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optikes · 3 years ago

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the photographers

1 Albert Tucker (1914-1999) Australia In the Mirror: Self Portrait with Joy Hester (1939) gelatin silver photograph 35.5x26.7cm

2 Martin Martinček (1913-2004) Slovakia Self-Portrait (1960/61)

3 Oriol Maspons (1928-2013) Spain

4 Ilse Bing (1926-2009) Germany/ France/ USA Self Portrait (1931)

5 Claude Cahun (1894-1954) France Self Portrait (1928)

6 Sue Ford (1934-2009) Australia Self Portrait (1974) silver gelatin print, selenium toned 19.9x18cm www.sueford.com.au

7 Anne Zahalka (b. 1957) Australia zahalkaworld.com.au

A Alison Stieven-Taylor (2014) theaustralian.com.au

In 1962, Sue Ford was one of only two women enrolled in the photography course at Melbourne’s RMIT. It was there the 19-year-old, intent on pursuing a career in the male-dominated medium, would have her first taste of the social and professional challenges that would ultimately shape her career. After being sexually harassed by a male lecturer, the promising student was forced to cut short her studies, quitting RMIT to set up a photographic studio in Melbourne.

“Sue was one of the first female photographers to establish herself as an independent practitioner and from the beginning she saw herself as a photographic artist, not a commercial photographer” says Maggie Finch, curator at the National Gallery of Victoria. “She was quite defiant about that.”

Ford, who died in 2009, went on to become one of the country’s best-known photographers, recognised for her self-portraiture and her black and white work.From next week, the National Gallery of Victoria will hold the first major retrospective of Ford’s work, in an exhibition spanning her decades-long career and featuring some 200 photographs as well as film and video installation.

“In a way I think her feminist working method developed almost out of necessity,” says Finch of Ford, who in 1974 was the first photographer to hold a solo exhibition at the NGV. “Her early works were very collaborative. There is a real sense of camaraderie and the consensual nature of the images. The way Sue worked created such a different dynamic to the more formal work of the male photographers who were often working with professional models to a very particular aesthetic.”

After leaving RMIT, Ford opened a studio in Little Collins Street with friend Annette Stephens. The studio was above a cafe whose owner, according to Finch, was convinced it was a front for a brothel. Ford grew tired of the landlord’s tirade each time a man walked up the stairwell and so she began photographing her female friends, before deciding to turn the camera on herself.The collaborative approach that evolved in the early years of her practice became a hallmark. As more women came on to the photography scene Ford shared her knowledge and experiences.

“Sue was incredibly generous and very inclusive,” says close friend Bonita Ely, associate professor of fine arts at Sydney’s University of NSW. But it was experimentation that really defined Ford’s philosophy and she embraced new technologies in order to push creative boundaries. Her camera, she claimed, was an extension of her being, always within reach. Another of Ford’s inner circle, Helen Ennis, professor at Australian National University’s school of art, says Ford is crucial to the history of Australian photography. “Sue is one of those figures who really began to put art photography on the map,” she says.

In the early 1970s Ford received a scholarship to study at the Victorian College of the Arts where she learned to focus less on technique and more on the image itself. Photographer Ruth Maddison says it is this shift in Ford’s work that influenced her own aesthetic. “Her approach was ‘I don’t care if the print is scratched or if there’s dust on it, it is all about the image’. She was validating the fact that sometimes you love the image, but the print might not be fab ... that allowed me to relax”.

Ford was one of the earliest photographers to embrace multimedia, using darkroom techniques to create films such as 1972 short Woman in a House, which features multiple negatives, multiple exposures and mirroring to tell the story of a young married woman who is desperately trying to escape her situation. It was another example of self-reflection. At the time Ford was recently separated. Political and environmental issues also influenced her choices through works such as 1969’s Bush Performance Montage, featuring a male friend wearing a gas mask, and anti-war piece Vietnam the Six O’Clock News. But it is Ford’s 1974 Time Series — a work featuring two black and white portraits of the same person taken 10 years apart, hung side by side — that is considered one of the groundbreaking moments in Australian photography. In her artist’s statement for the Time Series Ford said, “In Time Series I tried to use the camera as objectively as possible … the camera showed me with absolute clarity, something I could only just perceive with my naked eye.”

Melbourne photographer Ponch Hawkes, among others, cites it as a source of inspiration.“I think Sue introduced the notion of ‘the series’ in Australia. You can see it in American photography, but no one was doing that here … that really changed things. Suddenly the subject matter of our own lives was appropriate for photography.” Ford worked until her death, aged 66.

