The Phillips Collection Exhibition History, 1999–2021
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This article was downloaded by: [Sternberger, Paul] On: 26 February 2009 Access details: Access Details: [subscription number 909051291] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Photographies Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t778749997 ME, MYSELF AND INDIA Paul Sternberger Online Publication Date: 01 March 2009 To cite this Article Sternberger, Paul(2009)'ME, MYSELF AND INDIA',Photographies,2:1,37 — 58 To link to this Article: DOI: 10.1080/17540760802696971 URL: http://dx.doi.org/10.1080/17540760802696971 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Paul Sternberger ME, MYSELF AND INDIA Contemporary Indian photography and the diasporic experience Recent Indian photographers have used their medium to reveal, interpret, and influence the multifaceted nature of Indian identity and cross-cultural experiences in India and abroad. -
For Immediate Release
FOR IMMEDIATE RELEASE Media Contacts: April 2, 2014 Elizabeth Lubben, 202-387-2151 x235 [email protected] Sarah Schaffer, 202-387-2151 x243 [email protected] Online Press Room www.phillipscollection.org/press THE PHILLIPS COLLECTION HIGHLIGHTS BEAUTY, MOOD, AND EMOTION IN NEO-IMPRESSIONISM AND THE DREAM OF REALITIES: PAINTING, POETRY, MUSIC New exhibition takes a fresh look at Neo-Impressionism, focuses on ideas and dialogue. Washington, D.C.—This fall, The Phillips Collection examines the Neo-Impressionist movement through a new lens with its special exhibition, Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music. Highlighting 15 artists and more than 70 works, the exhibition demonstrates that the Neo- Impressionists, a group generally identified by its pointillist technique and emphasis on the representation of reality, were in fact influenced by their literary Symbolist contemporaries and created evocative, suggestive compositions inspired by ideas and dialogue between the two groups. Neo-Impressionism will be on view at the Phillips from September 27, 2014, through January 11, 2015. The lush exhibition focuses on the Neo- Impressionist movement in Brussels and Paris around 1890. During this time, the exchange of ideas and interactions between painters, poets, and musicians were particularly fruitful and compelled the Neo-Impressionists to create works that accentuated evocative atmosphere. Their paintings and works on paper often transformed reality in a way that seemed to be a departure from the group’s beginnings in 1886; at that time, it was hailed as an alternative to Impressionism that offered a fresh opportunity to focus on light and Paul Signac, Place des Lices, St. -
Climate Changing: on Artists, Institutions, and the Social Environment
i CLIMATE CHANGING CLIMATE WHY CAN’T YOU TELL ME SCORE WHAT YOU NEED Somewhere our body needs party favors attending sick and resting temperatures times hot unevens twice I ask myself all the time too ward draw pop left under right Just try and squeeze me. Pause. What would you do? Fall down off my feet and try waking tired ex muses Like, you either know I can and work on it with me Or know I can’t and wouldn’t want your baby to go through what I have to go through Over prepared for three nights. Over it all scared for three nights. Tell me the unwell of never been better. Are we still good? Are we still good? TABLE OF CONTENTS Director’s Foreword 4 Johanna Burton A Climate for Changing 6 Lucy I. Zimmerman On Chris Burden’s Wexner Castle 10 Lucy I. Zimmerman Notes on Chris Burden’s Through the Night Softly 15 Pope.L WE LEFT THEM NOTHING 17 Demian DinéYazhi´ Untitled 21 Jibade-Khalil Huffman Scores 1, 3, 13, 23, 27, 50 Park McArthur and Constantina Zavitsanos Questioning Access 25 Advisory Committee Roundtable Discussion Artists in the Exhibition 29 Acknowledgments 47 3 BLANKET (STATEMENT) SCORE Why can’t you just tell me what you need DIRECTOR’S FOREWORD 4 Johanna Burton, Executive Director Opening in the first month of 2021 (or at least set to committee’s roundtable discussion further explores, open then at the time of this writing), Climate Changing: the exhibition intends not to inventory nor propose On Artists, Institutions, and the Social Environment solutions for these considerable challenges, but rather comes at a time of great uncertainty for cultural or- to provide artists a forum for bringing the issues into ganizations. -
Phillips Gallery Guide.Indd
