#Institute of Contemporary Arts

[undergroundrockpress]

ICA's 1968 'Cybernetic Serendipity' exhibition of computer created artworks.

[thunderstruck9]

Andrew Grassie (British, 1966), ICA - Surfacing: Contemporary Drawing, 1998. Pencil on paper, 12.3 × 17.5 cm.

[littlequeenies]

May 2, 2006 - Lee Starkey and Chrissie Hynde attend the Becks Futures winner announced at The Institute of Contemporary Arts (ICA), London, Britain.

[garadinervi]

Daniel Buren, Touko Museum of Contemporary Art, Tokyo, 1989 [BOOKS at, Amsterdam. Art: © Daniel Buren]

Exhibitions: Institute of Contemporary Arts, Nagoya, April 15 – June 25, 1989; Touko Museum of Contemporary Art, Tokyo, April 28 – June 11, 1989

[theaskew]

Victor Brauner (Romanian, 1903-1966), Gemini, 1938. Oil on canvas, 45.7 × 54.3 cm (18 × 21 7/16 in.).  (Source. Art Institute of Chicago)

[boyhood]

Hey quick question for a project I'm doing for work: do American children read Beatrix Potter??????? I am American and was a child but my family is from Cumbria so idk what the general experience is

[artcentron]

Laurene Powell Jobs-Led Consortium Acquires San Francisco Art Institute

When it appeared all hope was lost, a new non-profit led by Laurene Powell Jobs acquired the San Francisco Art Institute, saving the iconic 1931 Diego Rivera mural from an uncertain fate.

The acquisition of the San Francisco Art Institute by Laurene Powell Jobs’ philanthropic Consortium saves this iconic mural by Diego Rivera from a predictable end. When it appeared all hope was lost, a new non-profit led by Laurene Powell Jobs acquired the San Francisco Art Institute, saving the iconic 1931 Diego Rivera mural from an uncertain fate. BY ARTCENTRON NEWS SAN FRANCISCO, CA–After…

[mario-gp]

ICA

04.08.24

[arthatred]

Cy Twombly.

[savage-kult-of-gorthaur]

THE RISE OF ANDYMANIA -- CLASS OF '65.

PIC(S) INFO: Spotlight on the opening of Warhol's first museum show at the Institute of Contemporary Art in Philadelphia on October 8, 1965, and reportedly the moment that Warhol, and America, realized that Andymania might rival Beatlemania as a pop culture phenomenon. The ICA audience was more interested in him than in the Flowers and Green Stamps that covered the walls. 📸: Steve Schapiro.

PIC #2: Andy Warhol photographed at the 47th Street [Silver] Factory in front of "Flowers" silk screen prints, holding a light cord, NYC, c. 1964. 📸: Bob Adelman.

Sources: www.blind-magazine.com/stories/andys-pop-life & Vanity Fair Magazine.

[theoffingmag]

Amy Yao’s Doppelgängers (2016), a structure that combines pearls, rice, and plastic imitations of both, considers how observation alone is not always able to identify authenticity from verisimilitude. It challenges the viewer to gaze at the mound and question whether they are looking at the true object, imitations of the object, or whether that even matters to begin with.

Individual Collectivity: Scratching at the Moon at ICA Los Angeles

[fwdmuseums]

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[timmurleyart]

Fender boiling eggs. 🍳🥚 🎨

[longlistshort]

Kimowan Metchewais, “Cold Lake Fishing”, 2004/06

Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print

(Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound)

Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.

From the museum- “The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star

Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.

Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.

Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.

Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.

This exhibition closes 12/1/23.

Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints

Photos by Rebecca Belmore and Installation by Marianne Nicolson

Marianne Nicolson’s installation detail

Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print

One of Kimowan Metchewais’ polaroids from the slide show

[garadinervi]

Ian Burn: Collected Writings 1966–1993, Edited by Ann Stephen, Power Publications, Sydney / KW Institute for Contemporary Art, Berlin / Verlag der Buchhandlung Walther und Franz König, Köln, 2024 [BOOKS at, Amsterdam]

Contributors: Art & Language, Adrian Piper, Paul Wood, Allan Sekula, and Mel Ramsden

Design: Robert Milne

Ian Burn. Collected Writings 1966–1993, Curated by Robert Milne, BOOKS at, Amsterdam, April 13 – May 3, 2024 Plus: Postcard, Works List, Invitation, Pamphlet

[theaskew]

Odilon Redon (French 1840-1916), Guardian Spirit of the Waters, 1878. Charcoal and chalk on paper, 46.6 × 37.6 cm. |18 3/8 × 14 13/16 in. (Source: Art Institute of Chicago)