September-October 1991 CAA News

Total Page:16

File Type:pdf, Size:1020Kb

September-October 1991 CAA News " :> N VI< 5 program, dedicated to the general discount add-on fares for travel to and Artistic theme of Artistic Exchange, what makes from New York. In short, every effort is this particular event noteworthy is its being made to make this occasion location: the new, unified Berlin. affordable and open to CAA members Exchange The organizers of the congress want who are interested in attending. to alert students that their participation The program will have a truly in this conference is particularly international flavor. The Berlin location encouraged. Special arrangements will will provide special emphasis on the art be made through a Student Welcome of Central and Eastern Europe and on ess than a year now remains Board for lodging with fellow students, the crossroads role of Berlin for modern until the next International Art as well as for private housing for any avant-garde movements. The program LHistory Congress, number other participants who cannot afford also includes Saturday excursions to XXVIII if you are counting (and art Berlin hotels. Group rates on air fares such sites as Dresden or Magdeburg. historians seem to like Roman numerals may also be available through CAA. Other sites of exchange-Islamic Spain, as much as Super Bowl planners). Save CAA hopes to offer reduced-rate travel the New World, modern Islam, 19th­ the dates, July 15-20,1992, for this arrangements, whereby groups will century Paris, or pre-Meiji Japan-will occasion promises to be particularly leave from New York on a specified receive attention as a major focus of the significant. In addition to an impressive date, with an open return, and with general theme. Modern movements and CONTINUED ON PAGE 6 Vote t's that time of year again, time to make your voices heard and your Ivotes count in the annual election of new members to the College Art AssOCi­ ation's Board of Directors. Board mem­ bers are elected to represent you, your interests, your needs, your concerns. They will be making policy decisions on your behalf. Votes are binding, so every vote counts. Voting for candidates to the Board is one way you are able to partici­ pate in the governance of CAA. Mailed with this newsletter are the list of candidates for election to the Board for the term 1992-96 and a separate bal­ Nationalgalerie, Berlin, lot. Please cast your votes and return the designed by Mies van der Rohe PHOTO: REINHARD FRIEDRICH prepaid card. Deadline: November 1,1991. E-mail is not hard to use, nor is it Forum for Emerging CAA conference titled "Discovering Netherlandish Art in the Heartland," Electronic Bulletin Board expensive. Costs vary according to the Contents Annual Educators and Artists which will focus on works of art that work you do and the time of day you do The Forum for Emerging Educators and originated in Northern Europe, but that it. Get your node number (i.e., elec­ Volume 16. Number 5 Artists will hold its organizational are presently in the Midwest; the objects tronic-mail address) today. This column September/Octuber 199/ Conference meeting at the CAA conference: may be either recent discoveries or Hard won't be in hard copy forever. Its Sponge or Brick-What Are We Up works that have received little attention, purpose is to familiarize you with Update Against? in any medium of interest to the field. computer applications and communica­ What constitutes the cultural status Brief and informal presentations are Copy tions, and then go "on-line." You won't Artistic Exchange quo, and how can the newest generation sought that will inform the membership be seeing us in paper much longer-look 1 Vote of professional artists and art educators about recent research on works in the for us on your computer screen. be characterized? Current M.F.A. and region. Those wishing to participate Ph.D. degree candidates and those who should write to: Ann Roberts, School of 2 Annual Conference Update 1992 Session Added have received their degrees in the past Art and Art History, University of Iowa, Bibliography The following session will be presented three years are encouraged to attend this Iowa City, IA 52242. Deadline: November f course you exchange ideas The following publications provide by the Education Committee of the CAA forum. The forum has been conceived as 15,1991. with your colleagues, at important information on computeriza­ a framework to facilitate the debate and Electronic Bulletin Board Board of Directors: conventions, by phone, or by tion and databases: 3 discussion of topics too often repressed O Encounters in the Classroom: maiL You also read each other's re­ Beyond Word Processing I: A Directory Multicultural Issues in the Teaching of in the art discourse. Can generational Reception search, at least at publication time. Now of CAA Database Users will be published Art History. Chair: Joanne E. Sowell, politics