“She never stopped thinking about her practice,” says Ennis. “She was a creative, open and inspiring person. I feel very lucky to have known her.”

#tucker #hester #self portrait #portrait #zahalka #bondi #ford #cahun #bing #photographer

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brooklynmuseum · 5 years ago

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The Brooklyn Museum mourns the loss of Dr. David C. Driskell, whose scholarship, teaching, and curatorial work were instrumental in defining the field of African American art history. His landmark, traveling exhibition Two Centuries of Black American Art, which made its final stop at the Brooklyn Museum in 1977, featured work by more than 200 artists and transformed the ways in which American museums framed and presented histories of African American art. An artist himself, his work was included in the Museum’s recent presentation of Soul of a Nation: Art in the Age of Black Power.

Reflecting on Two Centuries of Black American Art in 2009, Dr. Driskell recounted how he wanted to bring “patterns of exclusion, segregation, and racism to the attention of the art public. [. . .] But it was also about engaging the establishment in the rules of the canon, so as to say, ‘No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.’”

We are grateful to Dr. Driskell for his immeasurable contributions to the field of art history, and will continue to carry his scholarship and his lessons with us.

***

“When Dr. Driskell spoke at the Brooklyn Museum last year as part of the programming for Soul of a Nation, he told me backstage how he had been on our stage in the 60s with civil rights heroes such as James Baldwin. He was so happy to have returned and could not have been more full of grace. Dr. Driskell has left a profound mark on the Museum’s history. While we mourn his passing, we also celebrate the ways that he shaped a history of African American art and advanced both the field and our institutions with clarity and conviction.”

– Anne Pasternak, Shelby White and Leon Levy Director

“An artist, educator, art historian, and curator across at least five decades, Dr. Driskell’s impact was not only field defining but field generating. When we talk about the ongoing project that is the writing and presentation of black art history against its erasure and/or dismissal, we must keep close what it meant for scholars like Driskell who began this work with few blueprints, summoning the great courage and clarity necessary to name and advocate for the importance of black art history – in the face of so many cynics and detractors. I live with gratitude for that fortitude. It was my absolute honor to include Dr. Driskell in the Brooklyn presentation of Soul of a Nation, and an even bigger honor to meet him and to welcome him to the museum for an unforgettable conversation with Dr. Elizabeth Alexander in the fall of 2018. I will hold that memory close.”

– Ashley James, Associate Curator, Guggenheim Museum, and former Assistant Curator, Contemporary Art, Brooklyn Museum

Two Centuries of Black American Art, June 25, 1977 through September 05, 1977 (Image: Brooklyn Museum photograph, 1977)

“Dr. Driskell's 1977 exhibition Two Centuries of Black American Art intended to, in his words, engage "the establishment in the rules of the canon, so as to say, 'No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.'" Museums are still catching up to this proposition today, and we can all benefit from acknowledging how much there is to learn from each other. And we learned so much from him!

In the New York Times review of that exhibition, critic Hilton Kramer dispraised the show, asking "Is it black art or is it social history?" Dr. Driskell responded: "All art is social history; it's all made by human beings. And, consequently, it has its role in history."

Rest in power Dr. Driskell.”

– Carmen Hermo, Associate Curator, Elizabeth A. Sackler Center for Feminist Art

“When I was an undergrad art history student at the University of Maryland, I ran the student art gallery and while this was between the time when Dr. Driskell served as Chair of the Art Department and when he was named Distinguished Professor, he was always interested and supportive of the clique of young artists and future art historians who hung out at the West Gallery. His generosity made a real impression on me and every time he walked in the gallery I would become completely tongue-tied.”

– Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art

“Although I never got to know Dr. David C. Driskell personally, I did have the opportunity to hear him speak several times. When I first began studying African American art in college, I understood that David Driskell was a pioneer in the field. But, when I tucked into seats in buzzing lectures hall to hear Dr. Driskell speak as a grad student or subsequently as a museum professional, I heard about conversations with Aaron Douglas or summer at Skowhegan--Dr. Driskell painted a picture of a life lived with the people that made up the history I was devoted to studying. With the passing of Dr. Driskell, a connection to the past has been irrevocably severed.”

