September 1999 CAA News
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Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Tim Gardner's Transformative Paintingstim GARDNER
3 6 From Photo to Fine Art: Tim Gardner’s Transformative Paintings 65 TIM GARDNER, The Nature of Things, 1998, watercolor on paper, 27.3 × 18.4 cm. Copyright the artist. Courtesy 303 Gallery, New York. BY PAUL LASTER PAUL BY INSIDE BURGER COLLECTION BURGER INSIDE FEATURES artasiapacific.com He used these paintings toward his graduate school applications for Yale and Columbia. While he was accepted by both, he chose the latter for its “laid-back” atmosphere and its location, which puts New York’s vibrant art scene close at hand. While at Columbia, he started making watercolors from earlier snapshots of his brothers and friends in Ontario, where the Gardner family had lived before moving to Manitoba. Partly inspired by the voyeuristic paintings of suburban adolescent sexuality by Eric Fischl, and the punk, homoerotic paintings of skinheads and military cadets by Attila Richard Lukacs—whom he worked for as a studio assistant while at Columbia—Gardner’s watercolors caught the attention of photographer Collier Schorr, the 1999 visiting artist at Columbia’s MFA program. Schorr went on to acquire Gardner’s works for her private collection, and recommended him to New York’s 303 Gallery, where she also showed. The gallery presented a selection of Gardner’s realistic watercolors of people in rural settings in its May group exhibition, even before he graduated. His first solo show with 303 Gallery in January 2000 sold out and garnered critical acclaim. Exhibiting sensitively rendered TIM GARDNER, Untitled (Sto with Girl and Liquor), 1999, watercolor on paper, paintings and watercolors depicting carefree middle-class youths 14.6 × 15.2 cm. -
R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985). -
Dona-Nelson CV 2020.Pdf
DONA NELSON Born 1947, Grand Island, Nebraska. Lives and works in Philadelphia. EDUCATION 1968 B.F.A., Ohio State University, Columbus, Ohio 1968 The Whitney Museum Independent Study Program, New York SOLO EXHIBITIONS 2019 Dona Nelson: Days, textures and patterns, Tajan, The Gallery, Paris, France, Fall, 2019 Painting the Magic Mountain, Michael Benevento Gallery, Los Angeles, CA 2018 Stand Alone Paintings (curated by Ian Berry), Tang Teaching Museum at Skidmore College, Saratoga Springs, NY Armory Show 2018 (solo presentation), Focus Section, New York, NY 2017 models stand close to the paintings, Thomas Erben Gallery, New York, NY 2016 Erasing Tracing Racing Painting (with Polly Apfelbaum), Michael Benevento, Los Angeles, CA 2015 New Paintings, Thomas Erben Gallery, New York, NY 2014 Phigor, Thomas Erben Gallery, New York, NY 2010 Volta New York, with Thomas Erben Gallery, New York, NY 2008 in situ: paintings 1973 – present, Thomas Erben Gallery, New York, NY 2006 Brain Stain, Thomas Erben Gallery, New York, NY 2003 Tactile Image, Cheim & Read, New York, NY 2001 Stations of the Subway, Cheim & Read, New York, NY 2000 The Stations of the Subway, Octopuses and Arrangements (curated by Ron Platt), Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC 1999 Parks and Portraits: Dona Nelson, 1983 – 88, Pennsylvania Academy of Fine Arts, Philadelphia, PA 1996 Michael Klein Gallery, New York, NY Thomas Erben Gallery Inc. 526 West 26th Street, 4th floor New York, NY 10001 212.645.8701 www.thomaserben.com [email protected] 1995 Michael Klein Gallery, New York, NY 1993 Michael Klein Gallery, New York, NY 1990 Michael Klein Gallery, New York, NY Scott Hanson Gallery, New York, NY 1989 Scott Hanson Gallery, New York, NY 1985 PS1, Long Island City, New York, NY 1983 Hamilton Gallery, New York, NY 1982 Oscarsson Hood Gallery, New York, NY 1975 Rosa Esman Gallery, New York, NY SELECTED GROUP EXHIBITIONS 2020 A Focus on Painting, September-October, curated by Julia Peyton-Jones, Special Projects, Galerie Thaddeus Ropac, London. -
The Art of Looking Back and the Reward of More Or Less Being Seen
