DOCSLIB.ORG

'Paradigm-Shifting' Exhibition Opens at the Guggenheim the Book on Natvar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'Paradigm-Shifting' Exhibition Opens at the Guggenheim the Book on Natvar News India-Times, February 6, 2009 ASIA IN AMERICAN ART Page 11 ■ ‘The Third Mind’ ■ Show & Book ‘Paradigm-shifting’ exhibition opens at the Guggenheim The book on Natvar By Jyotirmoy Datta “The Third Mind promises to be revelatory exhibition,” Bhavsar marks New Munroe commented. “Visitors will see 130 years of American York City painter’s evealing the powerful impact of Asia on creative culture through an entirely new lens and should RAmerican art, 'The Third Mind: American appreciate the transformative influences of Asian art and Beverly Hills show Artists Contemplate Asia, 1860-1989,' which opened at Solomon R. Guggenheim Museum ideas on the formal and conceptual achievements of New York on Jan. 30, features 270 works, includ- American modern and avant-garde art.” By Jyotirmoy Datta ing a large (68 inch by 168.5 inch), joyous abstrac- tion by Gujarat-born New York painter, Natvar undaram Tagore Gallery in Beverly Hills is Bhavsar. Spresenting works by Natvar Bhavsar in his It has been described as "a paradigm shifting exhibition entitled RANG. In conjunction with exhibition." It features work in various genres by the show, Skira, over 100 of America's finest artists of the past 130 the leading years. 'The Third Mind,' set to run through April Italian art pub- 19, 2009, marks the 50th anniversary of the icon- lishing house, ic Guggenheim New York building designed by has published a Frank Lloyd Wright. monograph on Guggenheim has fished its own depths, as well the artist. as trawled through other collections, to raise to view The show manuscripts and first editions of T. S. Eliot and Ezra was to open on Pound, Jack Kerouack and Allen Ginsberg, and Delwara 1982, 68 by 168.5 inches., pigment on canvas by Natvar Bhavsar, featured in ‘The Third Mind’ Jan. 31, and run paintings by James Macneil Whistler and Mary opening at the Guggenheim Museum, Jan. 30 through Feb.15, 2009. Using his Cassatt Mark Rothko and Robert Rauschengerg, to of the classical arts of India, China, and Japan, and when it was considered the most significant and Cover of the book on Natvar characteristic name just a few, to create a monumental and com- the systems of Hinduism, Taoism, Tantric progressive form of modern art. Bhavsar by Marius Kwint and Buddhism, and Zen Buddhism. The title refers to Zen, and Buddhism and the Neo-Avant-Garde: style — sifting manding reassessment of the history of American layers of pure Irving Sandler. a "cut-ups" work by Beat writers William S. Cage Zen, Beat Zen: This section follows three art. It is a summing-up and a new beginning of the pigments onto canvas — New York-based Burroughs and Brion Gysin, The Third Mind interconnected collectives of artists and writers awareness of the powerful presence of Asia in Bhavsar produces brilliantly colored paintings American art, an awareness that has been forming Untitled ("Rub Out the World"), ca. 1965, in whose sustained if eclectic connections to Zen and with fluid, dense color. The works are inspired piecemeal and fragmentarily in recent decades. which unrelated texts are combined and re- other forms of Mahayana Buddhism emerge as and informed by the vibrant palette of India, with Although there have been attempts by arranged to create a new narrative, evocative of the critical methodological and philosophical influ- colors floating in the center of the canvas, expand- researchers and curators to explore various facets of eclectic method by which American artists appro- ences in the American postwar neo-avant-gardes. ing like a cloud.Gallerist Sundaram Tagore says, the dynamic and complex impact of Asian art phi- priated from Asia to create new forms, structures Art of Perceptual Experience: Pure Abstraction "Bhavsar's work is striking and luminous—the losophy and religion on American art, 'The Third and meanings for their own art and Alternative Minimalism: This section traces colors expand and contract and there is an endless Mind' is epochal in that it unites the various The artists represented in the exhibition include: the development of a new iteration of Asian rheto- alternation of light and dark. He evokes the feel- threads, making it clear that Asia was more impor- John La Farge, James McNeill Whistler, Mary ric in America art of the 1960s that recast the art ing of fluctuation with static images. Bhavsar's tant than just the 'Orientalism' derided by post- Cassatt, Arthur Wesley Dow, Georgia O'Keeffe, object as a specific focus of contemplation and per- style has evolved over decades, and his technique colonial critics. Augustus Vincent Tack, Ezra Pound, Isamu ceptual experience aimed at the transformation of of painting with dry pigment is groundbreaking The project received a $1 million Chairman's Noguchi, Mark Tobey, Morris Graves, David consciousness. Ad Reinhardt's radical conclusion and unique." Special Award from the National Endowment for