Omenʼs Caucus
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RADICAL ARCHIVES Presented by the Asian/Pacific/American Institute at NYU Curated by Mariam Ghani and Chitra Ganesh
a/p/a RADICAL ARCHIVES presented by the Asian/Pacific/American Institute at NYU curated by Mariam Ghani and Chitra Ganesh Friday, April 11 – Saturday, April 12, 2014 radicalarchives.net Co-sponsored by Asia Art Archive, Hemispheric Institute, NYU History Department, NYU Moving Image Archive Program, and NYU Archives and Public History Program. Access the Internet with NYU WiFi SSID nyuguest login guest2 password erspasta RADICAL ARCHIVES is a two-day conference organized around the notion of archiving as a radical practice, including: archives of radical politics and practices; archives that are radical in form or function; moments or contexts in which archiving in itself becomes a radical act; and considerations of how archives can be active in the present, as well as documents of the past and scripts for the future. The conference is organized around four threads of radical archival practice: Archive and Affect, or the embodied archive; Archiving Around Absence, or reading for the shadows; Archives and Ethics, or stealing from and for archives; and Archive as Constellation, or archive as method, medium, and interface. Advisory Committee Diana Taylor John Kuo Wei Tchen Peter Wosh Performances curated Helaine Gawlica (Hemispheric Institute) with assistance from Marlène Ramírez-Cancio (Hemispheric Institute) RADICAL ARCHIVES SITE MAP Friday, April 11 – Saturday, April 12 KEY 1 NYU Cantor Film Center 36 E. 8th St Restaurants Coffee & Tea 2 Asian/Pacific/American Institute at NYU 8 Washington Mews Cafetasia Cafe Nadery Oren’s 3 NYU Bobst -
Course Reader
Media Studies: Archives & Repertoires Mariam Ghani / Spring 2016 COURSE READER • Michel Foucault, “The historical a priori and the archive” from The Archeology of Knowledge (1971) • Giorgio Agamben, “The Archive and Testimony” from Remnants of Auschwitz (1989) • Giorgio Agamben, “The Witness” from Remnants of Auschwitz (1989) • Mariam Ghani, “Field notes for 'What we left unfnished': The Artist and the Archive” (Ibraaz, 2014) * recommended • Jacques Derrida, “Archive Fever: A Freudian Impression” (Diacritics, 1995) • Alan Sekula, “The Body and the Archive” (October, 1986) • Walter Benjamin, “Theses on the Philosophy of History” (1937) • Alan Sekula, “Reading an Archive” from The Photography Reader (1983) *recommended • Hal Foster, “An Archival Impulse” (October, 2007) *recommended • Okwui Enwezor, “Archive Fever: Photography Between History & the Monument” (2007) * recommended • Matthew Reason, “Archive or Memory? The Detritus of Live Performance” (New Theatre Quarterly, 2003) • Xavier LeRoy, “500 Words” (Artforum, 2014) • “Bird of a Feather: Jennifer Monson's Live Dancing Archive” (Brooklyn Rail, 2014) • Gia Kourlas, “Q&A with Sarah Michelson” (Time Out NY, 2014) • Gillian Young, “Trusting Clifford Owens: Anthology at MoMA/PS1” (E-misférica, 2012) • “The Body as Object of Interference: Q&A with Jeff Kolar” (Rhizome, 2014) *rec • Anthology roundtable from the Radical Presence catalogue (2015) *rec • Pad.ma, “10 Theses on the Archive” (2010) • Ann Cvetkovich, “The Queer Art of the Counter-Archive” from Cruising the Archive (2014) • Diana -
Cassandra Langer Interviewed by Katie Cercone Date: Dec
NYFAI - Interview: Cassandra Langer interviewed by Katie Cercone Date: Dec. 15th, 2008 K.C. This is December 15th, 2008, Katie Cercone interviewing Cassandra Langer. C.L. I think it was important for most of us during the early 70s when the movement started up to establish institutions that would be accommodating to the radical new ideas that we had. We rejected the idea of accepting the old roles; of getting married being wives, and mothers . I think it’s hard for young people to understand that was the life you were groomed for. If you aspired to anything else, you were deemed oddball out , rushed off to a psychoanalyst or worse yet, thrown into a mental institution for readjustment. Establishing