G a G O S I a N Arakawa Biography
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Booxter Export Page 1
Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung -
DIE KÜNSTLER DES Di DANIEL SPOERRI
FONDAZIONE »HIC TERMINUS HAERET« Il Giardino di Daniel Spoerri ONLUS Loc. Il Giardino I - 58038 Seggiano GR L I E fon 0039 0564 950 026 W www.danielspoerri.org T T [email protected] O R T S DIE KÜNSTLER DES N U K M U R O F m i GIARDINO « i r r e o p S l di DANIEL SPOERRI e i n a D GLI ARTISTI DEL GIARDINO DI DANIEL SPOERRI i d o n i d r a i G s e d r e l t s n ̈ u K e i D » g n u l l e t s s u A r e d h c i l s s ä l n a t n i e h c s r e t f e H s e s e i D LOC. IL GIARDINO | I - 58038 SEGGIANO (GR) www.danielspoerri.org Impressum FORUM KUNST ROTTWEIL Dieses Heft erscheint anlässlich de r Ausstellung Friedrichsplatz Die Künsetrl des Giardino di Daniel Spoerri D - 78628 Rottweil im FORUM KUNST ROTTWEIL fon 0049 (0)741 494 320 Herausgeber fax 0049 (0)741 942 22 92 Jürgen Knubben www.forumkunstrottweil.de Forum Kunst Rottweil [email protected] Kuratoren Jürgen Knubben ÖFFNUNGSZEITEN / ORARIO Barbara Räderscheidt Dienstag, Mittwoch, Freitag / martedi, mercoledi, venerdi Daniel Spoerri 14:00 – 17:00 Susanne Neumann Donnerstag / giovedi Texte 17:00 – 20:00 Leda Cempellin Samstag und Sonntag / sabato e domenica Jürgen Knubben 10:00 – 13:00 Anna Mazzanti (A.M.) 14:00 – 17:00 Barbara Räderscheidt (B.R.) Daniel Spoerri IL GIARDINO DI DANIEL SPOERRI Übersetzungen »HIC TERMINUS HAERET« NTL, Florenz Il Giardino di Daniel Spoerri ONLUS Katalog & Fotos Loc. -
Mind Over Matter Artforum, Nov, 1996 by Hans-Ulrich Obrist
http://findarticles.com/p/articles/mi_m0268/is_n3_v35/ai_18963443/ Mind over matter ArtForum, Nov, 1996 by Hans-Ulrich Obrist At the Kunsthalle Bern, where Szeemann made his reputation during his eight-year tenure, he organized twelve to fifteen exhibitions a year, turning this venerable institution into a meeting ground for emerging European and American artists. His coup de grace, "When Attitudes Become Form: Live in Your Head," was the first exhibition to bring together post-Minimalist and Conceptual artists in a European institution, and marked a turning point in Szeemann's career - with this show his aesthetic position became increasingly controversial, and due to interference and pressure to adjust his programming from the Kunsthalle's board of directors and Bern's municipal government, he resigned, and set himself up as an Independent curator. If Szeemann succeeded in transforming Bern's Kunsthalle into one of the most dynamic institutions of its time, his 1972 version of Documenta did no less for this art-world staple, held every five years in Kassel, Germany. Conceived as a "100-Day Event," it brought together artists such as Richard Serra, Paul Thek, Bruce Nauman, Vito Acconci, Joan Jonas, and Rebecca Horn, and included not only painting and sculpture but installations, performances, Happenings, and, of course, events that lasted the full 100 days, such as Joseph Beuys' Office for Direct Democracy. Artists have always responded to Szeemann and his approach to curating, which he himself describes as a "structured chaos." Of "Monte Verita," a show mapping the visionary utopias of the early twentieth century, Mario Merz said Szeemann "visualized the chaos we, as artists, have in our heads. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Cutie and the Boxer, 1/11/2013
CUTIE AND THE BOXER, 1/11/2013 PRESENTS A FILM BY ZACHARY HEINZERLING CUTIE AND THE BOXER US|HD UK THEATRICAL RELEASE: 1 Nov, 2013 RUNNING TIME: 82 minutes Press Contact: Yung Kha T. 0207 831 7252 [email protected] Web: http://cutieandtheboxer.co.uk/ Twitter: @CutieAndBoxer Facebook: http://www.facebook.com/cutieandtheboxer CUTIE AND THE BOXER, 1/11/2013 SHORT SYNOPSIS A reflection on love, sacrifice, and the creative spirit, this candid New York story explores the chaotic 40- year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife, Noriko. As a rowdy, confrontational young artist in Tokyo, Ushio seemed destined for fame, but met with little commercial success after he moved to New York City in 1969, seeking international recognition. When 19-year-old Noriko moved to New York to study art, she fell in love with Ushio—abandoning her education to become the wife and assistant to an unruly, husband. Over the course of their marriage, the roles have shifted. Now 80, Ushio struggles to establish his artistic legacy, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie,” depicting her challenging past with Ushio. Spanning four decades, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice, disappointment and aging, against a background of lives dedicated to art. LONG SYNPOSIS Cutie and the Boxer is an intimate, observational documentary chronicling the unique love story between Ushio and Noriko Shinohara, married Japanese artists living in New York. Bound by years of quiet resentment, disappointments and missed professional opportunities, they are locked in a hard, dependent love. -