Smith, John Cage, Robert Rauschenberg, Nam of art as a perceptual experience with the specific Tagore adds, "Bhavsar was touched by the the Humanities (NEH) and an additional NEH June Paik, Yoko Ono, Jack Kerouac, Allen power to purify consciousness through the act of visual impact of Holi and Rangoli, during which planning grant. These NEH grants have been aug- Ginsberg, La Monte Young and Marian Zazeela, concentrated contemplation was constructed from festival goers throw bright pigments on each other mented by significant funding from the Terra Jordan Belson, Ad Reinhardt, Anne Truitt, Agnes his close readings of Asian art and religious in celebration. This inspired Bhavsar to explore Foundation for American Art, E. Rhodes and Martin, Dan Flavin, Walter de Maria, Adrian Piper, thought. The "pure abstraction" and reductive the language of color-field painting." Leona B. Carpenter Foundation, National Bill Viola, and Tehching Hsieh, among others. forms of Reinhardt, Agnes Martin, and Robert Endowment for the Arts and The W.L.S. Spencer The exhibition is organized chronologically and Irwin shifted the conception of seeing from an He was also awarded a Foundation. The exhibition was conceived and thematically into sections: optical event to a phenomenological process, and Guggenheim Memorial organized by Alexandra Munroe, Senior Curator Aestheticism and Japan: The Cult of the made durational time (of looking at the object) a of Asian Art of the Solomon R. Guggenheim "Orient”: American artists' fascination with the medium of ontological awareness. In addition to Fellowship in 1975. His Museum, and a leading authority of Asian art. East began in the late 1850s and developedfrom painting and sculpture associated with paintings are in more than "The Third Mind promises to be revelatory the intellectual circles radiating from Boston, espe- Minimalism, this section features the experimental 800 public and private exhibition," Munroe commented. "Visitors will cially the interlocking communities of Harvard cinema of James Whitney and Jordan Belson, and collections, including those of see 130 years of American creative culture University, the Unitarians, and the the site-specific sound and light environment, the Solomon R. Guggenheim through an entirely new lens and should appreci- Transcendentalists. Dream House, by La Monte Young and Marian Museum, The Metropolitan ate the transformative influences of Asian art and Landscapes of the Mind: Early Modern Zazeela. During the course of the exhibition live ideas on the formal and conceptual achievements Conceptions of Nature: This section features lead- performances of Young's innovations in North Museum of Art, the Whitney of American modern and avant-garde art." ing artists of the early to mid-twentieth century Indian Classical Raga will be presented by Young Museum of American Art, the Thomas Krens, Director of the Solomon R. who hampioned modern and abstract art in and Zazeela with The Just Alap Raga Ensemble. Boston Museum of Fine Art Guggenheim Foundation, remarked: "This America while invoking Asian aesthetics nd Meditation, Performance Art, and Video: The and the Museum of extraordinary survey of American art promises to philosophies that conceived of nature as a unity of Body in Time The final exhibition section presents Contemporary Art in Sydney. be a paradigm-shifting exhibition at the highest matter and spirit. video, installation, and live performance art of the Ezra Pound, Modern Poetry, and Dance 1970s through 1989. Artists such as Linda level of innovation and aesthetic refinement." Mr. In 1934, Bhavsar was born in Gujarat, and Theater: Transliterations: This section explores Montano, Bill Viola, and Tehching Hsieh explore Krens continued: "We at the Guggenheim are gained his early artistic education at the C.N. American translations of classical Asian literature endurance and extreme duration as techniques of honored by the National Endowment for the School of Art in Ahmedabad. In 1962, Bhavsar Humanities' recognition of the scholarly and and dance theater spanning World War I and the meditation and self-awareness. left India to further his education at the University educational merit of this exhibition." interwar period.Featured are rare first-edition Three site-specific installations are featured in of Pennsylvania's Department of Fine Arts. Since ‘The Third Mind’ proposes a new art historical books by such influential writers as Ezra Pound and the Guggenheim Museum show. The James Lee 1965, he has been an active member of the New construct, challenging the widely accepted view of Lafcadio Hearn, as well as manuscript pages from Byars' chamber that once hosted the performance York School of Colorists. In 1965, Bhavsar the development of American modern art as a dia- T.S. Eliot'imagist language. The Death of James Lee Byars (1982-1994), over- received a John D. Rockefeller Grant, which logue with Europe by alternatively focusing on Calligraphy and Metaphysics: The Asian laid entirely with sheets of gold leaf, will be con- launched him into the New York art world.