the Feminist Art Institute was an extremely revolutionary thing to do at that time. NYFAI provided a safe space for creative women who were trying to break out of those stereotypes. There was the California site that my friend Arlene Raven and others including Mimi Schapiro and Judy Chicago set up within the heart of a traditionally patriarchal art department spawning Woman House and other alternative spaces. Mimi, Nancy and people in New York, set up their own versions to begin with but they evolved into the Feminist Art Institute. For people like myself who were outsider-insiders, because I was teaching in South Carolina in the heart of limitation land and bigotry it was an oasis. The freedom of being able to talk with like-minded people was empowering. Founding the Collage Art Association’s Women’s Caucus for Art helped a lot. -
California Institute of the Arts Feminist Art Materials Collection
http://oac.cdlib.org/findaid/ark:/13030/kt2199r38x No online items Guide prepared by Abigail Dixon for History Associates Incorporated California Institute of the Arts California Institute of the Arts Archive California Institute of the Arts 24700 McBean Parkway Valencia, California 91355-2397 Phone: (661) 253-7882 Fax: (661) 254-4561 Email: [email protected] URL: http://calarts.edu/library/collections/archive 2008 CalArts-003 1 Administrative Summary Creator: California Institute of the Arts Title: California Institute of the Arts Feminist Art Materials Collection Dates: 1971-2007 Date (bulk): (bulk 1972-1977) Quantity: 2.3 cubic feet Repository: California Institute of the Arts. Library. Valencia, California 91355-2397 Abstract: The California Institute of the Arts Feminist Art Materials Collection contains articles, brochures, correspondence, exhibition catalogs, invoices, newsletters, and other materials documenting the influence of feminism on the training of artists and the making of art. The collection covers the years 1971 to 2007 with the bulk of the material ranging from 1972 to 1977. California Institute of the Arts Archive Identification: CalArts-003 Language of Material: English Restrictions on Access This collection is open for research with permission from California Institute of the Arts Archive staff. Publication Rights Property rights and literary rights reside with California Institute of the Arts. For permission to reproduce or to publish, please contact California Institute of the Arts Archive staff. Related Material Located in the California Institute of the Arts Archive Archives Unprocessed collections with related material are located in the CalArts Library Archives. Preferred Citation California Institute of the Arts Feminist Art Materials Collection. -
ONCURATING.Org N
ONN CURATING.org Issue 26 / October 2015 Notes on Curating, freely distributed, non-commercial Curating Degree Zero Archive: Curatorial Research With Contributions by Felix Ensslin Sabeth Buchmann Sergio Edelzstein Elke Krasny Avi Feldman Brian Holmes Ellen Blumenstein Dorothee Richter & Barnaby Drabble (eds.) Contents 02 86 Editorial “Something that has to do with life itself” Curating Degree Zero Archive: World of Matter and the Radical Imaginary Curatorial Research Brian Holmes Dorothee Richter and Barnaby Drabble 93 08 The Curator and Her Double. The Cruelty of Curating Degree Zero Archive 2003–2008 the Avatar Ellen Blumenstein 17 The Subject of Curating – Notes on the Path 101 towards a Cultural Clinic of the Present Thinking About Curatorial Education Felix Ensslin Dorothee Richter 32 110 Curating with/in the System Imprint Sabeth Buchmann 40 Are Boycotts the New “Collective Curating?” Sergio Edelsztein 51 Feminist Thought and Curating: On Method Elke Krasny 70 Performing Justice – From Dada’s Trial to Yael Bartana’s JRMiP Congress Avi Feldman Editorial Curating Degree Zero Archive: Curatorial Research Curating Degree Zero Archive. Curatorial Research Dorothee Richter & Barnaby Drabble When we started a discourse on curating in 1998 with the conference “Curating Degree Zero,” we could not have imagined the intensity of interest in this subject in the coming years. In 2003 we wanted to re-examine the field together with Annette Schindler, but when we failed to organise enough funds, we changed the concept and concentrated on the archive, which originally should have just accompanied the symposium. This decision, half by chance and half out of a deeply felt interest in archival practices, proved to be valid, insofar that the archive grew and developed rapidly. -
LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction
LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction: Pollock to Herrera, The Met Fifth Avenue, New York, opened December 17, 2018. Eye to I: Self-Portraits from 1900 to Today, National Portrait Gallery, Washington, D.C., November 4, 2018– August 18, 2019. Kindred Spirits: Louise Nevelson & Dorothy Hood, Museum of Fine Arts, Houston, November 3, 2018– February 3, 2019. The Masters: Art Students League Teachers and Their Students, Hirschl & Adler, New York, October 18– December 1, 2018. (Catalogue) Summer Group Show, Pace Gallery, Seoul, June 5–August 11, 2018. LeWitt, Nevelson, Pendleton Part II, Pace Gallery, Geneva, May 16–July 13, 2018. Dark Place of Dreams: Louise Nevelson with Chakaia Booker, Lauren Fensterstock and Kate Gilmore, Museum of Contemporary Art Jacksonville, A Cultural Institute of University of North Florida, April 28– September 2, 2018. (Catalogue) LeWitt, Nevelson, Pendleton, Pace Gallery, Geneva, March 21–May 4, 2018. 2017 Louise Nevelson: Selected Group Exhibitions 2 Function to Freedom: Quilts and Abstract Expressions, Sara Kay Gallery, New York, December 1, 2017– January 13, 2018. Black and White: Louise Nevelson/Pedro Guerrero, Farnsworth Art Museum, Rockland, Maine, October 6, 2017–April 1, 2018. American Sculpture: Sotheby’s Beyond Limits, Chatsworth, Derbyshire, United Kingdom, September 15– November 12, 2017. Vaginal Davis & Louise Nevelson: Chimera, Invisible-Exports, New York, September 8–October 22, 2017. 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Pittsburgh, July 22–December 31, 2017. To Distribute and Multiply: The Feibes & Schmitt Gift, The Hyde Collection, Glens Falls, New York, opens on June 10, 2017. Multiple Impressions, Talley Dunn Gallery, Dallas, June 10–August 5, 2017. -
Curriculum Vitae Table of Contents
CURRICULUM VITAE Revised February 2015 ADRIAN MARGARET SMITH PIPER Born 20 September 1948, New York City TABLE OF CONTENTS 1. Educational Record ..................................................................................................................................... 2 2. Languages...................................................................................................................................................... 2 3. Philosophy Dissertation Topic.................................................................................................................. 2 4. Areas of Special Competence in Philosophy ......................................................................................... 2 5. Other Areas of Research Interest in Philosophy ................................................................................... 2 6. Teaching Experience.................................................................................................................................... 2 7. Fellowships and Awards in Philosophy ................................................................................................. 4 8. Professional Philosophical Associations................................................................................................. 4 9. Service to the Profession of Philosophy .................................................................................................. 5 10. Invited Papers and Conferences in Philosophy ................................................................................. -
Feminist Art Education: Made in California