– Dalila Scruggs, Fellowship Coordinator, Education

“David Driskell’s life took him from a one-room segregated schoolhouse in North Carolina to the White House. Under the Clinton administration, Driskell, acknowledged as a leading expert on African American Art, worked with Mrs. Clinton to acquire a great landscape by Henry Ossawa Tanner, who became the first Black artist to enter the White House collection. This is only one example of the many doors Driskell opened in his quest to tell a more truthful and complete story of American history and culture.”

– Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art

“I did not have the opportunity to meet Dr. David C. Driskell, but I fondly recall seeing him speak at a CASVA symposium, The African American Art World in 20th-Century Washington, D.C., at the National Gallery of Art in 2017. There, he participated in a panel discussion with other artists (moderated by Ruth Fine) regarding the city’s impact on his own artistic development. He spoke with such passion about James A. Porter and the legacy of his teaching at Howard University.

Driskell has also left an indelible imprint on the Brooklyn Museum and its own exhibition program, most recently with his inclusion in Soul of a Nation: Art in the Age of Black Power. In 1976, he curated Two Centuries of Black American Art, which opened at the Los Angeles County Museum of Art in 1976 and subsequently traveled to the Brooklyn Museum in 1977. In this groundbreaking exhibition and publication, he defined the “evolution of a black aesthetic” and called attention to such important eighteenth- and nineteenth-century artists as Joshua Johnson, Robert S. Duncanson, and Henry Ossawa Tanner, among many others. Driskell has significantly shaped my own thinking on American art and, in my own research, I am reminded of his rediscovery of the landscape painter Edward Mitchell Bannister who, after his death in 1901, remained largely forgotten.

Edward Mitchell Bannister (American, 1828-1901). Untitled (Cow Herd in Pastoral Landscape), 1877. Oil on linen canvas. Brooklyn Museum Brooklyn Museum Fund for African American Art, 2016.10

A tireless advocate for Black artists, Driskell led the charge in redefining the mainstream art historical canon. He forever changed the discipline and paved the way for so many, and for that I am grateful.”

– Margarita Karasoulas, Assistant Curator of American Art

youtube

Clips from Two Centuries of Black American Art, Los Angeles County Museum of Art © Pyramid Films, 1976. Brooklyn Museum Archives.

“One of the greatest treasures in the Brooklyn Museum Archives are the five videos that document the Symposium Afro-American Art: Form, Content, and Direction that occurred on June 24th and 25th, 1977 that was organized by David Driskell, the Schomburg Center, and Brooklyn Museum Staff in conjunction with the Two Centuries of Black American Art exhibition. In the afternoon of the first day, Romare Bearden, Selma Burke, Jacob Lawrence, John Rhoden, Ernest Crichlow, Vincent Smith, Bob Blackburn, Roy De Cavara, Valerie Maynard, and William T. Williams talked on stage for three hours about their artistic practices within the context of twentieth-century art traditions. It’s staggering to think of all those brilliant artists in conversation together—watching the footage, hearing the artists in their own words is profoundly moving.

When researchers are looking into the exhibition or are curious about the Museum’s history of exhibiting Black Artists, I’m always excited to share the material produced for, by, and of the exhibition. The archival material includes visitor comment books, the press kit, 22 folders of correspondence, the film produced for the exhibition, and the aforementioned symposium videos. The programming built around the exhibition was legendary, and the breadth is rarely seen today: seven artist studio visits (Howardena Pindell!), six supplemental exhibitions at other venues (The Abstract Continuum at Just Above Midtown Gallery!), twenty-two gallery talks (Dr. Rosalind Jeffries on the Harlem Renaissance!), dance performances (Sounds in Motion Dance Company!), concerts, and the list goes on. Driskell’s vision had a deep seismic effect on the art world. The people brought together at these events and programs, the knowledge shared, learned, and passed on to subsequent generations, none of this can be quantifiably measured or completely comprehended, especially from a remove, but its incredible magnitude can be felt when conducting research into the exhibition. Dozens of researchers have come to look into this history, and I look forward to welcoming future visitors to the Archives to learn more about David Driskell, hopefully inspiring them to perpetuate his monumental legacy.”

– Molly Seegers, Museum Archivist

#david driskell #Dr. David C. Driskell #in memory #brooklyn museum #art #art history #scholarship #artist #black american art #black art #soul of a nation

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l2fmpnathan · 4 years ago

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Ruth Roots

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.

ANDREWKREPS.COMRUTH ROOT Born 1967, Chicago, IL. Currently lives and works in New York City.