The Art of Looking Back and the Reward of More or Less Being Seen The danger is in pleasing an immediate public: the immediate public that comes around you and takes you in and accepts you and gives you success and everything. Instead of that, you should wait for fifty years or a hundred years for your true public. That is the only public that interests me. Marcel Duchamp It is the REGARDEURS who make the pictures. Marcel Duchamp click to enlarge Figure 1 Jasper Johns, The Critic Sees, 1961 Our ability to believe our eyes is often overridden by our unquestioning confidence in the judgment of “experts”. As in Jasper John’s The Critic Sees(Fig. 1), we seem to put more trust in the words of these experts whose insights are often the reiteration of yet others’ conclusions, than in our own ability to bear down and witness what is before us. Marcel Duchamp understood the human tendency to categorize and simplify as well as rely on the filters of contemporary opinion to color observation; I believe he used this knowledge to make a powerful commentary on the state of affairs of modern thought and the direction that art was taking in his lifetime. Duchamp fought quietly against the move in twentieth century art towards the purely visual experience, the ‘retinal shudder’ as he put it, where “aesthetic delectation depends almost exclusively upon the sensitivity of the retina without any auxiliary interpretation.”(1) This auxiliary interpretation was to Duchamp the operation of the intellect in making and understanding art. -
MFA-Thesis-BC-Catalog2020
BROOKLYN COLLEGE ADJUNCT STUDIO FACULTY Michelle J. Anderson, Arnold Brooks President, Brooklyn College, CUNY Anthony Discenza Dr. Maria Conelli, Stuart Elster Dean, School of Visual, Media & Performing Arts Tamar Ettun Kathleen Gilrain Karen Heagle Diana Horowitz FACULTY Tom McGrath Derrick Adams Steve Mumford Jennifer Ball Wilfredo Ortega Janet Carlile Peter Rostovsky Georgeen Comerford Michael Solo Patricia Cronin Mona Hadler, Chair Ronaldo Kiel ART DEPARTMENT STAFF Rachel Kousser Elena Shereshevskaya Jennifer McCoy, Graduate Deputy Eto Otitigbe Kathleen Smith, MFA Coordinator Archie Rand Elizabeth Vittorioso Christopher Richards Doug Schwab Malka Simon VISTING ART SERIES Katelyn Alain Eleanna Anagnos STUDIO TECHNICIANS Katherine Bradford Amy Cutler Edward Coppola, Photography Nicole Eisenman Stephen Keltner, Sculpture Catherine Haggarty David Lantow, Printmaking Nicole Laemmle Stephen Margolies, Art History Brigitte Mulholland Mitch Patrick, Digital Sarah Potter Troy Squire, Studio Tech Jack Robinson Harriet Salmon See you soon. This simple yet hopeful farewell is now fraught with anxiety and confusion. Because, in what seemed like a matter of femtoseconds[1], the immense but intimate COVID-19 pandemic shocked so many facets of our lives. What if we reimagined this parting phrase as a mantra for creative practice? An invocation to refocus ourselves and connect to others. A reminder that simple gestures can be powerful and disruptive, capable of inspiring permanent shifts in perspective. 2020 Vision is this digital catalog and the forthcoming exhibition of the MFA Program in Studio Art at Brooklyn College. Contributing artists hail from Atlanta, Bogota, Hartford, and New York City. Full disclosure: I have an affinity for these artists. They were among my first group of students when I began my full-time teaching position in the Art Department in 2018. -
IMA 10 106-108 Sperber.Indd
106 David Sperber Notes on an Exhibition: ‘New York/New Work: Contemporary Jewish Art from NYC’ at the Jerusalem Biennale for Contemporary Jewish Art, 2015. Curators: Dvora Liss and David Sperber. The Jerusalem Biennale for Contemporary Jewish Art to the Biennale, and it goes without saying that the provides a platform for artists who examine aspects Israeli art world ignored it completely. Jewish art is of Judaism and the Jewish world through their work. an established discipline in academia outside of Israel, Ram Ozeri, the Biennale’s founder, described it as “an and yet Israeli academia views the field with suspicion. opportunity for the world of Jewish content and the In 2015, the Department of Jewish Art at Bar-Ilan world of contemporary art to meet. [. .] The term ‘con- University held a conference entitled “Constructing temporary Jewish art’ challenges the Israeli art world and Deconstructing Jewish Art.” Organized to examine and offers an alternative to the prevailing definitions of what exactly constitutes Jewish art, the conference was belonging.” The second Jerusalem Biennale was held in held following an assessment of the department by 2015, for six weeks, beginning on September 24. Atypi- the Council for Higher Education, which questioned cally for Biennale exhibitions, most of the participating whether the university was justified in maintaining a artists were women. Held in seven locations around separate department for Jewish art at all. Jerusalem, nearly 150 Israeli and international artists Biennale exhibitions of contemporary -
