Pharrell Williams Launches Galerie Perrotin's New Art
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From Surrealism to Now
WHAT WE CALL LOVE FROM SURREALISM TO NOW IMMA, Dublin catalogue under the direction of Christine Macel and Rachael Thomas [Cover] Wolfgang Tillmans, Central Nervous System, 2013, inkjet print on paper mounted on aluminium in artist’s frame, frame: 97 × 82 cm, edition of 3 + 1 AP Andy Warhol, Kiss, 1964, 16mm print, black and white, silent, approx. 54 min at 16 frames per second © 2015 THE ANDY WARHOL MUSEUM, PITTSBURG, PA, COURTESY MAUREEN PALEY, LONDON. © WOLFGANG TILLMANS A MUSEUM OF CARNEGIE INSTITUTE. ALL RIGHTS RESERVED. FILM STILL COURTESY OF THE ANDY WARHOL MUSEUM. PHOTO © CENTRE POMPIDOU, MNAM-CCI, DIST. RMN-GRAND PALAIS / GEORGES MEGUERDITCHIAN CONTENTS E 1 FOREWORD Sarah Glennie 6 WHAT WE CALL LOVE Christine Macel 13 SURREALISM AND L’AMOUR FOU FROM ANDRÉ BRETON TO HENRIK OLESEN / FROM THE 1920s TO NOW 18 ANDRÉ BRETON AND MAD LOVE George Sebbag 39 CONCEPTUAL ART / PERFORMANCE ART FROM YOKO ONO TO ELMGREEN AND DRAGSET / FROM THE 1960s TO NOW 63 NEW COUPLES FROM LOUISE BOURGEOIS TO JIM HODGES / FROM THE 1980s TO NOW 64 AGAINST DESIRE: A MANIFESTO FOR CHARLES BOVARY? Eva Illouz 84 THE NEUROBIOLOGY OF LOVE Semir Zeki 96 LOVE ACTION Rachael Thomas WHAT 100 LIST OF WORKS 104 BIBLIOGRAPHY WE CALL LOVE CHAPTER TITLE F FOREWORD SARAH GLENNIE, DIRECTOR The Irish Museum of Modern Art (IMMA) is pleased to present this publication, which accompanies the large scale group exhibition, What We Call Love: From Surrealism to Now. This exhibition was initially proposed by Christine Macel (Chief Curator, Centre Pompidou), who has thoughtfully curated the exhibition alongside IMMA’s Rachael Thomas (Senior Curator: Head of Exhibitions). -
Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students. -
Electronic Arts Intermix New Works 2005 - 2006
Electronic Arts Intermix New Works 2005 - 2006 THE LEADING DISTRIBUTOR OF ARTISTS’ VIDEO Electronic Arts Intermix New Works 2005-2006 New Works 2005-2006 features a remarkable range of video, film, and new media works that have recently been added to the EAI collection. We are pleased to introduce a number of emerging and established artists, including Cory Arcangel, video game and computer hacker extraordinaire; JODI, the pioneering Web art provocateurs, and Lawrence Weiner, one of the most significant figures in Conceptual Art. We are also pleased to launch EAI Projects, a new initiative to present and promote emerging artists working in innovative moving image media, including the international collective Bernadette Corporation; performance artist Shana Moulton; digital artist Takeshi Murata; and multidisciplinary artist Seth Price. Also featured are new video works by emerging and established artists, including Sophie Calle, Seoungho Cho, Tony Cokes, Dan Graham, Mary Lucier, Muntadas, Paper Rad, and Carolee Schneemann, among others, as well as newly preserved early video works by key figures such as Vito Acconci, Ant Farm and Tony Oursler. We are also introducing two new documentaries on the seminal earthworks and land art pieces of Robert Smithson, one of the most influential artists of the 20th century. We are also pleased to present several important series of video and film works. Point of View: An Anthology of the Moving Image features newly commissioned works by eleven major international artists, including Isaac Julien, William Kentridge and Pierre Huyghe; From the Kitchen Archives is a series of rare experimental performance documents from the 1970s and ‘80s; and Workshop of the Film Form is an anthology of early films by pioneers of the Polish moving- image avant-garde. -
Sophie Calle's Prenez Soin De Vous
Studies in 20th & 21st Century Literature Volume 38 Issue 2 Self and Stuff: Accumulation in Article 3 Francophone Literature and Art 2014 Accumulation and Archives: Sophie Calle’s Prenez soin de vous Natalie Edwards The University of Adelaide, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, French and Francophone Literature Commons, and the Interdisciplinary Arts and Media Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Edwards, Natalie (2014) "Accumulation and Archives: Sophie Calle’s Prenez soin de vous," Studies in 20th & 21st Century Literature: Vol. 38: Iss. 2, Article 3. https://doi.org/10.4148/2334-4415.1016 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Accumulation and Archives: Sophie Calle’s Prenez soin de vous Abstract French project artist Sophie Calle has become well-known for her iconoclastic performance art that blends visual and textual elements. Beginning with Les Dormeurs in 1979, in which she invited 24 strangers to sleep in her empty bed and photographed them hourly, through her project of following people around Paris and photographing them like a private detective in Suite vénitienne, Calle has blurred the boundaries between private and public, between photographer and photographed, and between viewer and participant. In this article, I focus on her recent exhibition, Prenez soin de vous. -