exist? Will this generation effect the members of the CAA Committee on by CAA in February 1992. If you are From the Executive Director Reminder 4 Dept. of Art and Art History, University its own direction or simply extend the Electronic Information (CEI) invite you Institutional members of the College Art using a database, you can be included by of Nebraska at Omaha, Omaha, NE present trajectory of art discourse and to communicate rapidly and immedi­ Association are entitled to complimen­ requesting a eEl questionnaire from 68182. education? Can this generation become ately-with electronic mail and elec­ tary space to hold a reunion or reception Joanne Capozzelli at CAA. Solo Exhibitions by Artist Members The need for a multicultural leaders of a polyphonic culture? Are tronic bulletin boards. 7 at the annual conference. Please write to Lavin, Marilyn Aronberg, The Place viewpoint is a topic of current interest in mercenary educators replacing the If you are one of many art historians of Narrative: Mural Decoration in Italian Joanne Capozzelli at CAA. Deadline: all areas of education. This session will professor? Are special interest groups and artists who have resisted the Churches, 431-1600 A.D. (University of November 1, 1991. 8 People in the News explore innovative ways to introduce changing as they gain acceptance? Time computer, you may not know that you Chicago Press, 1990), is a history of cultural diversity to students in the art is allotted for presentations that focus on can use E-mail to send and receive conceptual planning of fresco cycles history classroom. Standard texts for the experiences of a generation schooled scholarly and technical information based on material discovered while on the cusp of the nineties-a reflection Grants, Awards, & Honors survey courses have responded to the without "waiting for the book" You can compiling a computer database. This 10 cry for cultural diversity by adding on the system from its most recent send private messages or public study demonstrates the "creative" chapters on Eastern, African, and pre­ products. This is an opportunity to announcements that circulate news or aspects of the computer, which made Columbian art to the traditional Western identify generational issues pertaining to query your colleagues on any issue possible observations that would Conferences & Symposia 11 history of art. Is this a satisfactory way both art world and art school systems. related to your field. otherwise have taken decades. to adopt a multicultural approach? Must Submit a 1-2 page summary of pro­ Thanks to E-mail systems, usually linked to Quarterman, John S., The Matrix: the entire curriculum be revised? How posed presentation to: Jeffrey London, Bitnet or Internet, are probably available Computer Networks and Conferencing 13 Opportunities can small institutions with limited Acting Chair, Forum for Emerging where you work. Computer-services Systems Worldwide (Bedford, Mass.: Educators and Artists, 2117 W. Concord Sustaining faculty include courses dealing with a personnel at most universities will help Digital Press, 1990), includes a theoreti­ Information Wanted multiplicity of cultures? Proposals will PI., Chicago, IL 60647. Deadline: December you get started. Universities provide cal discussion of Internet. 15 Datebook be considered that focus on curriculum 1, 1991. Members computer user rooms where you can issues or on changes to more traditional retrieve your messages, read open courses (both survey and advanced) that inquiries and announcements on the Announcements anow students to compare and contrast Affiliated Societies 16 Classified Ads electronic bulletin boards, and send or Look for a special "in-between" session the art of different cultures or of diverse Calls for Participation respond to messages. Or you can on making and using databases, groups within the same culture. Propos­ The Design Forum is seeking paper connect with a modem on your com­ sponsored by CEI at the CAA annual als might also consider problems proposals for its 1992 annual meeting to ustaining membership is a puter at home. conference in Chicago, February 1992. students encounter when faced with the be held in conjunction with the College voluntary category for individu­ With E-mail, you can participate in Send comments or inquiries on this art of other cultures and teaching Art Association annual conference in als who wish to contribute $100 such electronic bulletin boards as the column to Margaret Lazzari, CEI, c/o eAA News, a publication of the methods, which can enable students to Chicago, February 12-15, 1992. Abstracts Sannually to CAA in addition to scaled Consortium of Art and Architectural CAA. 275 Seventh Ave., New York, NY College Art Association, is published understand and accept different world Historians (CAAH) on a Listserv system six times a year. Material for of 250 to 350 words are invited for this dues. In addition to those people who 10001.