919 BROADWAY NASHVILLE, TN 37203 WWW.FRISTCENTER.ORG FRISTFristFristFRIST CENTERCenterCenter CENTER forfor FOR FOR thethe THETHE VisualVisual VISUAL Arts ArtsARTS ARTS The Phillips Collection, America’s first museum of believed that we benefit as viewers by giving modern art, was founded in Washington, D.C. in ourselves over to the direct experience of a work 1921, a decade before the Museum of Modern Art of art. In this way we enter the artist’s world (est. 1929) and the Whitney Museum of American “to see as artists see.” Phillips responded to Art (est. 1930) opened in New York. From its individual artists on their own merits, not to artistic inception, The Phillips Collection has championed movements. In his extensive critical writings the very best American art and artists. Its in-depth Phillips made clear that he was seeking “artists of holdings of American paintings are broad in scope, creative originality and of sincere independence.” yet cannot be characterized as either encyclopedic To See as Artists See: American Art from The or strictly historical. Rather, it is a rich assembly Phillips Collection is divided into ten thematic of independent-minded American artists, most sections, which aim to reveal the breadth of of whom were actively exhibiting when their work America’s modernist vision from approximately entered the museum’s collection. In fact, many 1850 to 1960. The exhibition begins with the great of the more than seventy artists included in this heroes of American art of the late nineteenth exhibition became acquaintances and good friends century whose work set the course for modern art with the museum’s founder, Duncan Phillips in the United States. -
FY 15 ANNUAL REPORT August 1, 2014- July 31, 2015
FY 15 ANNUAL REPORT August 1, 2014- July 31, 2015 1 THE PHILLIPS COLLECTION FY15 Annual Report THE PHILLIPS [IS] A MULTIDIMENSIONAL INSTITUTION THAT CRAVES COLOR, CONNECTEDNESS, A PIONEERING SPIRIT, AND PERSONAL EXPERIENCES 2 THE PHILLIPS COLLECTION FY15 Annual Report FROM THE CHAIRMAN AND DIRECTOR This is an incredibly exciting time to be involved with The Phillips Collection. Duncan Phillips had a deep understanding of the “joy-giving, life-enhancing influence” of art, and this connection between art and well-being has always been a driving force. Over the past year, we have continued to push boundaries and forge new paths with that sentiment in mind, from our art acquisitions to our engaging educational programming. Our colorful new visual identity—launched in fall 2014—grew out of the idea of the Phillips as a multidimensional institution, a museum that craves color, connectedness, a pioneering spirit, and personal experiences. Our programming continues to deepen personal conversations with works of art. Art and Wellness: Creative Aging, our collaboration with Iona Senior Services has continued to help participants engage personal memories through conversations and the creating of art. Similarly, our award-winning Contemplation Audio Tour encourages visitors to harness the restorative power of art by deepening their relationship with the art on view. With Duncan Phillips’s philosophies leading the way, we have significantly expanded the collection. The promised gift of 18 American sculptors’ drawings from Trustee Linda Lichtenberg Kaplan, along with the gift of 46 major works by contemporary German and Danish artists from Michael Werner, add significantly to new possibilities that further Phillips’s vision of vital “creative conversations” in our intimate galleries. -
Greenwich Historical Society Celebrates Centenary of 1913
FOR IMMEDIATE RELEASE Media contacts: Carolyn Mandelker/914-242-0010 [email protected] Laura Mogil/914-242-0010 [email protected] A FIRST! GREENWICH HISTORICAL SOCIETY CELEBRATES CENTENARY OF 1913 ARMORY SHOW WITH UNUSUAL EXHIBITION THAT FOCUSES ON SHOW’S INFLUENCE ON GREENWICH’S COS COB ART COLONY ARTISTS Exhibition Also Highlights Critical Role Cos Cob Artists Played in Producing the Armory Show Several Accomplished Yet Virtually Unknown Cos Cob Artists Spotlighted Greenwich, Conn., October 9, 2013—Lauded as one of the most influential events in the history of American art, The International Exhibition of Modern Art in 1913—popularly known as the Armory Show—was the first large exhibition of modern art in the United States, and one that introduced astonished Americans to European ‘avant-garde’ artists such as Pablo Picasso, Henri Matisse and Paul Cézanne. Much has been written about the show, yet no exhibition to date has explored the direct effect that the Armory Show had on artists and their artistic production. But the Greenwich Historical Society is about to change