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CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
Llyn Foulkes Between a Rock and a Hard Place
LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M. -
Gagosian Gallery
Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery. -
Download Publication
ARTS n jr. J .r . The Arts Council of Grea t Britain was formed in August 1946 to continue in peacetim e the work begun with Government support by th e Council for the Encouragement of Music and the Arts. The Arts Council operates under a revised Royal Charter granted in 1967 in which its objects are stated as : (a) to develop and improve th e knowledge, understanding an d practice of the arts ; (b)to increase the accessibilit y of the arts to the public throughout Great Britain ; (c) to advise and co-operat e with departments of government, local authoritie s and other bodies . The Arts Council, as a publicl y S3 accountable body, publishes a n ro annual report and accounts t o a n provide Parliament and th e general public with an overview e 3 Front coeari Ttra renovated AUmmbre of the year 's work . Theatre, Bradford . The ar" are rogeaerating Bradford as "the City of Er*00"lnnrenk an.ee"ns ►aurisre and bariaees. The rota of the arts as cololysts for urban rerrerrel 4 discussed In John Davison's or"* a s the Arts Council's urfaen Renaissance ro"WEl9e. Chairmen's iMroduelion 2 Lord flees-Mogg reflects on his seven years at the Arts Counci l Secretary-Genewl's report 4 Luke Rittner highlights the issue s and achievements of 19$1/8 8 Arts review b Departmental reports on policies which promoted the arts during 1487/88 Special reporfs Appraisals How the Arts Council appraises its 26 clients, and why. by Lynda Murdi n Nubian renaissance The role the 28 arts are playing in regenerating the inner cities . -
Jordan Wolfson Born 1980 in New York
This document was updated March 13, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Jordan Wolfson Born 1980 in New York. Lives and works in New York and Los Angeles. EDUCATION 2003 B.F.A., Rhode Island School of Design, Providence SOLO EXHIBITIONS 2021 Jordan Wolfson, National Gallery of Australia, Parkes, Australia [forthcoming] 2020 Jordan Wolfson: ARTISTS FRIENDS RACISTS, David Zwirner, Paris, concurrently on view at Sadie Coles HQ, London 2019 Jordan Wolfson, Riverboat song, Moderna Museet, Stockholm 2018 360: Jordan Wolfson, Zabludowicz Collection, London Jordan Wolfson, Schinkel Pavillon, Berlin Jordan Wolfson: Colored sculpture, Tate Modern, London Jordan Wolfson’s (Female Figure), The Broad, Los Angeles Jordan Wolfson: Riverboat song, David Zwirner, New York 2017 Jordan Wolfson: Riverboat song, Pond Society, New Century Art Foundation, Shanghai Jordan Wolfson: Riverboat song, Sadie Coles, London 2016 Jordan Wolfson, David Zwirner, New York Jordan Wolfson: Colored sculpture, LUMA Foundation, Arles, France Jordan Wolfson. Part 1: MANIC/LOVE and Part II: TRUTH/LOVE, Stedelijk Museum, Amsterdam [catalogue published in 2018] 2015 Jordan Wolfson: Two Early Videos, Cleveland Museum of Art, Ohio 2014 Jordan Wolfson, David Zwirner, New York Jordan Wolfson, McLellan Galleries, Glasgow [part of 6th Glasgow International] Jordan Wolfson: Works from the Marieluise Hessel Collection, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, New York 2013 Jordan Wolfson: Ecce Homo/le -
Marti Cormand They Might Be Giants September 10