Feminist Art Education: Made in California by Judy Chicago ’ve often stated that it I thought that if my situation was similar to Iwould have been im- that of other women, then perhaps my strug- possible to conceive of, gle might serve as a model for the struggle much less implement, the out of gendered conditioning that a woman 1970/71 Fresno Feminist would have to make if she were to realize Art Program anywhere but herself artistically. I was sure that this process California. One reason for would take some time. Therefore, I set up the this became evident in the Fresno program with the idea that I would 2000 Los Angeles County work intensely with the fifteen women I chose Museum of Art exhibit on as students. 100 years of art in Califor- nia, whose title I borrowed It’s important to take a moment to comment for this chapter. The Made on the climate for women at that time. There in California show demon- were no Women’s Studies courses, nor any un- strated some of the unique derstanding that women had their own his- qualities of California cul- tory. In fact, attitudes might be best under- ture, notably, an open- stood through the story of a class in European ness to new ideas that is Intellectual History I had taken in the early less prominently found in 1960s, while I was an undergraduate at UCLA. the East, where the white, At the first class meeting, the professor said male, Eurocentric tradi- he would talk about women’s contributions tion has a longer legacy at the end of the semester. -
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012 Jan 23)
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012_Jan_23) GUIDE TO THE EXHIBITION Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011–January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design Introduction “Doin’ It in Public” documents a radical and fruitful period of art made by women at the Woman’s Building—a place described by Sondra Hale as “the first independent feminist cultural institution in the world.” The exhibition, two‐volume publication, website, video herstories, timeline, bibliography, performances, and educational programming offer accounts of the collaborations, performances, and courses conceived and conducted at the Woman’s Building (WB) and reflect on the nonprofit organization’s significant impact on the development of art and literature in Los Angeles between 1973 and 1991. The WB was founded in downtown Los Angeles in fall 1973 by artist Judy Chicago, art historian Arlene Raven, and designer Sheila Levrant de Bretteville as a public center for women’s culture with art galleries, classrooms, workshops, performance spaces, bookstore, travel agency, and café. At the time, it was described in promotional materials as “a special place where women can learn, work, explore, develop their own point of view and share it with everyone. Women of every age, race, economic group, lifestyle and sexuality are welcome. Women are invited to express themselves freely both verbally and visually to other women and the whole community.” When we first conceived of “Doin’ It in Public,” we wanted to incorporate the principles of feminist art education into our process. -
BIBLIOGRAPHY.Pdf
CAREY LOVELACE 1 CAREY LOVELACE BOOKS "The Stormy Waters, the Long Way Home." The Best Monologues from the Best American Short Plays, Volume 1, ed. William W. Demastes (Applause Theatre & Cinema Books, 2014), 177-182. "A Desire for Intimacy Among Common Objects." Sarah Sze: Triple Point. Catalogue Essay. 2013. Carey Lovelace, "Doin' It Together," in Feminist Art Workers: A History, ed. Cheri Gaulke & Laurel Klick (Otis College of Art and Design, 2012), 7. "The Stormy Waters, the Long Way Home." The Best American Short Plays, 2008-2009, ed. Barbara Parisi (Applause Theatre & Cinema Books, 2010), 41-48. "Iannis Xenakis: Composer, Architect, Visionary." Curatorial Essay. The Drawing Center. January 2010. "How Do You Draw a Sound." Catalogue Essay. The Drawing Center. January 2010. "Describing Space: The Graceful Art of Arthur Carter." Catalogue Essay. Grey Art Gallery. May 2008. "Lowell Reiland: Realizing Form." Catalogue Essay. October 1988. OTHER ARTICLES "'It's a Dream Come True': Christo's 600-Ton 'London