Making Progress | Spring 2009 Inside Risd, Reality and the Downturn
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2010-2011 Newsletter
Newsletter WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF A RT OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2010–11 Newsletter ••••• 1 1 CLASS OF 1955 MEMORIAL PROFESSOR OF ART MARC GOTLIEB Letter from the Director Greetings from Williamstown! Our New features of the program this past year include an alumni now number well over 400 internship for a Williams graduate student at the High Mu- going back nearly 40 years, and we seum of Art. Many thanks to Michael Shapiro, Philip Verre, hope this newsletter both brings and all the High staff for partnering with us in what promises back memories and informs you to serve as a key plank in our effort to expand opportuni- of our recent efforts to keep the ties for our graduate students in the years to come. We had a thrilling study-trip to Greece last January with the kind program academically healthy and participation of Elizabeth McGowan; coming up we will be indeed second to none. To our substantial community of alumni heading to Paris, Rome, and Naples. An ambitious trajectory we must add the astonishingly rich constellation of art histori- to be sure, and in Rome and Naples in particular we will be ans, conservators, and professionals in related fields that, for a exploring 16th- and 17th-century art—and perhaps some brief period, a summer, or on a permanent basis, make William- sense of Rome from a 19th-century point of view, if I am al- stown and its vicinity their home. The atmosphere we cultivate is lowed to have my way. -
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. -
Jenny Holzer, Attempting to Evoke Thought in Society
Simple Truths By Elena, Raphaelle, Tamara and Zofia Introduction • A world without art would not only be dull, ideas and thoughts wouldn’t travel through society or provoke certain reactions on current events and public or private opinions. The intersection of arts and political activism are two fields defined by a shared focus of creating engagement that shifts boundaries, changes relationships and creates new paradigms. Many different artists denounce political issues in their artworks and aim to make large audiences more conscious of different political aspects. One particular artist that focuses on political art is Jenny Holzer, attempting to evoke thought in society. • Jenny Holzer is an American artist who focuses on differing perspectives on difficult political topics. Her work is primarily text-based, using mediums such as paper, billboards, and lights to display it in public spaces. • In order to make her art as accessible to the public, she intertwines aesthetic art with text to portray her political opinions from various points of view. The text strongly reinforces her message, while also leaving enough room for the work to be open to interpretation. Truisms, (1977– 79), among her best-known public works, is a series inspired by Holzer’s experience at Whitney Museum’s Independent Study Program. These form a series of statements, each one representing one individual’s ideology behind a political issue. When presented all together, the public is able to see multiple perspectives on multiple issues. Holzer’s goal in this was to create a less polarized and more tolerant view of our differing viewpoints, normally something that separates us and confines us to one way of thinking. -
American Creativity at Risk Restoring Creativity As a Priority in Public Policy, Cultural Philanthropy, and Education
American Creativity at Risk Restoring creativity as a priority in public policy, cultural philanthropy, and education A narrative report on a symposium directed toward opinion leaders, policy makers, and creative thinkers in business, government, education, arts and culture, and the sciences November 8–10, 1996 BROWN UNIVERSITY and RHODE ISLAND SCHOOL OF DESIGN Providence, Rhode Island The American Creativity At Risk Symposium was organized by the Alliance of Artists Communities and supported by grants from: Evelyn Stefansson Nef The Pew Charitable Trusts Thank you to the many people who made this The John D. and Catherine T. symposium possible, especially to the Symposium Project