Marti Cormand They Might Be Giants September 10 - October 3, 2020 Josée Bienvenu is pleased to present They Might be Giants, an exhibition of new works by Spanish born, American artist Marti Cormand. Through large scale pencil on paper drawings and a group of small scale oil paintings, Cormand reflects on the architectures of power with an extraordinary attention to detail. The exhibition will be on view from September 10 to October 3, the works will then travel to the Aldrich Contemporary Art Museum for Twenty Twenty (featuring Oasa DuVerney, Judith Eisler, Andy Mister, William Powhida, Gil Scullion and Diana Shpungin), from October 12, 2020 through March 14, 2021. "Invited to participate in an exhibition about the upcoming US election, I was inspired to visit the National Archives in Washington DC where the US Constitution, the Declaration of Independence and the Bill of Rights are housed. Walking up the grand staircase on Constitution Avenue, I fixated on the buildings monumental bronze doors – 38 feet high and over 6 tons. A 1936 photograph of the door showing the relationship in scale between the guard and the door is the subject of my recent work ‘They Might Be Giants’. The title is a reference to Cervantes’ Don Quixote, who believes that the windmills in the distance are ‘hulking giants’ and mistakes their blades for ‘long arms’. Feeling threatened by his delusion, he declares his intention to kill them.” Completed in 1935 by architect John Russell Pope, the National Archives building was designed in the Neoclassical style at a time when most architects were embracing Modernism. -
Grand Rapids, MI – September 10, 2015: Site:LAB Is Pleased To
FOR IMMEDIATE RELEASE: Diana Shpungin’s Drawing Of A House (Triptych) Curator: Paul Amenta SiTE:LAB; Rumsey Street Project 333 Rumsey Street, Grand Rapids, MI SEPT. 23 – OCT. 11, 2015 ArtPrize Hours: Monday – Thursday: 5-10PM Friday – Saturday: 12-10PM Sunday: 12-6PM Opening Reception: Friday, Sept 25, 6-11pm The project will be on view from Sept. 23, 2015 through the spring of 2016 with more limited viewing times for the animation component. mock up rendering of Diana Shpungin’s, Drawing Of A House (Triptych), 2015. graphite pencil on house, multi-channel audio and hand-drawn video animation. Grand Rapids, MI – September 10, 2015: SiTE:LAB is pleased to present both our and the artist’s most ambitious and large scale project to date, Diana Shpungin’s Drawing Of A House (Triptych), a multi-faceted participatory work consisting of obsessive drawing, sculpture and nine hand-drawn video animations, functioning as one over all monumental installation and community project in partnership with Habitat for Humanity of Kent County and The City of Grand Rapids. Diana Shpungin works under an acutely conceptual framework examining themes of memory, failure, longing and loss. Shpungin’s works employs a painstaking and obsessive process while seeking empathy across identity lines. For Diana Shpungin’s Drawing Of A House (Triptych) it all started with a simple pencil, a fundamental tool universal in its function and familiarity. The vacant house, a former rectory is converted into a massive public sculpture and three-dimensional drawing by way of it being entirely tediously encased by hand in graphite pencil. -
Plus Tate: Connecting Art to People and Places Plus Tate: Connectingtable of Contents Art to People and Places Contents
PLUS TATE: CONNECTING ART TO PEOPLE AND PLACES PLUS TATE: CONNECTINGTABLE OF CONTENTS ART TO PEOPLE AND PLACES CONTENTS TABLE5 INTRODUCTION OF CONTENTS 10 PLUS TATE ACROSS THE UK 12 ARNOLFINI 16 BALTIC CENTRE FOR CONTEMPORARY ART 20 CORNERHOUSE / HOME Front cover: Kenneth Martin Chance and Order VI (detail) screenprint on paper 1976 Tate 24 FIRSTSITE © The estate of Kenneth Martin 28 GLYNN VIVIAN ART GALLERY First published in 2015 by order of the Tate Trustees by 32 GRIZEDALE ARTS Tate Publishing, a division of Tate Enterprises Ltd, Millbank, SW1P 4RG www.tate.org.uk/publishing 36 THE HEPWORTH WAKEFIELD © Tate 2015 40 IKON 44 KETTLE’S YARD All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, 