Recommended publications
  • Oli Sihvonen Ellipse Paintings from the 1960'S
    JAMES KELLY CONTEMPORARY - PRESS RELEASE 1601 Paseo de Peralta - Santa Fe, NM 87501 - 505.989.1601 Oli Sihvonen Ellipse Paintings from the 1960's Opening Reception: Friday, October 19, 2007, 5:00-7:00 pm Exhibition Dates: October 19 - December 8, 2007 Contact: Hannah Hughes: [email protected] Oli Sihvonen. Triad on Blue, 1965. Oil on canvas. 72 x 84 inches James Kelly Contemporary is pleased to present an exhibition of Oli Sihvonen's ellipse paintings from the 1960's. The sheer visual power, subtlety and elegance of his work stake a claim for his place in the history of twentieth century painting. His work is a variety of hard-edge painting, indebted to Albers and Mondrian on the one hand, but also to Matisse. As critic Paul Goodman, wrote in 1956, "Sihvonen's loving attention to the precise millimeter and the precise hue on the spectrum pays off in a floating and exciting calm and emotion; the picture is in motion, the colors leave their forms and come back changed. The canvas seems to generate its own light, not otherwise than in a bright noonday sun or in mysterious moonlight; there is a fullness of light." Sihvonen expanded upon a few motifs over long periods of time. This exhibition will focus on the ellipses. Within self-imposed formal limits, Sihvonen was able to invent complex variations embodying his "notions of multi-temporality: flow, rhythm, beat, [and] growth" in a static painting. Oli Sihvonen was born in 1921 in Brooklyn and grew up in Connecticut. He attended Black Mountain College where he was deeply influenced by the teaching of Josef Albers and his friendships with Buckminster Fuller, John Cage, and others.
    [Show full text]
  • Oli Sihvonen Energy Fields, Life As a Painter Selections from His Career
    JAMES KELLY CONTEMPORARY - PRESS RELEASE 550 S. Guadalupe St. - Santa Fe, NM 87501 - 505.989.1601 Oli Sihvonen Energy Fields, Life as a Painter Selections from His Career Opening Reception: Friday, February 10, 2012, 5:00-7:00 pm Exhibition Dates: February 10 – March 24, 2012 Contact: James Kelly: [email protected] Oli Sihvonen, “Ladder”, 1984, oil on canvas, 68 x 72 inches James Kelly Contemporary is pleased to present an exhibition of paintings by Oli Sihvonen (1921-1991). This exhibition will be the second presented by the Gallery, the first being a 2007 show of “Ellipse Paintings from the 1960s.” Oli Sihvonen was born in 1921 in Brooklyn, NY of Finnish ancestry. He attended classes at the Art Students League, New York, from 1938 to 1941, before serving in the U.S. Army in WWII. Upon his return to the U.S. after the war, Sihvonen entered the important Black Mountain College in North Carolina, where he met and became lifelong friends with people such as architect Buckminster Fuller, composer John Cage, dancer/choreographer Merce Cunningham and poet Robert Creeley. At Black Mountain College, Sihvonen studied with Josef Albers, former instructor at the Bauhaus, whose color theories had a lifelong influence on the artist’s work. In the late 1950s, Sihvonen moved to Taos, New Mexico, and became an influential member of the group of painters known as the Taos Moderns. He remained in Taos for more than a decade, after which he returned to New York where he lived and worked until his death in 1991. Sihvonen’s work is a kind of Hard-Edge painting, indebted to Albers and Piet Mondrian on the one hand, but also to Pierre Matisse.
    [Show full text]
  • Dear Friends and Readers, Happy Holidays, Phong
    Emma Bee Bosco Sodi’s IN CONVERSATION Poems by Bernstein Casa Wabi Eric Walker Philip Taaffe 67 IN IN CONVERSATION CONVERSATION Epstein Will Vestry Barbara Street Ecological The Held Gregory J. Markopoulos Rose Activisim Essays On Alex Visual Art on in France SIONE IN WILSON Ross CONVERSATION Duchamp Robert Guest Editor: Gober Best Raymond Foye Dear Friends and Readers, IN CONVERSATION Henry Threadgill Art Jason Moran & Books a Tribute to IN CONVERSATION of 2014 Alanna Heiss Rene Ricard ow can ecological and social forces be transformative? In her recent Philip Taaffe AICA-USA Distinguished Critics Lecture, Carolyn Christov-Bakargiev “Sanctuarium,” 2010. Installation Hexplored this question through the lens of Lacan’s fascination with of 148 drawings. Oil pigment topology and the creation of chain relations or knots. Te notions of alchemy on paper, dimensions vari- and “thought form” were brought up repeatedly in her presentation, Tought- able. Collection Kunstmuseum Forms being the well-known book of Annie Besant and C.W. Leadbeater that Luzern. Purchase made possible helped spread the ideas of the Teosophical Society—a central infuence on by a contribution from Landis & modern art. Mahler, Sibelius, Mondrian, Hilma af Klint, and Kandinsky, Gyr Foundation. ©Philip Taafe; were members along with many writers and poets, from James Joyce, D.H. Courtesy of the artist and Luhring Lawrence, Lewis Carroll, William Butler Yeats to Lyman Frank Baum (the Augustine, New York. author of the Wizard of Oz), even the inventor Tomas Edison. Our latest Rail Curatorial Project, Spaced Out: Migration to the Interior at Red Bull Studios in Chelsea, ofered a similar opportunity to submit ourselves to a realm of play and experiment, expanding our “thought forms” beyond conventional norms and expectations.