that. Beginning October 9, the Greenwich Historical Society will present The New Spirit and the Cos Cob Art Colony: Before and After the Armory Show, which for the first time shows the direct impact of the Armory Show on the Cos Cob art colony artists. A perfect complement to larger exhibitions in the metropolitan New York area inspired by the centennial of the Armory Show, this small yet critical exhibition at the Greenwich Historical Society highlights the extensive involvement of Cos Cob artists, such as Elmer MacRae and Henry Fitch Taylor, in producing the Armory Show, and brings to public attention several of the accomplished Cos Cob artists whose work has been rarely exhibited until now. -
Allan Desouza Opens Jan
Stacey Ravel Abarbanel, [email protected] For Immediate Use 310/825-4288 November 24, 2010 His Masters' Tools: Recent Work by Allan deSouza Opens Jan. 23 at the Fowler Museum at UCLA His Masters' Tools: Recent Work by Allan deSouza—on view at the Fowler Museum from Jan. 23–May 29, 2011 explores the oeuvre of the San Francisco-based performance and photo- conceptual artist, Allan deSouza. The exhibition includes nearly thirty works that engage with the effects of Euro-American empire and the racial underpinnings of colonial power. The works on display run the gamut from large-scale, gorgeously colored and sensuous abstractions to modestly-sized photographic prints. His Masters' Tools focuses on two new series created especially for this Fowler exhibition—Rdctns and The Third Eye—which explore issues of race in relation to western art history by reworking primitivist paintings by Paul Gauguin and Henri Rousseau and self-portraits by canonical artists such as Chuck Close, Pablo Picasso and Andy Warhol (left). Both series use digital manipulation to play with notions of artistic and technological mastery and to blur the boundaries between photography and painting. The exhibition also draws on work from earlier series, The Searchers (2003), The Lost Pictures (2004/5), and X.Man (2009), to provide a conceptual and formal context for deSouza’s newest experiments. The Searchers, a series of landscape photographs that displace deSouza’s own anxieties and preoccupations onto those of a group of tourists on safari outside Nairobi, is the outcome of his efforts to reconnect with the country of his birth on a return trip to Kenya in 2002. -
Impressionist Still Life 2001
Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998. -
Annual Report FY18
FY 18 ANNUAL REPORT August 1, 2017- July 31, 2018 1 THE PHILLIPS COLLECTION FY18 Annual Report cultivating members 9,225 MEMBERS 1,783 NEW MEMBERS (from 36 states and 5 countries) welcoming diverse audiences 137,276 VISITORS (from 50 US states and over 50 countries, non-members only) 50 PUBLIC PROGRAMS (13,572 attendees) 31 PHILLIPS MUSIC CONCERTS (4,520 attendees) engaging our digital fans inspiring young minds NEW FANS ON 2,755 STUDENTS 1,984 Facebook (28,803 total) ON SCHOOL TOURS 6,197 Instagram (27,500 total) 38 SCHOOLS 1,156 Twitter (29,335 total) 718 ART LINKS STUDENTS 67,347 YOUTUBE VIEWS 4 PARTNER SCHOOLS PHILLIPS WEBSITE PRISM.K12 WEBSITE 1,195 average daily visitors 33,007 page views 50 US States / 208 Countries sharing our growing collection 64 NEW ACQUISITIONS 37 ARTWORKS LOANED TO OTHER MUSEUM EXHIBITIONS 38 ARTWORKS IN TRAVELING COLLECTION EXHIBITIONS 2 THE PHILLIPS COLLECTION FY18 Annual Report FROM THE CHAIRMAN AND DIRECTOR As always, this year has been filled with new and robust partnerships, exciting special exhibitions, and dynamic programming. Through the opening of a new satellite campus and the launch of a diversity initiative, the museum is working to bring together art lovers of all backgrounds through modern and contemporary art. Thanks to your support, the Phillips continues to increase its scope and impact. In January 2018 we opened a satellite campus East of the River at the Town Hall Education Arts Recreation Campus (THEARC); thanks to the hard work of our Education and Community Engagement team, as well as the leadership and generosity of our Board of Trustees, foundations, corporations, and individual donors including the new Friends of Phillips@THEARC group. -
Conceptualism – Intersectional Readings, Inter National Framings
