40 x 30 in. -
A. Quincy Jones (Hammer Museum)
For Immediate Release: January 14, 2013 Contact: Sarah L. Stifler, Hammer Communications, 310-443-7056, [email protected] THE HAMMER MUSEUM PRESENTS THE FIRST MAJOR CAREER SURVEY OF MODERNIST ARCHITECT A. QUINCY JONES On view May 25–September 8, 2013 Los Angeles—A. Quincy Jones: Building for Better Living is the first major museum career survey of the Los Angeles-based architect’s work and pays special attention to the unique collaborative nature of his practice. The exhibition is presented as part of the larger Getty-sponsored initiative Pacific Standard Time Presents: Modern Architecture in L.A. Archibald Quincy Jones (1913–1979), who was known as Quincy, practiced architecture in Los Angeles from 1937 until his death in 1979. A quiet modernist and dedicated architecture professor at the University of Southern California, Jones worked to bring a high standard of design to the growing middle class by reconsidering and refining postwar housing and emphasizing cost-effective, innovative, and sustainable building methods. In addition, Jones is among the first architects of this period to view developments as an opportunity to build community through shared green spaces, varied home models, and non-grid site planning. Jones is credited with over 5,000 built projects, most of which still exist today, as the clients and homeowners shared Jones’s compassion for ‘better living.’ Known by architects for designing from the inside out, Jones’s homes and buildings are celebrated for expansive interior spaces, thoughtful and efficient building layouts, and a reverence for the outdoors, which still resonates in contemporary design today. A. -
Eleanor ANTIN B. 1935, the Bronx, NY Lives and Works in San Diego, CA, US
Eleanor ANTIN b. 1935, The Bronx, NY Lives and works in San Diego, CA, US EDUCATION 1958 BA Creative Writing and Art, City College of New York, NY 1956 Studied theatre at Tamara Dayarhanova School, New York, NY 1956 Graduate Studies in Philosophy, New School of Social Research, New York, NY SELECTED AWARDS 2011 Anonymous Was a Women Foundation, New York, NY 2009 Honorary Doctorate, School of the Arts Institute of Chicago, IL 2006 Honour Awards for Lifetime Achievements in the Visual Art, Women’s Caucus for Art, New York, NY 1996 UCSD Chancellor’s Associates Award for Excellence in Art, San Diego, CA 1984 VESTA Award for performance presented by the Women’s Building, Los Angeles, CA 1979 NEA Individual Artist Grant, Washington D.C. SELECTED SOLO EXHIBITIONS 2017 Eleanor Antin: Romans & Kings, Richard Saltoun Gallery, London, UK 2016 CARVING: A Traditional Sculpture, (one work exhibition), Henry Moore Foundation, Leeds, UK I wish I had a paper doll I could call my own…, Ronald Feldman Fine Arts, New York, NY What time is it?, Diane Rosenstein Fine Arts, Los Angeles, CA 2014 Eleanor Antin: The Passengers, Diane Rosenstein Fine Arts, Los Angeles, CA Multiple Occupancy: Eleanor Antin’s “Selves”, ICA, Boston, MA. This exhibition travelled to: The Miriam and Ira D. Wallach Art Gallery, Columbia University, New York, NY 2009 Classical Frieze, Galerie Erna Hecey, Brussels, Belgium Classical Frieze, Los Angeles County Museum of Art, Los Angeles, CA 2008 Eleanor Antin: Historical Takes, San Diego Art Museum, San Diego, CA Helen’s Odyssey, Ronald Feldman Fine Arts, New York, NY 2007 The Empire of Signs, Galerie Erna Hecey, Brussels, Belgium 2006 100 Boots, Erna Hecey Gallery, Brussels, Belgium 2005 Roman Allegories, 2005 & 100 Boots, 1971 – 73, Marella Arte Contemporanea, Milan, Italy Roman Allegories, Ronald Feldman Fine Arts, New York, NY 2004 The Last Days of Pompeii, Mandeville Art Gallery, San Diego, CA 2002 The Last Days of Pompeii, Marella Arte Contemporanea, Milan, Italy. -
Tang Teaching Museum Receives Transformative Gift of Contemporary Art Works from Peter Norton Collection
Tang Teaching Museum Receives Transformative Gift of Contemporary Art Works from Peter Norton Collection Gift includes works by Matthew Barney, Glenn Ligon, Gabriel Orozco, Lari Pittman, Kara Walker, Carrie Mae Weems, and Fred Wilson SARATOGA SPRINGS, N.Y. (November 13, 2014) – The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College has received a gift of 75 works of contemporary art from the collection of the computer programmer and philanthropist Peter Norton. This is the first in a series of gifts to university art museums and teaching museums throughout the country—drawn from Norton’s personal collection—to support the integration of the visual arts in higher education, foster creative museum practice, and engage diverse audiences with contemporary art. Norton initiated his first large donation project in 2000, gifting over 1,000 pieces from his collection to 32 select institutions. His gift to the Tang Teaching Museum represents the inauguration of his second major donation project. In addition to the Tang, the museums receiving a gift from Norton include: UC Berkeley Art Museum and Pacific Film Archive, Berkeley, California; Mary & Leigh Block Museum of Art, Northwestern University, Evanston, Illinois; California Museum of Photography and Sweeney Art Gallery at UCR ARTSblock, University of California Riverside, Riverside, California; Hammer Museum at UCLA, Los Angeles, California; Mildred Lane Kemper Art Museum, Washington University, St. Louis, Missouri; Rose Art Museum, Brandeis University, Waltham, Massachusetts; and Williams College Museum of Art, Williamstown, Massachusetts. The gift to the Tang includes works by some of today’s leading contemporary artists, including Polly Apfelbaum, Matthew Barney, Nicole Cherubini, Willie Cole, Renee Cox, David Hammons, Glenn Ligon, Gabriel Orozco, Lari Pittman, Martha Rosler, Erika Rothenberg, Lorna Simpson, William Villalongo, Carrie Mae Weems, Fred Wilson, and Millie Wilson. -
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 -
MIT Program in Art, Culture and Technology
MIT Program in Art, Culture and Technology The MIT Visual Arts Program (VAP) and the Center for Advanced Visual Studies (CAVS) merged in July 2009 to form the MIT Program in Art, Culture and Technology (ACT). This spring, ACT proudly celebrated its inauguration at its new home in the Media Lab complex (E14) and the Wiesner Building (E15). This new program draws on the impressive legacies of VAP (founded 20 years ago) and CAVS (founded in 1967). Focusing on the intersections of art, culture, and technology through performance, sound, video/film, photography, interrogative and eco-design, as well as experimental media and new genres, ACT’s academic and research initiatives reflect the mission of the new program, which is to operate as a laboratory based on critical studies and production, connecting artists and cultural producers with those working at the forefront of technology. ACT’s faculty, fellows, and students take an experimental and systematic approach to creative production and transdisciplinary collaboration, with the goal of furthering and disseminating advanced visual studies and research at the intersection of art, culture, and technology. The program emphasizes art that engages public spheres, the production of space, networked cultures, and participatory media while addressing such issues as the environment, gender, and social stratification. In the tradition of the founder of the Center for Advanced Visual Studies, Hungarian-born artist Gyorgy Kepes, a gifted educator and advocate of “art on a civic scale,” ACT envisions artistic leadership as initiating change and providing a critically transformative view of the world with the civic responsibility to enrich cultural discourse.