A Finding Aid to the Artists Talk on Art Records, Circa 1974-2018, in the Archives of American Art
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The Shed Presents the Most Comprehensive Retrospective Exhibition to Date
For more information, please contact: Sommer Hixson Director of Communications The Shed (646) 876-6933 [email protected] Christina Riley Publicist The Shed (646) 876-6865 Agnes Denes, Wheatfield—A Confrontation. Two acres of wheat planted and harvested by the artist on the [email protected] Battery Park landfill, Manhattan, Summer 1982. Commissioned by Public Art Fund. Courtesy the artist and Leslie Tonkonow Artworks + Projects. Amanda Domizio Polskin Arts & Communications The Shed Presents The Most Comprehensive Retrospective Exhibition To Date Counselors Of The Pioneering Work Of Agnes Denes (212) 583-2798 [email protected] Spanning Denes’s Wide-Ranging 50-Year Career at the Forefront of Conceptual and Environmental Art Agnes Denes: Absolutes and Intermediates On View October 9, 2019 – January 19, 2020 Press Preview: Tuesday, October 8, 2019, at 10:00 am - 12:00 noon NEW YORK, NY, September 5, 2019 —This fall, The Shed will present the most comprehensive retrospective exhibition to date of the work of Agnes Denes (b. 1931), a leading figure in Conceptual and environmental art. On view October 9, 2019 to January 19, 2020 across both of The Shed’s expansive galleries, Agnes Denes: Absolutes and Intermediates will bring together more than 150 works in a broad range of media spanning Denes’s 50-year career, including three new works commissioned by The Shed. Denes rose to international attention in the 1960s and 1970s, creating work influenced by science, mathematics, philosophy, linguistics, ecology, and psychology to analyze, document, and ultimately aid humanity. Her theories about climate change and life in an ever-changing, technologically-driven world demonstrate a deeply prescient understanding of society today. -
Leandro Erlich: Towards a Collaborative Relationship Between Architecture and Art Isabel Tassara [email protected]
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Winter 12-16-2016 Leandro Erlich: Towards A Collaborative Relationship Between Architecture and Art Isabel Tassara [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Architectural History and Criticism Commons, Contemporary Art Commons, Interior Architecture Commons, Modern Art and Architecture Commons, and the Museum Studies Commons Recommended Citation Tassara, Isabel, "Leandro Erlich: Towards A Collaborative Relationship Between Architecture and Art" (2016). Master's Projects and Capstones. 436. https://repository.usfca.edu/capstone/436 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Leandro Erlich: Towards a Collaborative Relationship Between Architecture and Art Keywords: contemporary art, museum studies, architecture, interactive installation, international artist, art exhibition, Buenos Aires Argentina, Contemporary Jewish Museum by Isabel Tassara Capstone project submitted in partial FulFillment oF the requirements For -
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife. -
Frameworks for the Downtown Arts Scene
ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post industrial capitalism in its various manifestations. -
FP 8.2 Summer1988d Updated.Pdf (4.050Mb)
a current listing of contents Volume 8, Number 2 Summer 1988 Published by Susan Searing, Women's Studies Librarian University of Wisconsin System 1 12A Memorial Library 728 State Street Madison, Wisconsin 53706 (608) 263-5754 a current listing of contents Volume 8, Number 2 Summer 1988 Periodical literature is the cutting edge of women's scholarship, feminist theory, and much of women's culture. Feminist-- Periodicals:- .- - -. - A Current Listing of--- Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals wi 11 serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals ; and to provide the requisite bib1iographi c information should a reader wish to subscribe to a journal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyri ghted materi a1 s .) Table of contents pages from current issues of major feminist journals are reproduced in each issue of Femi nist Periodical s , preceded by a comprehensi ve annotated 1isting of a1 1 journals we have selected. As puhl ication schedules vary enormously, not every periodical wi 11 have table of contents pages reproduced in each issue of -FP. The annotated listing provides the following infonnation on each journal : 1. Year of fi rst publication. -
The Art Show 2018 Press
DOWNLOAD HI-RES IMAGES AT: HTTP://BIT.LY/2EVIOWJ THE ART SHOW 2018 HIGHLIGHTS 303 GALLERY D8 ALTMAN SIEGEL D20 Mary Heilmann Liam Everett 303 Gallery presents a solo exhibition of Altman Siegel presents a solo booth of new works by Mary Heilmann, whose highly work by Liam Everett. Building on investiga- inventive approach to abstraction has tions explored in his 2017 solo exhibition at made her one of the foremost painters SFMOMA, Everett will present a suite of new of her generation. Recent paintings, glazed paintings that unfold interrelated systems and ceramics and an arrangement of furniture made interpretations of support. Everett’s installation by the artist appear alongside several examples will continue along these investigative threads: in these mediums from previous decades. By jux- the physical act of supporting a painting and taposing new works with historic ones, the exhibition the routine practice an artist undertakes daily, becomes a storyboard, charting the evolution of her as well as pedagogical rituals shaped through practice while allowing visitors to draw parallels across rehearsal. Focused on what he calls “systems time periods. Brightly colored chairs transform the booth of support,” Everett’s framed paintings—like into a social space akin to a living room or the artist’s studio, previous bodies of work—will implicate the floor, inviting viewers to relax and spend time in Heilmann’s world. wall and body, exposing the animate qualities of 1 3 the artworks and affirming his interest in investi- Mary Heilmann. Shadow Cup 2, 1985. Glazed ceramic, 21 ⁄4 × 24 × 1 ⁄4 in. © Mary Heilmann. -