Mastaba' Is Unveiled in London." ARTNEWS June 28, 2018. "Optimism and Rage: The Women's Movement in Art in New York, 1969-1975." Woman's Art Journal. Spring/Summer 2016, 4-11. "Linda Nochlin: The Intersection of Herself and History." The Brooklyn Rail, July 2015. “Eyecatching Avant-Garde Music.” Gone but Not, Not Forgotten. Layton, Steve Sequenza 21, January 2010. “A.I.R. Gallery: The History Show.” Catalogue essay. A.I.R Gallery. September 2008. “Together, Again: Women’s Collaborative Art and Community.” Catalogue essay. Bronx Museum of the Arts. March 2008. URL: http://www.careylovelace.com/curator/bxmuseum/ MAKING-IT- TOGETHER-ESSAY.pdf CAREY LOVELACE 2 “Arlene Raven and the Foresight of the Advocate Critic.” Critical Matrix: The Princeton Journal of Women, Gender, and Culture. -
Selected Permanent Collections
JANET GOLDNER 52 Warren Street New York, NY 10007 . 212 766-1910 [email protected] http://www.janetgoldner.com SOLO EXHIBITIONS 2008 Sundiata, the Loft Theatre. Dowling Colege, Oakdale, NY 2006 Have We Met? A Portrait of Mali; Colgate University, Hamilton, NY 2003 Zig-Zag; Art Resources Transfer, New York, NY 2002 Can We Heal?; Art Resources Transfer, New York, NY 1998 Statements in Steel, Walton Art Center, Fayetteville, AK 1997 Most Of Us Are Immigrants (outdoor sculpture), Sara Roosevelt Park, New York, NY 1996 Sticks & Stones; Klutznick Museum, Washington, D.C. Adirondack Lakes Center for the Arts, Blue Mountain Lake, NY 1993 Sticks & Stones; Soho20 Gallery, New York, NY 1991 Portraits of the Spirit; Soho20 Gallery, New York, NY 1989 Soho20 Gallery, New York, NY 1985 Cornell College, Mount Vernon, Iowa Women's Studio Workshop; Rosendale, NY 1984 Elmira College, Elmira, NY Jewish Community Center; Stamford, CT 1983 Phoenix Gallery, New York, NY 1980 80 Washington Square East Galleries, New York, NY 1978 Stamford Museum, Stamford CT PUBLIC ART EXHIBITIONS 2006 Conversations: Sculpture in the Garden, Maxwell Fine Arts, Peekskill, NY 2005 Kingston Sculpture Biennial, Kingston NY 2004 Newburgh Sculpture Project, Newburgh, NY 2003 Byrdcliffe Outdoor Exhibit, Woodstock, NY 2002 The Art Lot, solo exhibition, Brooklyn, NY Art Forms, Woodstock, NY 2001 PS 122 Gallery, solo exhibition, outdoor sculpture, New York, NY 2000 Ithaca Outdoor Sculpture Exhibition, Ithaca, NY 1982 Wilton, Connecticut; Bethesda, MD 1981 Millay Colony for the Arts, Austerlitz, NY SELECTED PERMANENT COLLECTIONS 2006 American Embassy, Bamako, Mali 2004 Garden Gate, private collection, Ossining, NY 2003 Book of Hopes and Fears, Gratz High School, Philadelphia, PA 2002 The Granary, public sculpture in collaboration with Assn. -
Woman's Building Records LSC.1982
http://oac.cdlib.org/findaid/ark:/13030/c8dn45sp No online items Finding aid for the Woman's Building Records LSC.1982 Stacy Wood; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated 9 March 2021. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding aid for the Woman's LSC.1982 1 Building Records LSC.1982 Contributing Institution: UCLA Library Special Collections Title: Woman's Building records Identifier/Call Number: LSC.1982 Physical Description: 3 Linear Feet(5 boxes and 1 oversized flat box) Date (inclusive): 1975-1994 Abstract: The Woman's Building was a feminist community space that served as an educational facility and central icon in the feminist art and larger political movements. During its eighteen year lifespan, it housed conferences, performances, exhibitions and community events in downtown Los Angeles. This collection contains materials produced at the Woman's Building, exhibition catalogs, newsletters and calendars as well as information about different internal and external affiliated groups. COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Language of Material: Materials are in English. Conditions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Physical Characteristics and Technical Requirements COLLECTION CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials in this collection will require assessment and possible digitization for safe access.