Douglas Davis and Allison Simmons
This book was edited by Douglas Davis and Allison Simmons • I ... , ...... I ··-. r-·--····: .. :·:.. .. The MIT Press · Cambridge, Massachusetts, and London, England Copyright© 1977 by Electronic Arts Intermix, Inc. Photographs by Peter Moore © 197 4 by Peter Moore Photographs by Richard Landry© 1973 by Richard Landry • All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without permission in ' writing from the publisher. This book was set in I BM Composer by Tech Data Associates, Inc. and I BM Selectric by Barbara Altman. It was printed and bound by the Murray Printing Company in the United States of America. Library of Congress catalog card number: 76-29198 ISBN: 0-262-04050~ I Elmer•Holmes BobstLibrary NewYork Universi haveand the been United furthermore States v·djoined .b Yother artists. .m both Europe Preface . I eo is no longer th . pioneers; it is becoming as co .• province of a few Open Circuits conference wa smtmhon us anas event pencil or·th paint. · · The. Thish book is based on a conferen : olars, and television producer~• :~~nded by artists, critics, or the future as well as th e past. WI 1mpllcat1ons f rt m New York City in Jan a e Museum of Modern bears the stamp of that time u:yl 1974. Although this volume For th eir· invaluable· . we would. like t o exprassistance with th·1s pro 1· s1onsabout the nature both ~f ta to_p_resents ideas and conclu- an mstitutio T ess our gratitud -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs, -
Galleria Massimo Minini
GALLERIA MASSIMO MININI Via Apollonio 68 – 25128 Brescia tel. 030383034 [email protected] www.galleriaminini.it shusaku arakawa seventeen works Can art be put at the service of the mind? Marcel Duchamp made this a principle, Shusaku Arakawa made it a reality. Arakawa, an artist who was anything but local in his thinking, left Japan to plunge into the New York scene of the ’60s. With one goal: to create mental art, a science of the imagination that conceives and conveys two civilizations; a new form of thought that blends together two opposite worlds: analytic and compendious, discriminating and absolutizing, impersonal and subjective. He drew on concrete reality, on visual images anchored to the world around them, objects described through mental diagrams—shadows at first, then graphic renderings that follow geometric rules. Since the visible world is impossible to capture with the sole aid of geometry, he proceeded by meditation, infusing atonal fields with pure spirit and trading images for words. The names of things conjure up enigmatic outlines, similar forms refer to different objects, color is added to give substance to the arrangement of signs. What we see on the canvas before us is not a fixed image, but a visualization of thought in movement. Shusaku Arakawa (Nagoya, July 6, 1936 – Manhattan, May 18, 2010) was an artist and architect, one of the best-known and most influential figures in Japanese art. His major shows have included: Museum of Modern Art, Tokyo, 1958; MOMA, New York, 1966; 35th Venice Biennale, 1970; Neue National Galerie, Berlin, 1972; Städtische Kunsthalle Düsseldorf, 1977; Solomon R. -
Name Distel, Herbert Lebensdaten * 7.8.1942 Bern Bürgerort Hochwald (SO) Staatszugehörigkeit CH
Schweiz richtet Distel sein Atelier in Bern ein und wird zu einem der führenden Vertreter der Berner Kunstszene. Mit der freien Künstlergruppierung Bern 66 prägt er Ausstellungen in der Berner Kunsthalle und nimmt an zahlreichen Ausstellungen im Ausland teil. Seine Wellblech- und Kartonreliefs der mittleren 1960er-Jahre zeigen eine intensive Auseinandersetzung mit Licht und Schatten. Mit grossformatigen Polyesterplastiken beginnen Projekte, die den Werkbegriff und seine institutionelle Definition kommentieren. 