Load more

Recommended publications
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • NATVAR BHAVSAR Claiming 'Color' As His Medium, Natvar Bhavsar Has Explored the Sensual, Emotional, and Intellectual Resonance of Color for Over 50 Years
    NATVAR BHAVSAR Claiming 'color' as his medium, Natvar Bhavsar has explored the sensual, emotional, and intellectual resonance of color for over 50 years. Born in 1934, Gothava, India, Natvar Bhavsar studied at the Seth CN College of Fine Arts in Ahmedabad. At the same time, he obtained a degree in English Literature from Gujarat University. He continued his education in America, at the University of Pennsylvania’s Graduate School of Fine Arts, where he received his MFA in 1965. Upon graduating, Bhavsar received a John D. Rockefeller III Fund Fellowship, after which he taught for a few years at the University of Rhode Island. Bhavsar has shown widely in New York where he has been a longtime resident and central figure in the art world – one of the few remaining original artists from the SoHo school – along with a variety of gallery and museum exhibitions internationally. His paintings evince influences from his childhood in India, surrounded by vivid textiles, practicing rangoli, and witnessing the Holi Festival, and adulthood in New York in the 1970s. The artist is included in numerous public collections and institutions including the Philadelphia Museum of Art, Boston Museum of Fine Arts, Solomon R. Guggenheim Museum, Metropolitan Museum of Art, the Museum of Contemporary Art in Sydney and the National Gallery of Australia. He also features in notable private collections in the US, Germany, France, India, Australia and the Middle East. Throughout his career, Bhavsar has been associated with a number of acclaimed artists, most prominently,
    [Show full text]
  • Kino, Carol. “Rebel Form Gains Favor. Fights Ensue.,” the New York Times, March 10, 2010
    Kino, Carol. “Rebel Form Gains Favor. Fights Ensue.,” The New York Times, March 10, 2010. By CAROL KINO Published: March 10, 2010 ONE snowy night last month, as New Yorkers rushed home in advance of a coming blizzard, more than a hundred artists, scholars and curators crowded into the boardroom of the Museum of Modern Art to talk about performance art and how it can be preserved and exhibited. The event — the eighth in a series of private Performance Workshops that the museum has mounted in the last two years — would have been even more packed if it weren’t for the weather, said Klaus Biesenbach, one of its hosts and the newly appointed director of the P.S.1 Contemporary Art Center. After seeing the R.S.V.P. list, he had “freaked out,” he said, and worried all day about overflow crowds. As it was, he and his co-host, Jenny Schlenzka, the assistant curator of performance art at the museum, were surrounded at the conference table by a Who’s Who of performance-art history, including Marina Abramovic, the 1970s performance goddess from Belgrade whose retrospective, “The Artist Is Present,” opens Sunday atMoMA; the much younger Tino Sehgal, whose latest show of “constructed situations,” as he terms them, just closed at the Guggenheim Museum; Joan Jonas, a conceptual and video art pioneer of the late 1960s who usually creates installations that mix performance with video, drawing and objects; and Alison Knowles, a founding member of the Fluxus movement who is known for infinitely repeatable events involving communal meals and foodstuffs.