Vanessa Garcia [email protected] [email protected] Vanessagarcia.Org Thekrane.Com Cell: 305-450-9931
CV * Vanessa Garcia [email protected] [email protected] vanessagarcia.org thekrane.com cell: 305-450-9931 Education University of California, Irvine PhD, English (focus Creative Nonfiction). August, 2015. Dissertation Committee: Barry Siegel, Amy Wilentz, and Erika Hayasaki (references available upon request). University of California, Irvine MA, English, 2011 Studied Under: Barry Siegel, Rodrigo Lazo, Michael Szalay, and others (references available upon request). Golden Key Honor Society University of Miami, Fl. MFA Creative Writing, Fiction, 2009 Studied Under: A. Manette Ansay, Edwidge Danticat, and Jane Alison (references available upon request). Barnard College, Columbia University, New York, NY Bachelor of Arts, 2001 Graduated Summa Cum Laude and Phi Beta Kappa Double Major: English (concentration in Writing) and Art History (concentration in Visual Arts) Studied Under: Mary Gordon, Caryl Phillips, Peter Carey, Elizabeth Peyton, Archie Rand and others (references available upon request). Published Fiction, Non-Fiction & Other Lit Journal Publication - White Light, a novel. 2015. Shade Mountain Press. ISBN: 9780991355549 - Skin, short story. Forthcoming in Southern Humanities Review, 2016. - Patty & Lorrie, short story. i think it’s in my head (exhibition catalog), 2014. Published by Girls’ Club Art Collection, designed by Augusto Mendoza. - Roadtrip and Key West, two poems. Through a Distant Lens: An Anthology Washington: Write Wing Publishing, 2014. ISBN: 9781495933424 - Four Legged Flamingos, short story. Intro to catalog for photography show for Francie Bishop Good: Not On Allen Street @ Art and Culture Center of Hollywood, 2013. Printed by creativecreative.com - Sticks & Stones, poem. Shady Side Review, 1st issue [The Whirligig Installment], Fall 2009. www.shadysidereview.com - Canopies, poetry. Damselfly Press, Fifth Issue, Oct. -
The Jewish Federation of San Antonio Will “Gift” $1000 to First Time Jewish Overnight Campers Through One Happy Camper Grants
INSIDE: What’s been happening in your community? PAGE 20 The Jewish Journalof san antonio TISHREI - CHESHVAN, 5777 Published by The Jewish Federation of San Antonio NOVEMBER 2016 More than $194,000 raised in a single day Making an Impact MORE PHOTOS! and Changing Lives See photos of volunteers who TODA RABA! Thank helped make an impact at you to the more than 100 Super Sunday! PAGE 22-23 community volunteers who collectively raised a record the community came breaking $194,229 at Super together to reach out to their Sunday, on September 25, at fellow community members The Campus, representing – to Make an Impact and a 23% increase over last Change Lives. year’s achievement. Super Super Sunday co-chairs, PARTNERSHIP CORNER Sunday was truly a day Greg Davis & Liz Rockstroh San Antonio and Israeli of “Community”, where children build new volunteers from all parts of See SUPER SUNDAY, page 22 friendships and understanding. PAGE 11 CELEBRATE HMMSA teams with educators Jewish community to gather SHABBAT GRANTS and AT&T to promote to commemorate Kristallnacht Host a Shabbat get Learn together compliments and Remember and other The San Antonio to more than thousands of of PJ Library. Holocaust Memorial Jewish businesses, hundreds Museum, in partnership PAGE 7 of synagogues and schools, education programs with Congregation Agudus and murdered dozens of The Holocaust Memorial Museum of Achim and Temple Beth- Jews. San Antonio (HMMSA) has received El, will host a Kristallnacht Approximately a $15,000 grant from AT&T which Commemoration program 30,000 Jewish men were will ensure area teachers continue to for the entire community at rounded up and sent to have access to an innovative Learn and 5:30 p.m. -
Shigeko Kubota's Reunion with Duchamp And