1968 Premio nazionale di Scultura all’aperto in Vira Gambarogno; Public Eye, Kunsthalle Hamburg; 1969 Distel, Herbert, Projekt "Canaris" (Ei), 1970, Polyester-Ei Preis für Skulptur der X Bienal de São Paulo. In vielen mit installierter Kamera und Chronometer, Länge 300 cm, Medien – in Aktionen, audiophonischen und audiovisuellen grösster Durchmesser 200 cm, Arbeiten – thematisiert Distel neue Präsentations- und Vermittlungsformen künstlerischer Arbeit. Eines seiner bekanntesten Projekte realisiert er 1970–77 mit dem Schubladenmuseum. Distel wendet sich in dieser Zeit neuen Bearbeitungstiefe Medien zu: Theaterinszenierung, Press-Art, inszenierte Fotografie, Ton- und Filmarbeiten. Das Interesse am Film führt 1985–87 zu Studien bei den polnischen Regisseuren Name Krzysztof Kieslowski und Edward Zebrowski. Distel, Herbert Internationalen Erfolg und Video-Kunstpreise erzielt Distel 1993 mit dem 18-minütigen Video Die Angst Die Macht Die Lebensdaten Bilder des Zauberlehrlings. * 7.8.1942 Bern Herbert Distel lebte mit seiner Frau von 1994–2005 in der Bürgerort Toskana und seither in Niederösterreich. Hochwald (SO) Distels Frühwerk ist der Auseinandersetzung mit der Staatszugehörigkeit Skulptur gewidmet. Sind diese meist aus Polyester CH gefertigten, direkt auf den Boden platzierten Arbeiten anfangs noch weiss, kommt ab 1965 auch Farbe zum Einsatz Vitazeile (Kugelschnitt, 1967). -
Translating the Narrative: an Approach to the Conceptual Design of a Contemporary Orthodox Christian Church
Translating the Narrative: an Approach to the Conceptual Design of a Contemporary Orthodox Christian Church by Anastasiya Burchevska A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master In Architecture Carleton University Ottawa, Ontario © 2016 Anastasiya Burchevska Abstract The conceptual design approach is meant to address the challenges faced by an architect when it comes to creating a contemporary Orthodox Christian church. The design would have to adapt to various urban, architectural and social conditions that significantly differ from those of the previous eras. This design approach establishes a framework that allows the integration of the various design aspects of such a complex architectural object as the Orthodox Christian church at the conceptual design stage. This thesis focuses on the creation of the architectural narrative or the information layer integrated in the building design as a method of communicating a theological concept in terms applicable to the current cultural and temporal context. ii Table of Contents Translating the Narrative: an Approach to the Conceptual Design of a Contemporary Orthodox Christian Church ................................................................................................. i Abstract ......................................................................................................................... ii Table of Contents ........................................................................................................ -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Howardena Pindell
HOWARDENA PINDELL Born in 1943 in Philadelphia, USA Lives and works in New York, USA Education 1965-67 Yale University, New Haven, USA 1961-65 Boston University, Boston, USA Solo Exhibitions 2019 What Remains To Be Seen, Rose Art Museum Waltham, Massachusetts, USA 2018 Howardena Pindell, Document Gallery, Chicago, USA Howardena Pindell: What Remains to Be Seen, Museum of Contemporary Art, Chicago; Virginia Museum of Fine Arts, Richmond; Rose Art Museum, Brandeis University, Waltham, Massachusetts (2018-2019), USA 2017 Howardena Pindell: Recent Paintings, Garth Greenan Gallery, New York, USA 2015 Howardena Pindell, Honor Fraser, Los Angeles, USA Howardena Pindell, Spelman College Museum of Fine Art, Atlanta, USA 2014 Howardena Pindell: Paintings, 1974-1980, Garth Greenan Gallery, New York, USA 2013 Howardena Pindell: Video Drawings, 1973-2007, Howard Yezerski Gallery, Boston, USA 2009 Howardena Pindell: Autobiography: Strips, Dots, and Video, 1974-2009, Sandler Hudson Gallery, Atlanta, USA 2007 Howardena Pindell: Hidden Histories, Louisiana Art and Science Museum, Baton Rouge, USA 2006 Howardena Pindell: In My Lifetime, G.R. N’Namdi Gallery, New York, USA 2004 Howardena Pindell: Works on Paper, 1968-2004, Sragow Gallery, New York, USA Howardena Pindell: Visual Affinities, Heckscher Museum of Art, Huntington, NY, USA 2003 Howardena Pindell, G.R. N’Namdi Gallery, Detroit, USA 2002 Howardena Pindell, Diggs Gallery, Winston-Salem State University, North Carolina, USA 2001 Howardena Pindell: An Intimate Retrospective, Harriet Tubman Museum, Macon, Georgia, USA 2000 Howardena Pindell: Collages, G.R. N’Namdi Gallery, Birmingham, Michigan, USA Howardena Pindell: Recent Work, G.R. N’Namdi Gallery, Chicago, USA 1999 Witness to Our Time: A Decade of Work by Howardena Pindell, The Heckscher Museum of Art, Huntington, NY, USA 1996 Howardena Pindell: Mixed Media on Canvas, Johnson Gallery, Bethel University, St.