    [Show full text]
  • Poetics of Color Natvar Bhavsar
    Poetics of Color Natvar Bhavsar Sundaram Tagore Gallery Poetics of Color Natvar Bhavsar Acknowledgements Ajay Bhavsar Janet Bhavsar Rajeev Bhavsar Janice Bouley First published in the United States of America in 2006 Rebecca Costanzo by Sundaram Tagore Gallery 547 West 27th Street Devika Daulet-Singh New York, New York 10001 Rukminee Guha Thakurta Tel 212 677 4520 Fax 212 677 4521 Barbara Eagle Email [email protected] Faina Goldstein www.sundaramtagore.com Gina Im Text © Sundaram Tagore Gallery Aranka Israni Photographs © Natvar Bhavsar Susan McCaffrey All rights reserved under international copyright conventions. Carter Ratcliff No part of this book may be reproduced or transmitted Naomi Rivas in any form or by any means, electronic or mechanical, George Schmidt including photocopy, recording, or any other information Emily Steiger storage and retrieval system, without prior permission in writing from the publisher. Kelly Tagore Sundaram Tagore Design Rukminee Guha Thakurta/Photoink Gad Zehavi Printer Pragati Offset Pvt. Ltd. Gallery Statement Since our inception in 2000, we have devoted ourselves to bringing together artists of various disciplines who are exploring the confluence of Western and non-Western cultures. In addition to showing the work of our international roster of visual artists, we have been privileged to host numerous nonprofit cultural events. We strongly believe in the inseparable nature of art and will continue to stimulate the exchange of ideas and push intellectual, artistic and cultural boundaries by helping artists of all kinds exhibit, perform, and produce their work. Sundaram Tagore Executive Director 7 Natvar Bhavsar To say how Natvar Bhavsar’s paintings look, you have to say what his colors do.
    [Show full text]
  • Art 381 Repeat Perform Record
    Sculpture 381 Fall 2013 T/Th 1-4 Repeat, Perform, Record Billy Culiver E.A.T. 9 Evening in Art and Technology A Class Exploring the Intersection Between Theater, Dance and Visual Art The studio art course, Repeat, Perform, Record we will consider the dynamic of live bodies in physical spaces and read critical text and philosophical ideas about performance art. You will have 3 assignment: 1. Work Ethic-Duration/Record, 2. Work Ethic Labor and a collaborative work done with dancers, 3. Spaces Created by Action/Action Created by Spaces. Each assignment is directly aligned to a set of readings and visiting artists who will join the class. In this class, I attempt to honor the radical roots of Performance Art, with its history of expanding notions of how we make art, how we witness art, and what we understand the function of art to be. Performance art in the studio art context emerged from the visual and plastic arts rather than the traditional categories of dance and theater. From the beginning “Performance” was part of the modernist movements such as Futurism, Dada. With the emergence of Fluxus, Situationalism, Happenings, and Conceptualist practices the correspondence with the conscious use of space, time and process became central to Performance Art. With in the last decade, the concept of space, time and process have blended to expand Performance Art, making it a contemporary tool for expression with diverse directions of visual art, theater, dance, music and social practices. Contemporary live art now employs many different forms of experimentation diminishing the known or rehearsed dynamics of performance by opening it to improvisation and chance operations.