Conceptualism – Intersectional Readings, Inter national Framings Situating ‘Black Artists & Modernism’ in Europe CONTENTS • Nick Aikens, susan pui san lok, Sophie Orlando Introduction 4 KEYNOTE • Valerie Cassel Oliver Through the Conceptual Lens: The Rise, Fall and Resurrection of Blackness 218 KEYNOTE • Iris Dressler Subversive Practices: Art Under Conditions of Political Repression in 1960s and 1980s South America and Europe 14 IV DAVID MEDALLA 244 I CONCEPTUALISM AND INTERSECTIONAL READINGS 30 • Nick Aikens Introduction 246 • Nick Aikens, Annie Fletcher Introduction 32 • David Dibosa Ambivalent Thresholds: David Medalla’s Conceptualism and ‘Queer British Art’ 250 • Alexandra Kokoli Read My QR: Quilla Constance and the Conceptualist Promise of Intelligibility 36 • Eva Bentcheva Conceptualism-Scepticism and Creative Cross-pollinations in the Work of David Medalla, 1969–72 262 • Elisabeth Lebovici The Death of the Author in the Age of the Death of the Authors 54 • Sonia Boyce Dearly Beloved: Transitory Relations and the Queering of ‘Women’s Work’ in David Medalla’s A Stitch in Time (1967–72) 282 • susan pui san lok Found and Lost: A Genealogy of Waste? 68 • Wei Yu David Medalla and Li Yuan-chia: Conceptual Projects from the 1960s to 1970s 300 II NIL YALTER 96 • Sarah Wilson Introduction 98 V CONCEPTUALISM AND INTERNATIONAL FRAMINGS 312 • Fabienne Dumont Is Nil Yalter’s Work Compatible with Black • susan pui san lok Introduction 314 Conceptualism? An Analysis Based on the FRAC Lorraine Collection 104 • Alice Correia Allan deSouza and Mohini -
DESOUZA Press Release 032214
3834 Main Street California Museum of Photography Riverside, CA 92501 Sweeney Art Gallery 951.827.3755 Culver Center of the Arts culvercenter.ucr.edu sweeney.ucr.edu University of California, Riverside cmp.ucr.edu artsblock.ucr.edu PRESS RELEASE For Immediate Release FLASH! contemporary art series presents Allan deSouza California Museum of Photography at UCR ARTSblock March 22-May 24, 2014 RIVERSIDE, Calif., Feb. 3, 2014 – UCR ARTSblock announces artist Allan deSouza’s participation in the FLASH! contemporary art series. Flash: Allan deSouza (March 22-May 24, 2014) will feature the first fifteen minutes of an abmitious new video Ark of Martyrs (in progress; started in November 2012, projected completion in December 2014). Ark of Martyrs is deSouza’s rewriting of Joseph Conrad’s 1899 novel Heart of Darkness. Whereas Conrad’s original text is framed as the narration of Charles Marlow, a British sailor who transports ivory along the Congo River during the height of European imperialism, Ark of Martyrs is set at a contemporary wedding celebration. DeSouza’s rewriting mirrors Conrad’s syntax, and employs rhyme and alliteration: “The water shone pacifically” becomes “The daughter yawned terrifically.” The text making up Ark of Martyrs scrolls over the screen while a narrator (Stephen Wattrus) reads the corresponding passages from Heart of Darkness. According to deSouza, Conrad contrasts the present day “civility” of the River Thames, from where the story is told, with the timeless “savagery” of the Congo River, where Marlow’s story is set. Allan deSouza is a multi-media artist based in San Francisco. His body of work consists of photography, installation, performance, and text-based works. -
2018 Fall and Winter CONTENTS
2018 Fall and Winter CONTENTS GENERAL INTEREST AMERICAN STUDIES GAY/LESBIAN/QUEER/BI/ See It Feelingly Savarese 1 Violence Work Seigel 29 TRANS STUDIES Little Man, Little Man Mobile Subjects Aizura 42 Baldwin and Cazac 2 INDIGENOUS AND NATIVE STUDIES Going Stealth Beauchamp 42 Essential Essays Hall 4 Paradoxes of Hawaiian Sovereignty Trans Exploits Chen 43 The Blue Clerk Brand 5 Kauanui 29 Trans*historicities DeVun and Tortorici 43 Comfort Measures Only Campo 6 Unsustainable Empire Saranillio 30 The Queer Commons Gunslinger Dorn 7 Butt and Millner-Larsen 44 Written in Stone Levinson 7 AFRICAN STUDIES Queer about Comics Scott and Fawaz 44 My Butch Career Newton 8 The Fetish Revisited Matory 30 Female Masculinity Halberstam 9 Fugitive Modernities Krug 31 FILM/TV Exile within Exiles Green 9 Making Sex Public, and Other RELIGION The Brazil Reader Green, Langland, Cinematic Fantasies Young 45 An Intimate Rebuke Grillo 31 and Moritz Schwarcz 10 The Apartment Complex Wojcik 45 Passages and Afterworlds Plan Colombia Lindsay-Poland 11 Forde and Hume 32 Is It Still Good to Ya? Christgau 12 LATIN AMERICAN STUDIES Laughing at the Devil Hall 13 Channeling the State Schiller 46 SOUTH ASIAN STUDIES Vexy Thing Perry 14 1968 Mexico Draper 46 Indian Migration and Empire Mongia 32 Jezebel Unhinged Lomax 15 Seeking Rights from the Left Friedman 47 Latinx Lives in Hemsipheric Context Empowered Banet-Weiser 15 ANTHROPOLOGY Windell and Alemán 47 Straight A’s Yano and Akatsuka 16 A World of Many Worlds Racial Melancholia, Racial Dissociation de la Cadena and