New Practices, New Pedagogies
INNOVATIONS IN ART AND DESIGN NEW PRACTICES NEW PEDAGOGIES a reader EDITED BY MALCOLM MILES SWETS & ZEITLINGER / TAYLOR & FRANCIS GROUP 2004 Printed in Copyright © 2004 …… All rights reserved. No part of this publication of the information contained herein may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, by photocopying, recording or otherwise, without written prior permission from the publishers. Although all care is taken to ensure the integrity and quality of this publication and the information herein, no responsibility is assumed by the publishers nor the authors for any damage to properly or persons as a result of operation or use of this publication and/or the information contained herein. www ISBN ISSN The European League of Institutes of the Arts - ELIA - is an independent organisation of approximately 350 major arts education and training institutions representing the subject disciplines of Architecture, Dance, Design, Media Arts, Fine Art, Music and Theatre from over 45 countries. ELIA represents deans, directors, administrators, artists, teachers and students in the arts in Europe. ELIA is very grateful for support from, among others, The European Community for the support in the budget line 'Support to organisations who promote European culture' and the Dutch Ministry of Education, Culture and Science Published by SWETS & ZEITLINGER / TAYLOR & FRANCIS GROUP 2004 Supported by the European Commission, Socrates Thematic Network ‘Innovation in higher arts education -
Motion and Time Based: a Question of the Body and Its Reflections As Gesture
Introduction to Art Making- Motion and Time Based: A question of the body and its reflections as gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2016 When: Tuesday: 5:00 p.m. to 6:50 p.m. Where: CENTR 101 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Mondays. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will be a focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students. -
Christina Quarles Showcases New Work in BAMPFA Solo Exhibition
Media Contact: A. J. Fox · (510) 642-0365 · [email protected] Christina Quarles Showcases New Work in BAMPFA Solo Exhibition On View September 19–November 18, 2018 Christina Quarles / MATRIX 271 Highlights Artist’s Interest in Ambiguous Identity (Berkeley, CA) August 23, 2018—Christina Quarles receives her first solo museum exhibition at the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) this fall. The acclaimed Los Angeles-based artist has created multiple new works for the exhibition that advance her continuing exploration of the fluidity of race, gender, and sexuality. Her presentation at BAMPFA marks the latest installment in the museum’s MATRIX program, which in 2018 celebrates forty years of introducing Bay Area audiences to exceptional contemporary art. Christina Quarles / MATRIX 271 features nine of Quarles’s distinctive acrylic paintings, which allude to themes of race and gender through enigmatic semi-figurative compositions. Informed by the artist’s self-identification as “a queer, cis woman who is black but is often mistaken as white,” the works probe the intricacies of identity through depictions of intertwined bodies set against a mysterious backdrop of shifting forms and floating horizontal planes. By situating her subtly erotic compositions in a dreamlike environment that seems to shift between interior and exterior space, Quarles explores the relationship between the subjective experience of queer female identity and the social constructs that surround it. Quarles’s distinctive use of space can be seen in works like Moon (Lez Go Out N’ Feel Tha Nite) (2017), in which a jumble of female forms is set against a moonlit landscape that appears suspended in its own delineated frame—suggesting either a window into an exterior setting or a two-dimensional image hanging on a wall, depending on the viewer’s sense of perspective. -