    [Show full text]
  • Architectsnewspaper 11 6.22.2005
    THE ARCHITECTSNEWSPAPER 11 6.22.2005 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 GUGGENBUCKS, GUGGENDALES, CO GUGGENSOLES 07 MIAMI NICE LU ARTISTIC Z O GO HOME, LICENSING o DAMN YANKEES 12 Once again, the ever-expanding Guggenheim is moving to new frontiers. TOP OF THE A jury that included politicians, Frank CLASS Gehry and Thomas Krens has awarded 4 the design commission for the newest 17 museum in the Guggenheim orbitto VENTURI AND Enrique Norten for a 50-story structure on a cliff outside Guadalajara, Mexico's sec• SCOTT BROWN ond-largest city. The museum will cost BRITISH TEAM WINS VAN ALEN COMPETITION PROBE THE PAST the city about $250 million to build. 03 EAVESDROP But there is now a far less expensive 18 DIARY range of associations with the Guggenheim 20 PROTEST Coney Island Looks Up brand. The Guggenheim is actively 23 CLASSIFIEDS exploring the market for products that it On May 26 Sherida E. Paulsen, chair of the Fair to Coney Island in 1940, closed in 1968, can license, in the hope of Guggenheim- Van Alen Institute's board of trustees, and but the 250-foot-tall structure was land- ing tableware, jewelry, even paint. An Joshua J. Sirefman, CEO of the Coney marked in 1989. eyewear deal is imminent. Island Development Corporation (CIDC), Brooklyn-based Ramon Knoester and It's not the museum's first effort to announced the winners of the Parachute Eckart Graeve took the second place prize license products but it is its first planned Pavilion Design Competition at an event on of S5,000, and a team of five architects strategy to systematize licensing.
    [Show full text]
  • Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
    Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students.
    [Show full text]
  • Louise Bourgeois Turning Inwards
    Turning Inwards Turning Louise Bourgeois Hauser & Wirth Somerset 2 October 2016 – 1 January 2017 Education Guide This resource has been produced to accompany the exhibition, ‘Louise Bourgeois. Turning Inwards’, at Hauser & Wirth Somerset. Hauser & Wirth Somerset is a pioneering world-class gallery and multi-purpose arts centre, which provides a destination for experiencing art, architecture and the remarkable Somerset landscape through new and innovative exhibitions of contemporary art. A landscaped garden, designed for the gallery by internationally renowned landscape architect Piet Oudolf and the Radić Pavilion (the Serpentine Gallery 2014 Pavilion), designed by Chilean architect Smiljan Radić, both sit behind the galleries. This publication is designed for teachers and students, to be used alongside their visit to the exhibition. It provides an introduction to the artist Louise Bourgeois, identifies the key themes of her work and makes reference to the historical and theoretical contexts in which her practice can be understood. It offers activities, which can be carried out during a visit to the gallery and topics for discussion and additional research. The exhibition features a body of painting, print, drawing and sculpture, most of which has been curated in relation to the existing farm buildings and new architecture at Hauser & Wirth Somerset, creating a new environment and experience of Louise Bourgeois’s work in Somerset. Oudolf Field, Hauser & Wirth Somerset 2016. Photo: Jason Ingram About Louise Bourgeois Louise Joséphine Bourgeois was born in Paris 1977 and 2002, Bourgeois was the recipient on Christmas Day in 1911. She was one of three of 7 Honorary Doctorates of Fine Arts from children; their parents ran an Aubusson tapestry institutions such as Yale University and the Art restoration business and a tapestry gallery in Paris.
    [Show full text]
  • Captivating Color: Natvar Bhavsar at Sundaram Tagore in Beverly Hills
    ArtsÉtoile 1/14/09 10:52 AM ArtsÉtoile Journalism Newsletter About Captivating Color: Natvar Bhavsar at Sundaram Tagore in Beverly Hills 14Jan09 VEEDHEE by Natvar Bhavsar, 2005, Pure pigment of canvas, 75 x 68 in By Emily Waldorf Natvar Bhavsar’s mesmerizing exhibition, Rang, just opened at the Beverly Hills Sundaram Tagore gallery and is well worth a visit. Bhavsar’s large scale paintings are bold, bright, beautiful and reminiscent of the abstract expressionists and color field painters of yore but with an undeniably original Indian influence. In order to achieve his signature style, Bhavsar carefully and deliberately sifts layers of pure pigment powder onto canvas using different tools such as sieves and screens. Bhavsar’s work draws the viewer in, commanding serious contemplation. After a few minutes you can almost feel rich textiles, constellations and cloud-like patterns emerging from the mesmerizing layers of thick color. http://artsetoile.com/ Page 1 of 21 ArtsÉtoile 1/14/09 10:52 AM AKSHYAA by Natvar Bhavsar, 1993, Pure pigment on canvas, 66 x 90 in According to gallerist Sundaram Tagore, “Bhavsar’s work is striking and luminous—the colors expand and contract and there is an endless alternation of light and dark. He evokes the feeling of fluctuation with static images. Bhavsar’s style has evolved over decades, and his technique of painting with dry pigment is groundbreaking and unique…Bhavsar was touched by the visual impact of Holi and Rangoli, during which festival goers throw bright pigments on each other in celebration. This inspired Bhavsar to explore the language of color-field painting.” http://artsetoile.com/ Page 2 of 21 ArtsÉtoile 1/14/09 10:52 AM BHADRA III by Natvar Bhavsa, 2005, Pure pigment on canvas, 75 x 68.5 in Bhavsar was born in Gujarat, India in 1934.