Somewhere between Dream and Reality: Shigeko Kubota’s Reunion with Duchamp and Cage click to enlarge Photograph of Reunion performance by Shigeko Kubota, 1968 Figure 1 George Maciunas, Fluxus (Its historical development and relationship to avant-garde movements) Diagram No. 1-2, 1966 Figure 2 Cunningham Dance Foundation, Walkaround Time, 1968 More And moRe. rules are esCaping our noticE. they were Secretly put in the museum. (1) Born in Niigata, Japan, in 1937, Shigeko Kubota grew up in a monastic environment during WWII and the subsequent postwar period. She later studied sculpture in Tokyo in the late 1950s and early 1960s, during which Japan strived to reestablish its financial, political and psychological welfare from the devastation of the war. This period also offered a chance for Japanese artists to move away from fairly confined notions of presentation and cultural isolation from the global art community. Although such avant-garde group, as Gutai, began to evoke innovative ideas in the 1950s. For instance, painting by foot, crashing through papers, throwing paint, or displaying water in Osaka and Tokyo, a gender-biased phenomenon was still a fixed hierarchy of the society. After the failure of local art community to put up any critical response to her work, Kubota took off on a Boeing 707, leaving her native country for New York in 1964. She was drawn to the glittering landscape of the New York art scene, where Pop art, Happening, Minimal and Conceptual work were the dominant manners of the time. Through Yoko Ono, she was soon acquainted with George Maciunas, the founder of Fluxus, and became a core member of Fluxus participating in various street events and performances. -
A Rasika's Tale…
A RASIKA'S TALE… DR. ALKA PANDE Abstract: The paper will attempt to investigate t he cultural context of the changing representation of Indian art, from pre modern to modern and the contemporary.. From Bharat's Saundarya Shastra to Baumarten's Aesthetica. From the spiritual to the the visual, how Indian art practices have undergone changes and transformations from the Dancing girl Of Mohenjo Daro to the Kitchen of Subodh Gupta. Is the contemporary Indian artist looking for endorsement from the West? Or is the Indian artist coming of age in a global cosmopolitan work? Where does the legacy of art and craft find its space? As a subaltern voice or that of a contemporary artistic practice? From Making to Not Making……………….. I naturally gravitated towards the bunch of people crowding near a T.V. monitor at the Arsenale in Venice. The occasion was the opening preview of the 54th edition of the Venice Biennale. And once I managed to find a foothold to squeeze myself in amidst the crowd, I dug in my heels and stood entranced. A huge movie buff, I was in heaven. I was viewing short crisp footages of movies centering around the clock. I found I was looking at the work of Christian Marclay. I was to discover that Marclay got the Golden Lion for the best artist at the Venice Biennale 2011 for his 24-hour film montage. Marclay, born in California, is an artist and composer who explores synchronicity among music, film and video in his works. "The Clock" features clips from such diverse films as "High Noon," starring Gary Cooper; "Titanic," with Leonardo DiCaprio; and the Arnold Schwarzenegger action movie "Eraser." Times shown on screen in "The Clock" are synchronised with real time. -
American Art Today: Contemporary Landscape the Art Museum at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum
Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 2-18-1989 American Art Today: Contemporary Landscape The Art Museum at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The Art Museum at Florida International University, "American Art Today: Contemporary Landscape" (1989). Frost Art Museum Catalogs. 11. https://digitalcommons.fiu.edu/frostcatalogs/11 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. RIGHT: COVER: Howard Kanovitz Louisa Matthiasdottir Full Moon Doors, 1984 Sheep with Landscape, 1986 Acrylic on canvas/wood construction Oil on canvas 47 x 60" 108 x ;4 x 15" Courtesy of Robert Schoelkopf Gallery, NY Courtesy of Marlborough Gallery, NY American Art Today: Contemporary Landscape January 13 - February 18, 1989 Essay by Jed Perl Organized by Dahlia Morgan for The Art Museum at Florida International University University Park, Miami, Florida 33199 (305) 554-2890 Exhibiting Artists Carol Anthony Howard Kanovitz Robert Berlind Leonard Koscianski John Bowman Louisa Matthiasdottir Roger Brown Charles Moser Gretna Campbell Grover Mouton James Cook Archie Rand James M. Couper Paul Resika Richard Crozier Susan Shatter