ABSTRACT “Not Only Creators, but Also Interpreters”: Artist/Curators in Contemporary Practice Jennifer L. Restauri, M.A. Me
ABSTRACT “Not only creators, but also interpreters”: Artist/Curators in Contemporary Practice Jennifer L. Restauri, M.A. Mentor: Katie Robinson Edwards, Ph.D. The role of artists in contemporary museums and university galleries has been shifting over the past fifty plus years as art has become a formally recognized discipline in the university setting and as museums have sought to diversify their staffs and provide a greater variety of educational programming. This thesis will look at the evolving duality of artist/curator in order to better define the role these professionals are fulfilling in the contemporary art museum and university gallery. Through the examination of case-studies as well as through primary research with contemporary museums and university galleries, this thesis will present current data defending the evolution and necessity of this dual-role to the post-modernization and survival of these institutions. Through this exploration, this thesis also aims to address the greater question of whether curatorial work can be considered an art form. “Not only creators, but also interpreters”: Artist/Curators in Contemporary Practice by Jennifer L. Restauri, B.F.A. A Thesis Approved by the Department of Museum Studies ___________________________________ Kenneth C. Hafertepe, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Kenneth C. Hafertepe, Ph.D., Chairperson ___________________________________ Katie Robinson Edwards, Ph.D. ___________________________________ Heidi J. Hornik-Parsons, Ph.D. Accepted by the Graduate School May 2012 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. -
Not Just a Party Boy : How Emmanuel Perrotin Became One of the Mist Significant Dealers of the 21S Century
Perrotin Not just a Party Boy : How Emmanuel Perrotin Became One of the Mist Significant Dealers of the 21s Century June 2019 1/1 Not Just a Party Boy: How Emmanuel Perrotin Became One of the Most Significant Dealers of the 21st Century Andrew Goldstein June 26, 2019 Not Just a Party Boy: How Emmanuel Perrotin Became One of the Most Significant Dealers of the 21st Century Gallery owner Emmanuel Perrotin in Paris on May 20, 2019. (Photo: JOEL SAGET/AFP/Getty Images) These days, when people think of the Paris-born, globe-spanning dealer Emmanuel Perrotin, two notions come to mind: KAWS (aka Brian Donnelly, the cartoon-inspired former street artist championed by Perrotin whose art market has lately become a head-turning global phenomenon), and parties. In fact, the Gallic gallerist is so closely associated with the glimmering surface of the art scene that the New York Times headlined a recent profile of him “Paris Art Dealer Brings the Party to New York” and declared that Perrotin “treats the global art market like a giant soirée.” But stick around until the party is over, get to know the gallery a bit, and a surprising fact emerges: Perrotin is one of the most influential art dealers of the new millennium. In fact, he’s been a pivotal force in shaping the trajectory of the art world today as it evolves from a boutique, elite business into a global, mass industry. The dealer who gave Damien Hirst his first commercial show, Perrotin has over the past two decades turned Takashi Murakami, Maurizio Cattelan, KAWS, JR, Daniel Arsham, and others into major stars by embracing an open, experimental ethos vis-à-vis brand collaborations, slingshotting these intrepid members of his roster into a far vaster marketplace. -
Pharrell Williams Rob Pruitt “Studio Loveseat (Pharrell)” 2014, Markers and Pens on Canvas Couch, Chromed Feet