Education2003Yaddo1994 Skowhegan School of Painting and Sculpture1993 MFA, The School of the Art Institute of Chicago 1990Brown UniversityAwards1996 National Endowment for the Arts, Mid-Atlantic Grant in Painting1996 New York Foundation for the Arts Fellowship in Painting Solo Exhibitions2019Forum, Carnegie Museum of Art, Pittsburgh, PA2017356 Mission, Los Angeles, CA2016Marta Carvery Gallery, Madrid2015Old, Odd & Oval, The Aldrich Contemporary Art Museum, Ridgefield, CT Andrew Kreps Gallery, Nailery Nikolaus Ruziicka, Salzburg, Austria2014The Dartmouth Experiment, Dartmouth College, Hanover, NH2011The Suburban, Oak Park, IL2009Galerie Nikolaus Ruziicka, Salzburg, Austria Maureen Paley Gallery, London2008Gallery Minmi, Tokyo2007Andrew Kreps Gallery, New Yorkdale Marta Carvery, Madrid2005Galerie Nikolaus Ruzicska, Salzburg, Austria2004Maureen Paley Interim Art, LondonGaleria Marta Carvery, Madrid2003 Andrew Kreps Gallery, New York2001 Andrew Kreps Gallery, New York2000Galleria Franco Nero, Turin, Italy1999Andrew Kreps Gallery, New YorkMuseumExhibitions2018Inherent Structure, Wexner Centerport the Arts, Columbus, OH Surface/Depth, Museum of Arts and Design, New York, NY2015New York Painting, Kunst museum Bonn, Bonn, Germany2008Unique Act, Dublin City Gallery, The Hugh Lane,Dublin2007Don’t Look.

Contemporary Drawings from an Alumna’s Collection Martina Yamen, class of 1958, Davis Museum at Wellesley College, Wellesley, MA2005Extreme Abstraction, curated by Claire Schneider and Louis Gracchus, Albright Knox Art Gallery, Buffalo, NY2004City Maps, ArtPlace, San Antonio and TX.

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COM2003Permanent Collection On View, Los Angeles County Museum of Art, Los Angeles The ContemporaryArtProject Collection, Seattle Art Museum, Seattle, WA2002Emotional Rescue: The ContemporaryArtProject Collection, Curated by Linda Farris, Seattle Art Museum, Seattle, WAS am collect –contemporary art project, Seattle Art Museum, Seattle, WA2000Greater New York, Duplex solo installation, Curated by Klaus Eisenach and Laura Hauptman, PS1 Contemporary Art Centre, New York Group Exhibitions2019Painters Reply: Experimental Painting in the 1970s and now, curated by Alex Glauber and Alex Logsdail,Lisson Gallery, New York, NY2018Twist,fused/Jessica Silverman Gallery, San Francisco, CA2018 Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY 2017Man Alive, Mariana Mercier, Brussels2016Looking Back, The 10thWhite Columns Annual –Selected by Matthew Higgs, White Columns, New York Life Eraser, Brand New Gallery, Milan Shapeshifters, Luring Augustine, New York The Congregation, Jack Hanley Gallery, New York 2014Les Plaisirs Démodé (The Old-Fashioned Way), Galerie Nikolaus Ruziicka, Salzburg, Austria2013Wit, The Painting Centre, New York2012To the Venetians II: Chris Martin, Matt Rich and Ruth Root, curated by Carrie Moyer and Dennis Congdon, RISD Painting Department Providence, RI2011-12The Indiscipline of Painting, Tate St. Ives, Cornwall, UK, touring to the Mead Gallery, University of Warwick, UK2009Trail Blazers in the 21st Century, The David and Ruth Robinson Eisenberg Gallery, New Brunswick, NJ Print, Mushroom Works, Newark upon Tyne, United Kingdom2008Take Me There Show Me The Way, Haunch of Venison, New York David Reed Studio, New York Gallery Minmi, Japan2007 NE integrity, Derek Eller Gallery, New York Bushels, Bundles & Barrels, Superfund Investment Centre, New York The Painting Show-Slipping Abstraction, Mead Gallery, Coventry, United Kingdom2006Untitled (for H.C. Westermann), The Contemporary Museum, Honolulu, HI Ruth Root, Alex Brown, Cameron Martin, Sally Ross, Gallery Minmi, Tokyoite is, “what is it”, Andrew Kreps Gallery, New York2005The Early Show, White Columns, New York Trade, White Columns, New York2004Painting & Sculpture, Mark Moore Gallery, Santa Monica, CA2003Greetings from New York: A Painting Showalterian Thaddaeus Ropak, Salzburg, Austria20thAnniversary, Welcome Home, Gavin Brown’s Enterprise, New York2002Jump, Curated by Ross Nether, The Painting Centre, New York-Beam, Cynthia Brogan Gallery, New York Inheriting Matisse: The Decorative Contour in Contemporary Art, Curated by MichelleGrabner, Rocket Gallery, London Acme Gallery, Los Angeles Abstract Redux, Danes Gallery and New York.