A Never Ending Never Done Bibliography of Multicultural Literature for Younger and Older Children
DOCUMENT RESUME ED 407 388 SP 037 304 AUTHOR Walters, Toni S., Comp.; Cramer, Amy, Comp. TITLE A Never Ending Never Done Bibliography of Multicultural Literature for Younger and Older Children. First Edition. PUB DATE 96 NOTE 51p. PUB TYPE Information Analyses (070) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Adolescent Literature; Adolescents; *American Indian Literature; American Indians; Asian Americans; *Black Literature; Blacks; Children; Childrens Literature; Elementary Secondary Education; *Ethnic Groups; *Hispanic American Literature; Hispanic Americans; United States Literature IDENTIFIERS African Americans; *Asian American Literature; Latinos; *Multicultural Literature; Native Americans ABSTRACT People of all ages are addressed in this bibliography of multicultural literature. It focuses on four major ethnic groups: African Americans, Asian Americans, Latino Americans, and Native Americans. Within each category a distinction is made between those works with an authentic voice and those with a realistic voice. An authentic voice is an author or illustrator who is from the particular ethnic group and brings expertise and life experience to his/her writings or illustrations. A realistic voice is that of an author or illustrator whose work is from outside that experience, but with valuable observations. An asterisk notes the distinction. No distinction is drawn between juvenile literature and adult literature. The decision is left to the reader to make the choices, because some adult literature may contain selections appropriate to children. Two appendices provide: a selected annotated bibliography (14 entries) on multiethnic/multicultural literature references and analyses and sources of multiethnic/multicultural books.(SPM) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
Leslie Wayne on Sculpting Paint and Repairing What Is Broken
Est. 1902 home • ar tnews • ar tists Artist Leslie Wayne on Sculpting Paint and Repairing What Is Broken BY FRANCESCA ATON June 15, 2021 5:57pm Artist Leslie Wayne (https://www.artnews.com/t/leslie-wayne/) molds and manipulates oil paint to create surfaces that blur the confines of painting and sculpture. Wayne found “an approach to [paint] that was very dimensional,” as she told Brooke Jaffe (https://www.artnews.com/t/brooke-jaffe/) in a recent interview for “ARTnews Live,” our ongoing IGTV series featuring interviews with a range of creatives. Wayne, the daughter of a concert pianist and a writer, began painting lessons at the age of 7 and lived in what she describes as a very open and “encouraging” household. Dissatisfied with the body of abstract geometric paintings featured in her first show—she says they felt formally rigorous but “hollow”—Wayne soon began integrating sculptural techniques into her paintings, which she says “helped me kind of build a vocabulary that was fresh and new to me.” It was then that Wayne realized “paint could be used like you would use any other material to build a work of art.” Her advice to aspiring artists is to “be courageous in the studio.” Wayne said her latest body of work, currently on view at Jack Shainman Gallery (https://www.artnews.com/t/jack- shainman-gallery/) in New York, was born from reflection. “I was looking inward as I gaze outside,” she wrote, referring to time spent indoors during the pandemic. Her paintings depict objects that she has been surrounded by in her studio, including work tables and rolling carts as well as stacks of marble that her husband, sculptor Don Porcaro, uses in his work. -
Feminist Artists' Book Projects of the 1980-90S
1 Bookworks as Networks: Feminist Artists’ Book Projects of the 1980-90s Caroline Fazzini Recent trends in contemporary exhibition, academic, and artistic practices in the U.S. illuminate a persistent concentration of efforts to present more complete versions of the past, specifically regarding issues of diversity and representation. Some museums and art historians have responded to the call for inclusivity by supporting exhibitions that focus on artists who have been marginalized. We Wanted a Revolution: Black Radical Women, 1965-1985, and Radical Women: Latin American Art, 1960-1985, which opened in 2017 at the Brooklyn Museum and the Hammer Museum, respectively, exemplify this corresponding surge of interest within the art and academic worlds of the Americas regarding women artists, and particularly women artists of color. My studies of these exhibitions, as well as my interest in artists’ books, led me to identify two collaborative artists’ book projects that emerged in the late 1980s, in the immediate aftermath of the time periods addressed in both We Wanted a Revolution and Radical Women. I aim to contribute to revisionist scholarly efforts by examining these two projects: Coast to Coast: A Women of Color National Artists’ Book Project (1987-1990) and Connections project/Conexus (1986-1989). Both were first and foremost, meant to initiate dialogues and relationships between women across borders through the making of art and artists’ books. While neither project has received scholarly attention to date, they are important examples of feminist collaborations between women artists. The projects, Connections project/Conexus (1986-1989), organized by Josely Carvalho and Sabra Moore, and Coast to Coast: A Women of Color National Artists’ Book Project (1987- 90), organized by Faith Ringgold and Clarissa Sligh, both took advantage of the accessibility of 2 artists’ books in an effort to include and encourage the participation of women artists. -