    [Show full text]
  • Oli Sihvonen Education 1946-48 Black Mountain College, North
    Oli Sihvonen Education 1946-48 Black Mountain College, North Carolina 1938-1941 The Art Students League of New York 1933-38 Norwich Art School, Connecticut Selected Exhibitions 2011 Oli Sihvonen: The Final Years, The Harwood Museum of Art, Taos, NM 2008 Museu d'Art Espanyol Contemporani, Palma de Mallorca, Spain: Before and After Minimalism. 2007 James Kelly Contemporary, Santa Fe, NM: Ellipse Paintings from the 1960s 2005 Sandra Gering Gallery, NY, The 3 x 3 paintings: 1975-77 2004 Daimler Chrysler’s exhibition Minimalism and After III. 1991 Hunter College Art Gallery, NY, Selections 1988 American Abstract Artists, auspices of U.S.I.A 1987 New York City Cultural Center, NY, American Abstract Artists Bard College and The Grey Art Gallery, NY, The Arts at Black Mountain College 1983 Craig Cornelius Gallery, NY, Sihvonen Hoshour Gallery, Albuquerque, NM, Sihvonen American Abstract Artists, auspices of U.S.I.A 1978 Hoshour Gallery, Albuquerque, NM, Sihvonen 1977 Roswell Museum and Art Center, Roswell, NM, Sihvonen 1976 Louisiana State University Art Gallery, Sihvonen 1970 Fine Arts Museum, University of New Mexico, Albuquerque, NM, Faculty Artists 1960-1970 1968 Witte Memorial Museum, San Antonio, Texas, Awarded Artists of the Southwest Albright-Knox Gallery, Buffalo, New York, Plus X Minus, Today's Half Century Art Institute of Chicago, Society for Contemporary Art 28th Annual Exhibition 1967 Rice University Art Gallery, Houston, Inaugural Exhibit, Sihvonen Dallas Contemporary Art Museum, Dallas, Four Dallas Collectors The Whitney Museum
    [Show full text]
  • Glenn Schaeffer Collection
    THE GLENN SCHAEFFER COLLECTION SCHAEFFER GLENN THE THE ART + OBJECT GLENN SCHAEFFER COLLECTION ART + OBJECT 31 October 2017 121 AO1183FA Schaeffer covers.indd 1 11/10/17 4:31 PM ART + OBJECT 31 October 2017 AO1183FA Schaeffer covers.indd 1 11/10/17 4:31 PM THE GLENN SCHAEFFER COLLECTION ART+OBJECT When Glenn Schaeffer speaks one is inclined to listen. This is not say he is loud, brash or that he has a great deal to say, or any other American stereotype one might associate. Rather, it is quite the opposite. It may well be because he possesses a Master of Arts in Literature, a Master of Fine Arts in Fiction and a Litt D. (Hons) from our own Victoria University in Wellington. It could also be because, as The Listener magazine wrote, he is arguably the single biggest influence on New Zealand literature in this country and an exceedingly generous philanthropist. Schaeffer first visited New Zealand in 1994 and since then has immersed himself wholeheartedly in the literary and visual arts scene in this country. His commitment to the arts goes well beyond his propensity for collecting major New Zealand, Australian and American artworks to being the founding patron and benefactor of Victoria University’s International Institute of Modern Letters which awards the biannual Prize in Modern Letters to major new writers. He is also a benefactor of Nelson’s Suter Gallery. Schaeffer is also, of course, a very successful businessman. He was formerly President and Chief Financial Officer of Las Vegas-based Mandalay Resort Group for twenty years, one of America’s top hospitality and entertainment companies.