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.

ANDREWKREPS.COMState of the Gallery, Andrew Kreps Gallery, New York2001The Approximative, Galerie Ghislaine Huss not, Paris Painting show, Curated by Laura Owens, Chicago Project Room, Los Angeles2000 Fuel Serve, Curated by Kenny Schachter, Kenny Schachter/Rove, New York Salty Salute, Westing Art Space, Toronto Perfidy -Exhausted Embrace, Curated by Martyn Simpson and Daniel Sturgis, Convent Sainte Marie de La Tourette, Evreux, FranceKosmobiologie, Curated by Nancy Chaykin, Bellwether Gallery, Brooklyn, NY1999Fifteen, Deutsche Bank, Curated by Walter Robinson, New York Free Coke, Greene Naftali Gallery, New York1998Home and Away, Curated by Kirsty Bell, Gavin Brown’s Enterprise, New York Son-of-a-Gusto, Curated by Nina Bovisa, Clementine Gallery, New York Cambio, Part 2, Curated by Kenny Schachter, Museo Universitario Del Choop, Mexico City Sassy Nuggets, Andrew Kreps Gallery, New York New Museum Benefit Auction, Pierogi 2000 Portfolios, New York Superfreaks: Part II, Odyssey, Greene Naftali Gallery, New York1997Cambio, Curated by Kenny Schachter, 526 West 26th St., New York Wrong Place, Right Time, Curated by Giovanni Garcia-Fenech, Temporary Space, New York Vague Pop, Curated by Giovanni Garcia-Fenech, View room, New York1996The Experimenters, Curated by Kenny Schachter, Lombard-Fried Fine Arts, New York Taking Stock, Curated by Kenny Schachter, 25 Broad Street, New York Texas Meets New York, Curated by Kenny Schachter, Arlington Museum of Art, Arlington, Texas Bump, The Greene County Council on the Arts, Catskill, NY The Death of the Death of Painting, Curated by Kenny Schachter, New York1995Lookin’ Good, Feeling’ Good, 450 Gallery, New York Eat or Be Eaten/ Painting, Not Painting, Anderson Gallery, Buffalo, NYX-Sightings, Anderson Gallery, Buffalo, NY1994Crash, Thread Waxing Space, New YorkBibliography2017Gerwin, Daniel.

“Ruth Root” Artform, September2016 Hodari, Susan. “

Painting Overtakes Pixels in Aldrich Museum Exhibition.”

The New York Times, 18 February2015Biswas, Allie. “

Ruth Root: ‘I love to see how artists create such a joy from colour’ “Studio International, December 17. Campbell, Andriana.

“Ruth Root.” Artforum.com, 13 July Pfeiffer, Produce. “Ruth Root.” Artform, October Vogel, Wendy. “The Lookout: Ruth Root” Art in America Online, 2 July Vogel, Wendy. “Ruth Root” Art in America, September Hawley, Anthony. “Ruth Root” The Brooklyn Rail, 8 September Yau, John. “Two Ways of Making Painting in the 21stCentury” Hyperallergic, 19 July The New Yorker, 27 JulySchwendener, Martha.

“Review: Ruth Root, Minimal and Opulent, at Andrew Kreps Gallery, The New York Times, 2July2009James, Nicholas, “Between Painting and Sculpture,” artslant.com, 25 January 2009.

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COMNickas, Bob.

“Colour and Structure.” Painting Abstraction: New Elements in Abstract Painting. London, UK. Phaedo Press. 2009Carrier, David. "Ruth Root.” aruspices 24/24 Fall -Winter2008McKeon, Belinda.

“Taking Root on Gallery Walls.” The Irish Times, March 11Maine, Stephen.

"Brand Boosters.” The New York Sun, March 6Ruth Root. The New Yorker, March 3Rosenberg, Karen.

"Ruth Root. “The New York Times, February 222007 “The Painting Show -Abstracts at Warwick University Mead Gallery.”24 Hour Museum.org. Kmart 15 Jannuzzi, Waldemar.”