48 MIMA including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers or a licence from the Copyright Licensing 52 MOSTYN Agency Ltd, www.cla.co.uk 56 NEWLYN ART GALLERY & THE EXCHANGE Designed by Tate Design Studio 2015 60 NOTTINGHAM CONTEMPORARY Partner profiles written by Becky Schutt Coordinated by Amanda King 64 THE PIER ARTS CENTRE Printed by Westerham Press Ltd, UK 68 TATE Printed on paper certified by the Forest Stewardship Council 74 TOWNER ACKNOWLEDGEMENTS 78 TURNER CONTEMPORARY In making this publication, Tate is grateful to the many contributors from 82 WHITWORTH ART GALLERY the Plus Tate network for their readiness to participate and share -
Diana Thater Born 1962 in San Francisco
This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diana Thater Born 1962 in San Francisco. Lives and works in Los Angeles. EDUCATION 1990 M.F.A., Art Center College of Design, Pasadena, California 1984 B.A., Art History, New York University SOLO EXHIBITIONS 2020 Diana Thater: Yes there will be singing, David Zwirner Offsite/Online: Los Angeles [online presentation] 2018 Diana Thater, The Watershed, Institute of Contemporary Art, Boston 2017-2019 Diana Thater: A Runaway World, The Mistake Room, Los Angeles [itinerary: Borusan Contemporary, Istanbul; Guggenheim Bilbao, Bilbao, Spain] 2017 Diana Thater: The Starry Messenger, Moody Center for the Arts at Rice University, Houston, Texas 2016 Diana Thater, 1301PE, Los Angeles 2015 Beta Space: Diana Thater, San Jose Museum of Art, California Diana Thater: gorillagorillagorilla, Aspen Art Museum, Colorado Diana Thater: Life is a Timed-Based Medium, Hauser & Wirth, London Diana Thater: Science, Fiction, David Zwirner, New York Diana Thater: The Starry Messenger, Galerie Éric Hussenot, Paris Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art [itinerary: Museum of Contemporary Art Chicago] [catalogue] 2014 Diana Thater: Delphine, Saint-Philibert, Dijon [organized by Fonds régional d’art contemporain Bourgogne, Dijon] 2012 Diana Thater: Chernobyl, David Zwirner, New York Diana Thater: Oo Fifi - Part I and Part II, 1310PE, Los Angeles 2011 Diana Thater: Chernobyl, Hauser & -
Nothing to Declare
FOR IMMEDIATE RELEASE – July 8, 2017 Museum of Contemporary Art Tucson Contact: Alexis Smith, Communications and Special Events Manager [email protected], www.moca-tucson.org The Museum of Contemporary Art Tucson (MOCA Tucson) is pleased to present three exhibitions exploring the realities of living and working along the U.S.-Mexico border. Using the border wall as a metaphor to explore the liminal spaces that we occupy, these presentations will discuss shifting identities, the movement of people and goods, and the collapse of space and time that occurs in our increasingly globalizing world, specifically in the transnational region where the first and third worlds collide. MOCA Tucson’s fall exhibitions include: Paul Turounet’s Estamos Buscando A; Nothing to Declare: Transnational Narratives curated by Ginger Shulick Porcella; and ByNowWeAreThere, a collaboration between artist David Taylor and ten students creating work on a road trip between Tucson and Tijuana. The opening reception for these exhibitions and a MOCA member’s preview will be held from 7-8pm on Saturday, October 7, 2017 with a public opening reception from 8pm-9pm. All exhibitions will run through December 31, 2017. Please also join MOCA on Sunday, October 8 at 10am for an artist talk with Paul Turounet. Paul will discuss the continued evolution of his multi-faceted project Estamos Buscando A. Free for members, $10 for nonmembers. Paul Turounet, Retablo Nº 28 – Rene / Chihuahua, Rio Bravo, Ciudad Juárez, Chihuahua, Mexico, 2004 / 2006 Paul Turounet Estamos Buscando A The central installation that will be presented is Paul Turounet’s Estamos Buscando A, a multi-faceted series that explores and contemplates the migrant experience along the U.S.–Mexico border through various practices, including site-specific installation, gallery presentations, as well as a photobook guide. -