    [Show full text]
  • Josef Albers
    JOSEF ALBERS i! %I Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/josefalbersretroOOalbe JOSEFALBERSrA Retrospective Albers in his Bauhaus studio, Dessau, 19J Photo by Umbo JOSEF ALBERS A Retrospective Solomon R. Guggenheim Museum, New York This exhibition has received grants from BASF Corporation and the Federal Republic of Germany. Library of Congress Cataloging-in-Publication Data Albers, Josef. Josef Albers: a retrospective/Solomon R. Guggenheim Museum, New York. p. cm. Text by Nicholas Fox Weber et al. Catalog of an exhibition held at Guggenheim Museum, New York, 1988. Bibliography: p. 293 Paper ISBN 0-89207-067-6 Cloth ISBN 0-8109-1876-5 i. Albers, Josef-Exhibitions. I. Weber, Nicholas Fox, 1947- II. Solomon R. Guggenheim Museum. III. Title. N6888.A5A4 1988 709'.z'4-dci9 87-36930 Published by The Solomon R. Guggenheim Foundation, New York, 1988 Copyright © 1988 by The Solomon R. Guggenheim Foundation, New York "Josef Albers" by Jean Arp published by permission of Fondation Arp, Clamart Cover: cat. no. 190, Variant: hum Reds Around Blue. 1948. Private Collection for Anni Albers Lenders to the Exhibition Anni Albers Mark Simon, Connecticut Hollins College, Roanoke, Virginia Bill Bass, Chicago Andrea and John Weil, Saskatoon Louisiana Museum of Modern Art, Humlebxk, Denmark Ernst Beyeler, Basel Martina and Michael Yamin The Metropolitan Museum of Art, Mr. and Mrs. James H.Clark, Jr., Dallas New York Addison Gallery' of American Art, Esther M. Cole Phillips Academy, Andover, Musee National dArt Moderne, Centre Massachusetts Georges Pompidou, Paris Theodore and Barbara Dreier The Josef Albers Foundation The Museum of Modern An, New York Mr.
    [Show full text]
  • OLI SIHVONEN BIOGRAPHY This Is the Last
    OLI SIHVONEN BIOGRAPHY This is the last Biography written by Oli in 1990 My education in art began at the Norwich Free Academy (Connecticut), and continued at the Art Students’ League in 1938. After service in the U.S. Army during World War II, my studies were resumed in 1946 at Black Mountain College, primarily with Joseph Albers. In 1954 – 1956 I taught drawing and design at Hunter College in New York; leaving that position to accept a Wurlitzer Foundation in Taos, New Mexico for a year. After the initial year I remained in Taos with my family, exhibited regionally and taught at the University of New Mexico and at the University of Denver. My paintings were first shown in New York in 1962 at Betty Parsons Gallery and in 1963 in the Whiney Annual and in a one man show at the Stable Gallery. The Museum of modern Art acquired my painting “Dialogue” from the “ Retrospective Eye” exhibition in 1965. The following year I was awarded the purchase prize at the Corcoran Gallery “ Biennial 1966 “ and the Whitney and the Chase Manhattan bank acquired paintings. In 1967, on Henry Geldzahlers’ recommendation, I received a grant of $ 5,000. from the National Endowment for the Arts. In the late 1960’s and into the 1970’s I sought prospects for Art in Public Places through architects’ offices. The Midland Federal Bank in Denver commissioned a painting in 1967. Returning to New York to live, my work was in the important exhibition “ Plus X Minus, Today’s Half Century” in 1968.