curated by PHARRELL WILLIAMS Rob Pruitt “Studio Loveseat (Pharrell)” 2014, markers and pens on canvas couch, chromed feet. Courtesy of the Artist. « G I R L », curated by Pharrell Williams “G I R L” is an exhibition which brings together 48 artworks 27 May - 25 June 2014 – including 10 specially produced works. The exhibition Galerie Perrotin / Salle de Bal will be presented in Galerie Perrotin’s new space, the Salle de Bal, a former ballroom at the Hôtel du Grand Veneur, a When Emmanuel Perrotin met Pharrell Williams in Miami during 17th century Hôtel Particulier in the Marais area of Paris. 2007 and asked him to come up with his very first design object, This selection of artists close to the gallery and the musician he never imagined that this musical genius, super-producer and form a kind of operatic opus, where muses have come fashion designer would carry the adventure with a sculpture together to pay tribute to femininity through the vision of created with Takashi Murakami. To mark the release of the album 37 artists / including 18 women. G I R L, Pharrell Williams and Emmanuel Perrotin continue their artistic collaboration seven years later with an exhibition curated The 48 artworks presented in this exhibition, coordinated especially for Galerie Perrotin in Paris. by Ashok Adicéam, Senior Advisor at Galerie Perrotin, aim to celebrate women who are above all free, liberated by artists and their boundless, unfettered imagination! “I have always mixed artworks into my music, clothing, jewelry and my entire way of life. They stimulate creativity, mutual curiosity, and simply happiness!” Pharrell Willliams declares. -
NEW YORK INAUGURATION September 18, 2013
NEW YORK INAUGURATION September 18, 2013 Galerie Perrotin is pleased to announce the September 2013 opening of a du 44 rue de Turbigo” (aka Thursdays at rue de Turbigo) in an apartment new contemporary art gallery - its third after Paris and Hong Kong - on the in the Marais nearby the Centre Pompidou. Since 1989, he has moved to Upper East Side in Manhattan. larger locations in Paris nine times, with the aim of maintaining and giving increasingly stimulating environments for its artists. The 4,300-square-foot/400 sq. meters space occupies the ground floor and below-street-level floor of a heritage building on Madison Avenue. Its In 1991, Perrotin gave Damien Hirst his first commercial gallery show with inaugural show will be a solo exhibition of never seen before sculptures and “When Logics Die”. Two years later, in 1993, he met Takashi Murakami on photographs by the Milan-born contemporary artist Paola Pivi. the occasion of the NICAF in Yokohama and then he gave him his first presentation outside of Japan in Gramercy international contemporary art “New York continues to be the capital of the art market, “ said Emmanuel fair in 1994 and then in Art Basel in 1995. Notably, he once dressed in a Perrotin, who opened his first Paris gallery in 1989 at the age of 21 and pink phallus suit with rabbit ears for a 1995 show opening of another one was ranked the ninth most powerful player in the international art world on of his early discoveries, Maurizio Cattelan with whom he has been col- Art & Auction’s Power 2012 list. -
Perrotin New York Inaugurates Its New Gallery on the Lower East Side with Iván Argote Solo Show April 27Th, 2017
PERROTIN NEW YORK INAUGURATES ITS NEW GALLERY ON THE LOWER EAST SIDE WITH IVÁN ARGOTE SOLO SHOW APRIL 27TH, 2017 Since 2013, Perrotin New York has been housed in a historic building on the Upper East Side’s iconic Madison Avenue. After three successful years there, Perrotin will expand to a 25,000 sq. foot (2,300 sq. meters) space in New York City’s most dynamic arts neighborhood, the Lower East Side. Perrotin’s new location at 130 Orchard Street will open its first exhibition on April 27th with Colombian- born artist Iván Argote on the ground floor. The entire gallery, with its multiple exhibition spaces, will be unveiled in November of 2017 with a show by Jean-Michel Othoniel. Along with the Paris, Hong Kong, Seoul and forthcoming Tokyo-based galleries, this new location will offer greater flexibility and will enable Perrotin to continue staging ambitious projects and large-scale exhibitions for its world-renowned artists. The new space will offer great flexibility to the gallery’s varied group of artists for their exhibitions. The move affirms the gallery’s loyal to its programming and passion towards discovering new talent since its establishment in Paris in 1989. The new location will serve as the base for a growing New York team. Facade of Perrotin gallery, 130 Orchard Street, New York Simulation: P.R.O. - Peterson Rich Office PRESS CONTACTS Coralie David, Perrotin press officer, [email protected] Natacha Polaert, Nouvelle Garde, [email protected] THE BUILDING Originally erected in 1902, the building will retain the painted facade and signage from its former use as a Beckenstein fabric factory in the 1940s.