MacArthur Foundation Director and author of this report, Tricia Snell, Executive The National Endowment for the Arts Director of the Alliance of Artists Communities. The Andy Warhol Foundation for the Visual Arts The Alliance of Artists Communities also acknowledges and thanks the following people for joining a National The California Tamarack Foundation Task Force that advised us during the early months The Lubo Fund, Inc. of planning for the symposium: Judith Barber, Linda and an anonymous donor Blumberg, Ann Chamberlain, Jennifer Dowley, Mary Griffi n, Garrett Hongo, Sam Miller, Gina Murtagh, We are profoundly grateful to them, Craig Pleasants, Harriet Sanford, Fred Schroeder, Susan and to Brown University and the Rhode Schwartzenberg, Jim Sitter, William Smart, M. Camille Island School of Design for their support Thomas, Anthony Vasconcellos, and Lori Wood. and hospitality. For copies of this report and for transcripts, contact: Special Thanks to the Andy Warhol Alliance of Artists Communities Foundation for The Visual Arts and 255 South Main Street the Geraldine R. -
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 -
Wedel Art Collective Launch Face Masks Designed by Leading Artists
Wedel Art Collective launch face masks designed by leading artists: Jenny Holzer, Rashid Johnson, Barbara Kruger, Raymond Pettibon, Lorna Simpson and Rosemarie Trockel Left to right, face masks designed by: Rosemarie Trockel; Jenny Holzer; Lorna Simpson; Barbara Kruger; Raymond Pettibon and Rashid Johnson. Courtesy Wedel Art Collective. Wedel Art Collective have collaborated with six international leading artists to produce a set of unique artist-designed face masks, all proceeds from which will be donated to international relief efforts and artist support for those affected by COVID-19. Launching exclusively on MATCHESFASHION from 24 August the project draws upon the power of contemporary art to encourage more people to wear face masks to protect, and support. Each of the participating artists are internationally celebrated for their work addressing some of the most important social and political issues of our times. Through the inspiration of these artists’ work, the limited-edition face masks reflect the artists’ passionate and urgent response to the pandemic, highlighting the need for community action. Artists include: Jenny Holzer (b. 1950, Ohio, USA); Rashid Johnson (b. 1977, Chicago, USA); Barbara Kruger (b. 1975, New Jersey, USA); Raymond Pettibon (b. 1957, Arizona, USA); Lorna Simpson (b. 1960, New York, USA); and Rosemarie Trockel (b. 1952, Schwerte, Germany). Jenny Holzer's face mask taps into the necessity of mask-wearing, reading “You – Me”. “I like to think of my work as useful,” Holzer says “That is a recurrent impulse, when something happens in the world, if I have an idea that be properly responsive… Not necessarily a cure or a solution but at least an offering.” Raymond Pettibon's mask design features Vavoom, a figure inspired by Felix the Cat that he has drawn since the mid-1980s. -
Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue Published by WCA ● Gallery Guide
1 Wexner Center for the Arts Exhibition History Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue published by WCA ● Gallery Guide ●LaToya Ruby Frazier: The Last Cruze February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Sadie Benning: Pain Thing February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Stanya Kahn: No Go Backs January 22 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●HERE: Ann Hamilton, Jenny Holzer, Maya Lin September 21 – December 29, 2019 *+●Barbara Hammer: In This Body (F/V Residency Award) June 1 – August 11, 2019 *Cecilia Vicuña: Lo Precario/The Precarious June 1 – August 11, 2019 Jason Moran June 1 – August 11, 2019 *+●Alicia McCarthy: No Straight Lines February 2 – August 1, 2019 John Waters: Indecent Exposure February 2 – April 28, 2019 Peter Hujar: Speed of Life February 2 – April 28, 2019 *+♦Mickalene Thomas: I Can’t See You Without Me (Visual Arts Residency Award) September 14 –December 30, 2018 *● Inherent Structure May 19 – August 12, 2018 Richard Aldrich Zachary Armstrong Key: * Organized by the Wexner Center ♦ Catalogue published by WCA + New Work Commissions/Residencies ● Gallery Guide Updated July 2, 2020 2 Kevin Beasley Sam Moyer Sam Gilliam Angel Otero Channing Hansen Laura Owens Arturo Herrera Ruth Root Eric N. Mack Thomas Scheibitz Rebecca Morris Amy Sillman Carrie Moyer Stanley Whitney *+●Anita Witek: Clip February 3-May 6, 2018 *●William Kentridge: The Refusal of Time February 3-April 15, 2018 All of Everything: Todd Oldham Fashion February 3-April 15, 2018 Cindy Sherman: Imitation of Life September 16-December 31, 2017 *+●Gray Matters May 20, 2017–July 30 2017 Tauba Auerbach Cristina Iglesias Erin Shirreff Carol Bove Jennie C. -
Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. Katarína Belejová Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Bc. Katarína Belejová Acknowledgement I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Dr., for his encouragement, patience and inspirational remarks. I would also like to thank my family for their support. Table of Contents Introduction .................................................................................................................... 5 1. Postmodern Art, Conceptual Art and Social Criticism .............................................. 7 1.1 Social Criticism as a Part of Postmodernity ..................................................................... 7 1.2 Postmodernism, Conceptual Art and Promotion of a Thought .................................. 9 1.2. Importance of Subversion and Parody ........................................................................... 12 1.3 Conceptual Art and Its Audience ...................................................................................... 16 2. American context ..................................................................................................... 21 2.1 The 1980s in the USA ......................................................................................................... -
WHITNEY Education
WHITNEY Education Jenny Holzer: PROTECT PROTECT March 12 - May 31, 2009 Pre- and Post-Visit Materials for Teachers How can these materials be used? These materials provide a framework for preparing you and your students for a visit to the exhibition and offer suggestions for follow up classroom reflection and lessons. The discussions and activities introduce some of the exhibition’s key themes and concepts. I. About the Artist II. About the Exhibition III. Pre-Visit Activities IV. Post-Visit Activities V. Bibliography & Links What grade levels are these Pre- and Post-Visit materials intended for? These lessons and activities have been written for High School students. We encourage you to adapt and build upon them in order to meet your teaching objectives and students’ needs. Please note that a portion of the exhibition includes declassified and other sensitive government documents that reference war, detainees, torture, homicide, filial relationships, arms, and the oil trade. There is adult language in the exhibition. We recommend that you visit the museum in advance of bringing your students to prepare for questions that might arise from the exhibition's content. We are happy to send you an Educator pass so that you can preview the exhibition. Please email [email protected] if you would like to request one. At the Museum Guided Visits We invite you and your students to visit the Whitney. To schedule a guided tour, please visit www.whitney.org/education. If you are scheduled for a guided school group tour, your museum educator will contact you prior to your visit. -
Journal of the Clark, Volume 15 As of December 31, 2014
Board of Trustees Journal of the Clark, Volume 15 as of December 31, 2014 Campaign for the Clark continued Gilda and Henry Buchbinder Michael Ann Holly, Keith Moxey, and Kelly Pask and Richard Rand Peter S. Willmott Frank Martucci Mary Carswell Judith and Frederick Buechner Nick Holly in memory of Alexander Holly Sally and Lamson Rheinfrank President Ancramdale, New York Honorary Trustee Madeline Burke-Vigeland and Nils Vigeland Janet and Edwin Hopton Rise ARCADIS Chicago, Illinois New York, New York Hiram Butler and Andrew Spindler-Roesle Christina and Russell Howard MC and Eric Roberts Alix and Brian Cabral Kristen Johanson and Tom Green Ann and Alfred Ruesch Paul Neely Mary Jo and Russell Carpenter Isabel F. Jacobs William