    [Show full text]
  • About Henry Street Settlement
    TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement.
    [Show full text]
  • Re-Constructing Performance Art Processes and Practices of Historicisation, Documentation, and Representation (1960S – 1970S)
    INTERNATIONAL SYMPOSIUM Re-Constructing Performance Art Processes and Practices of Historicisation, Documentation, and Representation (1960s – 1970s) BOOK OF ABSTRACTS © 2018 Digital Image, The Museum of Modern Art, New York/Scala, Florence Philip Auslander Performance Documentation and Its Discontents; or, Does It Matter Whether or Not It Really Happened? It has become commonplace to assert that performances, as live events, cannot be adequately documented, or cannot be documented at all, or that performance documentation is at least highly problem- atic. Many critiques of performance documentation are premised on the belief that ephem- erality is the key defining characteristic of performance – that it is in performance’s nature to disappear and that to force it to remain through reproduction is to violate its very being. My approach to performance documentation is chiefly pragmatic. It is quite obvious to me that we regularly rely on documentation of one sort or another to give us a sense of perfor- mances that are not immediately available to us in live form. While I certainly recognise that the experience I can obtain from this record is not the same experience I would have had by participating in a live event, I still understand it as an experience of the performance. I do not carefully frame the experience of examining a performance document as an experience of the document only, to be understood as separate from and not necessarily related to an experience of the performance itself. If anything, I operate on the assumption that one can gain usable information about a performance and come to a valid understanding of it on the basis of its documentation.
    [Show full text]
  • 2015 Five Decades, Natvar Bhavsar
    FIVE DECADES NATVAR BHAVSAR NATVAR BHAVSAR: FIVE DECADES OCTOBER 21 - DECEMBER 12 2015 Cover: VAATRI, 1979, Pure Pigment, Oil & Acrylic on Canvas, 108x192in. (Detail) CONTENTS Page 5 Foreword Page 13 Interview Page 15 Works Page 63 Biography Installation View of Natvar Bhasvar: Five Decades, 2015 3 4 Natvar Bhavsar’s Threshold of Purity Influences in the Pursuit of Painting Robert C. Morgan Bhavsar recalls his early influences while growing up in Gujarat more than a decade before landing in the United States An exemplary artist and prolific painter, Natvar Bhavsar is readily known for the manner in which he ap- in 1962. There were two sources: One, the multiplicity of bril- plies the spectrum of color to his superbly crafted paintings. Color is the mainstay of his art. Metaphorically liant textiles, dyed and sewn, spread out on the grass, when he speaking, his paintings evoke the life-breath that resonates through India’s centuries old poetic masterpiece, visited his grandparent’s village; and two, the festival of Holi, the Bhagavad Gita – a text that gives spiritual credibility to the ongoing mythical legacies of India. Bhavsar’s celebrated once a year for two days in March. The function paintings depend on a keen ability to sustain the complex maneuvering of pure mineral pigments. Every motion of Holi is to celebrate the ancient, mythical story, known as Ra- of the hand and arm is carefully intuited. His attention is perpetually focused on integrating the tactile, intel- mayana. The drama is a reenactment of the story in which Sita, lectual, and spiritual attributes that hover in the mysterious zone between art and life.
    [Show full text]