    [Show full text]
  • OLI SIHVONEN Born Brooklyn, NY, 1921 Died New York, NY, 1991 SELECTED SOLO EXHIBITIONS 2012 Oli Sihvonen: Energy Fields, J
    OLI SIHVONEN Born Brooklyn, NY, 1921 Died New York, NY, 1991 SELECTED SOLO EXHIBITIONS 2012 Oli Sihvonen: Energy Fields, James Kelly Contemporary, Santa Fe, NM 2011-12 Oli Sihvonen: The Final Years, Harwood Museum of Art, Taos, NM 2007 Ellipse Paintings from the 1960's, James Kelly Contemporary, Santa Fe, NM 2005 Sihvonen 3x3 Paintings:1975-77, Sandra Gering Gallery, New York, NY 2005 Sihvonen, Paintings from the 1980S, Canfield Gallery, Santa Fe, NM 2004 3 x 3 Paintings, Canfield Gallery, Santa Fe, NM 2003 Sandra Gering Gallery, New York, NY 2003 Sihvonen, Canfield Gallery, Santa Fe, NM 2002 Sihvonen, Ellipse Paintings: New Mexico, Canfield Gallery, Santa Fe, NM 2001 Oli Sihvonen, Canfield Gallery, Santa Fe, NM 1983 Retrospective (1960s and 1970s), Craig Cornelius, New York, NY 1983 Retrospective (1960s and 1970s), Hoshour Gallery, Albuquerque, NM 1980 Katonah Gallery, (Paintings, 1977), Katonah, NY 1979 “Sihvonen Paintings” (from the Midland Federal Collection, Denver) Sangre De Cristo Arts Council, Pueblo, CO 1978 Hoshour Gallery, Albuquerque, NM 1977 Union Gallery, Louisiana State University, Baton Rouge, LA 1977 Roswell Museum and Art Center, Roswell, NM 1969 Burpee Museum of Fine Art, Rockford, IL 1969 Atelier Chapman Kelly, Dallas, TX 1967 Rice University Art Gallery, Houston, TX 1963 Stable Gallery, New York, NY 1962 Betty Parsons Gallery, New York, NY OLI SIHVONEN 1921-1991 SELECTED GROUP EXHIBITIONS 2010 Bilder über Bilder, Museum Moderner Kunst Stiftung Ludwig - MUMOK, Vienna, Austria 2008 MAXImin, Fundación Juan March, Madrid,
    [Show full text]
  • Maximin : Maximum Minimization in Contemporary
    Todos nuestros catálogos de arte All our art catalogues desde/since 1973 MaxiMin MaxiMuM MiniMization in ConteMporary art 2008 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es Fundación Juan March 1 Fundación Juan March This catalogue, and its Spanish edition, are published on the occasion of the exhibition MAXImin Maximum Minimization in Contemporary Art Fundación Juan March, Madrid February 8 — May 25, 2008 Fundación Juan March MAXImin MAXIMUM MINIMIZAtion IN CONTEMPORARy ART Fundación Juan March Fundación Juan March ACKNOWLEDGEMENTS The Fundación Juan March would like to thank the Corporate Art Depart- ment of Daimler AG and especially Dr. Renate Wiehager and her entire staff – particularly Mathis Neidhart – for the help, understanding and ex- traordinary collaboration they extended to us at every phase of this exhibi-
    [Show full text]
  • Systemic Painting – New York Abstraction Abstract Art USA: 1950S to the Present Day
    highways and byways. together again Nic Hess creates a setting for American art from the Daimler Art Collection West Coast – Washington Color School – Systemic Painting – New York Abstraction Abstract Art USA: 1950s to the Present Day Daimler Contemporary, Potsdamer Platz Berlin October 17, 2013 – March 16, 2014 Curator: Renate Wiehager Artists Josef Albers (D), Amish People, Joe Baer, Robert Barry, Karl Benjamin, Greg Bogin, Ilya Bolotowsky (RUS/USA), Krysten Cunningham, Gene Davis, Adolf Richard Fleischmann (D), Andrea Fraser, Michelle Grabner, Marcia Hafif, Peter Halley, Frederick Hammersley, Michael Heizer, Al Held, Nic Hess (CH), Alexander Liberman (URK/USA), Sylvan Lionni (GB), John McLaughlin, Kenneth Noland, David Novros, Robert Ryman, Tom Sachs, Oli Sihvonen, John Tremblay, Larry Zox (all artists, if not otherwise indicated, from the USA) Introduction Ever since the late 1990s, Nic Hess (*1968 Switzerland, lives in Zürich) has been using industrial paint, collaged images and colored tapes, light projections and neon elements to take possession, both intellectually and in real terms, of walls and ceilings – and of entire rooms. The artist takes logos from the commercial world (deployed in symbolic excerpts and in an alienating manner) and icons from art history and political and economic phenomena, and uses his pictorial language, which Nic Hess, drawing installation (model) for highways and byways. together again, Daimler Contemporary Berlin 2013 (with works of Kenneth Noland, Oli Sihvonen, Greg Bogin) drifts freely between abstraction, ornamentation and figuration, to compose a unified visual choreography. For this purpose MAXImin, Daimler Art Collection at the Fundacion Juan March, Palma de Mallorca 2007 Nic Hess adapts contemporary phenomena in the political, F.l.: Richard P.
    [Show full text]