T. Ruhl Frederick W. Beinecke Scottsdale, Arizona Jane Forbes Clark Carr Hardware Edwin and Lola Jaffe Joan and Michael Salke New York, New York Honorary Trustee Jane and Michael Cary Christopher and Joan Jones Mimi and Morty Schapiro Sandra M. Niles Cooperstown, New York Susan Brissette and David Cass Rachel and Mike Judlowe Barbara and Al Schiavetti José E. Fernández Sherborn, Massachusetts Kay and Elliot Cattarulla In memory of Philip and Pokey Kalker Dr. and Mrs. David Schottenfeld Robert J. Geniesse Julie and Stuart Chase Lisbeth Tarlow and Stephen Kay Dr. and Mrs. R. Michael Scott San Juan, Puerto Rico Honorary Trustee Christie’s Howard A. (Woody) Knight and Family Irwin and Bernice Shainman Francis Oakley Washington, DC The Ciulla Family Joan and Paul Kopperl Mary Anne and Bob Sharkey Michael Govan Williamstown, Massachusetts Richard and Robin Clutz Julie Kosarin Jennifer and David Sims Los Angeles, California Elizabeth Cohen Jessie Kravitz Wendy and John Skavlem Robert G. -
Conference Program
I WEDNESDAY PM 2:OO-5:OO Art Libraries Versailles Terrace Chairman: Elizabeth R. Usher / Metropolitan Museum of Art Bibliographical Reports: ART bibliographies / Roger Bilboul 1European Bibliographical Center Planning for the Center for Advanced Studies in the Visual Arts I.I. M. Edelstein 1 National Gallery of Art Centro di Documentation / Alessandra Marchi / Centro di Documentation, Florence RiLA / Michael Rinehart / Sterling and Francine Clark Art Institute / Judy Ann Goldman and AntoinettePeterson Panel Discussion: The Art Library-Today and in the Future Moderator: Gerd Muehsarn / Queens College Panel: The Viewpoint of the Professor / Scholar User / Hanna Deinhard / Queens College The Viewpoint of the University Art Librarian / Jean L. Finch 1 Stanford University Libraries The Viewpoint of the Small Art Museum Librarian / Barbara Lipton I The Viewpoint of the Artist/Scholar User / Alvin Smith / Queens College The Viewpoint of the Large Art Museum Librarian 1 Frank Sommer I Winterthur Museum The Viewpoint of the Curator/Specialist/Scholar User I Louise A. Svendsen / Guggenheim Museum The Viewooint of the Curator/Scholar User / Georoe Szabo /The Lehman Open house at studios and galleries Information available at Social Events Desk 3:OO-6:00 Reception The Century Association Limited to300 persons 1 Invitations available at Social Events Desk 7 West 43rd Street An opportunity to view the Century Club's collection of New York, New York 19th century American painting WEDNESDAY PM 6:OO-9:OO Convocation The Metropolitan Grace Rainev, Rooers- -
A Hidden Collection, Helen Balfour Morrison
A HIDDEN COLLECTION HELEN BALFOUR MORRISON: Masterful Modern 401 LEE ROAD NORTHBROOK, IL 60062 P 847 291 9161 F 847 291 1867 HELEN BALFOUR MORRISON Photographer Helen Balfour Morrison (1901-1984) started as a commercial photographer in Evanston, Illinois, but took up her camera as a serious artist in the 1930s. Rockwell Kent sat for her and introduced her to Bill Kittredge at the Lakeside Press, who suggested she do a book on Great Americans. In the 1930s she began seeking out notable personalities, most of whom she approached and asked to photograph, often doing several sittings in a day. She also photographed people in all walks of life – individuals, families, and children. In the 1940s, the work continued from her new home in Northbrook. In the 1950s she set this work aside and primarily photographed the modern dancer, Sybil Shearer, with whom she had developed a collaborative artistic partnership. The Morrison-Shearer Foundation in Northbrook, Illinois, now holds these collections. The unusual nature of Morrison’s portraits became evident early in her career. J.B. Neumann, of the New Art Circle Gallery in New York, said in 1946, “Mrs. Morrison photographs the soul.” That same year David Daiche, Scottish literary historian then at the University of Chicago, put it this way: Helen Balfour Morrison, Self Portrait Anyone who has seen Helen Morrison at work will appreciate the amount of effort and energy she devotes to the task of getting her subjects to symbolize themselves in a manner which the camera can capture. She does this without arousing any suspicion in the person being photographed that a deliberate “drawing out” is taking place.