Ellen Harvey
ELLEN HARVEY Education 1998-9 Whitney Museum of American Art, New York, NY, Independent Study Program 1993 Yale Law School, New Haven, CT, J.D. 1990 Hochschule der Künste, Berlin, Germany, no degree 1989 Harvard College, Cambridge, MA, A.B. Selected Solo Exhibtions 2020 Locks Gallery, Philadelphia, PA Ellen Harvey & J.M.W. Turner: The Disappointed Tourist, Turner Contemporary, Margate, U.K. 2019 The Disappointed Tourist, The Suburban, Milwaukee, WI 2017 Ornaments and other Refrigerator Magnets, The Children’s Museum of the Arts, New York, NY Nostalgia, Danese / Corey, New York 2016 Metal Painting, The Barnes Foundation, Philadelhpia, PA 2015 The Museum of Ornamental Leaves and Other Monochromatic Collections, Locks Gallery, Philadelphia, PA 2014 Open Depot, Groeninge Museum, Bruges, Belgium 2013 Collapse, Meessen De Clercq, Brussels, Belgium 2012 Arcade/Arcadia, Locks Gallery, Philadelphia, PA The Nudist Museum Giftshop, Dodge Gallery, New York, NY 2010 The Nudist Museum, Bass Museum of Art, Miami, Fl Picturesque Pictures, Galerie Gebr. Lehmann, Berlin, Germany The Doppleganger Collections, MagnusMüller, Berlin, Germany The Room of Sublime Wallpaper, APF Lab, New York, NY 2009 Empty Collections, Meessen De Clercq, Brussels, Belgium Ruins are More Beautiful, Center for Contemporary Art, Warsaw, Poland 2008 Private Collections, Locks Gallery, Philadelphia, PA 2007 The Museum of Failure, Luxe Gallery, New York, NY 2006 Beautiful / Ugly, MagnusMüller, Berlin, Germany Mirror, The Peddie School, Hightstown, NJ Broken Mirror, Galerie Gebr. -
FELIX GONZALEZ-TORRES BIBLIOGRAPHY Solo Exhibition
FELIX GONZALEZ-TORRES BIBLIOGRAPHY This document was updated January 5, 2021. For reference only and not for purposes of publication. For more information, please contact the Felix Gonzalez-Torres Foundation. Solo Exhibition Catalogues and Important Publications: 2020 Kraft, Richard and Lisa Pearson eds. Photostats: Felix Gonzalez-Torres. New York: Siglio Press, 2020. 2018 Breslin, David. Felix Gonzalez-Torres. New York: David Zwirner Books, 2018. [With essays by Mónica de la Torre and Ann Lauterbach]. 2016 Filipovic, Elena, ed. Felix Gonzalez-Torres: Specific Objects Without Specific Form. London: Koenig Books, 2016. 2014 Cruz, Amada and Matthew Drutt eds. Billboards: Felix Gonzalez-Torres. San Antonio: Artpace, 2014. 2012 Ahn, Soyeon, ed. Felix Gonzalez-Torres, Double. Seoul: Samsung Museum of Art, 2012. 2010 Cesarco, Alejandro, ed. A Selection of Snapshots Taken by Felix Gonzalez-Torres. New York: A.R.T. Press, 2010. Cué, Anna Laura and Katnira Bella, ed. Félix González-Torres: Somewhere/Nowhere [Algún lugar/Ningún lugar]. Ciudad Universitaria, Mexico: Universidad Nacional Autónoma de Mexico, Museo Universitario Arte Contemporáneo, 2010. 2008 Elgarte, Mercedes, ed. Félix González-Torres: Somewhere/Nowhere [Algún lugar/Ningún lugar]. Buenos Aries:MALBA – Fundación Costantini, 2008. 2007 Spector, Nancy. Felix Gonzalez-Torres: America. New York: Guggenheim Museum Publications, 2007. 2006 Ault, Julie, ed. Felix Gonzalez-Torres. Gottingen, Germany: Steidldangin, 2006. Felix Gonzalez-Torres: 1. Oktober 2006 - 9. January 2007. Berlin: Neue Gesellshaft für Bildende Kunst (NGBK) and Hamburger Bahnhof, Museum für Gegenwart, 2006. Fuentes, Elvis. Felix Gonzalez-Torres: Early Impressions. New York: El Museo del Barrio, 2006. Hoffmann, Erika. Felix Gonzalez-Torres. Taura, Japan: Akira Ikeda Gallery, 2006: 11, 13, 15, 17, 19, 21 (ill).