New Commissioned Work, One Portrait of One Man, by Beth Lipman
WEISMAN ART MUSEUM FOR IMMEDIATE RELEASE | September 13, 2017 Contact: Erin Lauderman, 612.625.9685, [email protected] One Portrait of One Man: A new commission by the Weisman Art Museum will be installed the week of September 26, 2017 MINNEAPOLIS – The Weisman Art Museum at the University of Minnesota will begin installation on a recently commissioned work One Portrait of One Man, by Beth Lipman. This work is a significant addition to WAM’s American collection, now spanning more than a century of innovative American art. Known for her large-scale, sculptural installations based on the seventeenth-century tradition of still life painting, Lipman worked, at WAM’s invitation, with the museum’s celebrated collection of art by the early twentieth-century American modernist Marsden Hartley. After extensive review and research in the collection, the artist selected Hartley’s homage to his friend and patron, the expatriate American literary luminary Gertrude Stein, One Portrait of One Woman as the core of her new piece. Building a glass vanity where Hartley’s portrait of Stein takes the place of the mirror, Lipman filled the cabinet with salient, oft-repeated, and reworked details that span Hartley’s long and peripatetic career. Lipman will be onsite installing the new work in the Weisman Art Museum galleries during the week of September 26. Visitors are invited to view One Portrait of One Man and talk with the artist. BETH LIPMAN Beth Lipman is a glass artist who is known for hand sculpted and blown re-imaginings of historical still life paintings. She has been artist in residence in numerous centers including the Kohler Art Center, Museum of Glass, Tacoma, Washington, and the Studio at the Corning Museum of Glass. -
Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, No
ISSN: 2471-6839 Cite this article: Peter R. Kalb, review of Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11870. Writing the Future: Basquiat and the Hip-Hop Generation Curated by: Liz Munsell, The Lorraine and Alan Bressler Curator of Contemporary Art, and Greg Tate Exhibition schedule: Museum of Fine Arts, Boston, October 18, 2020–July 25, 2021 Exhibition catalogue: Liz Munsell and Greg Tate, eds., Writing the Future: Basquiat and the Hip-Hop Generation, exh. cat. Boston: Museum of Fine Arts, Boston, 2020. 199 pp.; 134 color illus. Cloth: $50.00 (ISBN: 9780878468713) Reviewed by: Peter R. Kalb, Cynthia L. and Theodore S. Berenson Chair of Contemporary Art, Department of Fine Arts, Brandeis University It may be argued that no artist has carried more weight for the art world’s reckoning with racial politics than Jean-Michel Basquiat (1960–1988). In the 1980s and 1990s, his work was enlisted to reflect on the Black experience and art history; in the 2000 and 2010s his work diversified, often single-handedly, galleries, museums, and art history surveys. Writing the Future: Basquiat and the Hip-Hop Generation attempts to share in these tasks. Basquiat’s artwork first appeared in lower Manhattan in exhibitions that poet and critic Rene Ricard explained, “made us accustomed to looking at art in a group, so much so that an exhibit of an individual’s work seems almost antisocial.”1 The earliest efforts to historicize the East Village art world shared this spirit of sociability. -
1 History That Disturbs the Present
History that disturbs the present: An interview about REPOhistory with Greg Sholette Interviewed by Dipti Desai on April 26, 2007 Greg Sholette’s work as artist, writer, activist, and organizer has been extremely influential in opening dialogue about the relationship between history, current issues and art. Drawing on an array of art mediums such as sculpture, photography, drawings, film, and texts his work as a socially engaged artist forces us to question our commonsense understanding of art as an individual endeavor that is not connected to society. Instead he calls into question the role of art in a democratic society by challenging the idea of an autonomous art objects and its commodification by the art world. His multi-media art works ask us to think about how art perpetuates the often hidden social structures in our society and how aesthetic practices can become more part of our daily lives. As a cultural producer whose work is grounded in history his art making practice is part of a tradition of artists, cultural theorists, historians, and philosophers that understands art as a mode of production that is deeply connected to the material conditions of society. He was the founding member of two innovative artist collectives: Political Art Documentation/Distribution (1980-1988) and REPOhistory (1989-2000). Since he is interested in collaborative artistic practices that opens dialogue about issues of concern to people his work is mainly designed for the public sphere and engages many modes of dissemination, such as signs, posters, performances, public installations, educational activities, flyers, and postcards. I met with Greg on a beautiful spring day in 2007 at Cooper Union, his alma mater and where he was an adjunct instructor prior to being hired full-time by the Art Department at Queens College.