The pleasures of undescriptive colour. “Times Online, February 182005Huntington, Richard. "A sampling of all things abstract—old and new.

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“Modern Painters, May, p.112.De Chasse, Eric. "Painting (Cont'd).” art press, n310, March 2004Campagnola, Sonia.

"Ruth Root. “Flash Art, Summer Pozuelo, Abel H., "Ruth Rote Cultural, May Carpio, Francisco. "Ruth Root. “

ABC Cultural, June Pardo, Taneal. "Ruth Root. “Exit Express, June Boyce, Roger. “Ruth Root at Andrew Kreps Gallery.”

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Artforum,September Kerr, Merrily. “New York New York: Art Fragments from the Big Apple. “Flash Art, July-September Burton, Johanna. “Ruth Root. “Time Out New York, May 15-22“Ruth Root.”

www.flavorpill.com,May 10Smith, Roberta. “Ruth Root. “The New York Times, May 92002Pagel, David. “

Some Things Old, Some Things Mewls Angeles Times, May 102001Isé, Claudine. “Coughlan, Reeder, Root, Weatherford.” Team Celeste, September/October Schmirler, Sarah. “Gallery Beat. “

Art on Paper,July-AugustJohnson, Ken. “Ruth Root. “The New York Times, April 27Mahoney, Robert. “Ruth Root. “Time Out New York, May 10-17Naves, Mario. “These Paintings Are Watching You. “

The New York Observer, May 7Wehr, Anne. “Cigarette break. “Time Out New York, April 19-262000Cibulski, Dana Mouton. “New York. “Art Papers Magazine, November / December Conti, Tatiana. “Ruth Root. “Team Celeste, November Adult, Gary Michael. “Salty Salute at the West Wing Art Space.” The Globe and Mail, September 30Orange, Mark. “Greater New York.” Untitled,AutumnKino, Carol. “The Emergent Factor. “Art in America, July Hunt, David. “Symbiology. “Time Out New York, July 27Shave, Stuart. “Man Made.” idrapril Sumpter, Helen. “Ruth Root.” Hot Tickets, March Cook, Mark. “Ruth Root. “The Big Issue, March Cotter, Holland.

“New York Contemporary, Defined 150 Ways. “The New York Times, March 6Turner, Grady. “Beautiful Dreamers. “Flash Art, January-February 1999Cotter, Holland. “Ruth Root.”

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ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COMSchmerler, Sarah. “Ruth Root.” Time Out New York, March Sapid, Sue. “Met Life.” The Village Voice, March Turner, Grady.

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The Aldrich Contemporary Art Museum. Ridgefield, CT2014Artist-in-Residence Spring 2014: Ruth Root Paintings. Jaffe-Frieda Gallery, Hopkins Centre for the Arts, Dartmouth College.

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Kettle’s Yard. Cambridge, UK1999European Galleries. Art Forum Berlin. Berlin, Germany Swenson, Susan (ed.). Pierogi Press. vol. 3, New York, NY1997Schachter, Kenny. Cambio. Mexican Cultural Institute of New York.

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sciencespies · 5 years ago

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Ten Museums You Can Virtually Visit

https://sciencespies.com/history/ten-museums-you-can-virtually-visit/

Ten Museums You Can Virtually Visit

SMITHSONIANMAG.COM | March 20, 2020, 7 a.m.

Amid the COVID-19 pandemic, museums and cultural institutions across the globe are closing their doors to the public. But while visitors can no longer roam the halls of these institutions, virtual tools and online experiences mean anyone with an internet connection can browse world-class collections from home.

The Smithsonian Institution, of course, has its own array of virtual tours, experiences and educational resources. Among the other experiences on offer: Scroll through an extensive trove of 3-D photographs from the Minneapolis Institute of Art, explore online exhibits from the National Women’s History Museum in Virginia, or admire artistic masterpieces from the Dalí Theatre-Museum in Spain. Additionally, around 2,500 museums and galleries, including the Uffizi Galleries in Florence and the Metropolitan Museum of Art in New York, are offering virtual tours and presenting online collections via the Google Arts and Culture portal.

For those in search of armchair travel inspiration, Smithsonian magazine has compiled a list of ten museums that have found new ways to fulfill their critical mission of cultivating creativity and spreading knowledge.

The Museo Nacional Thyssen-Bornemisza

The museum is one of Madrid’s “Big Three” cultural institutions.

(Kyle Magnuson via Wikimedia Commons under CC BY-SA 2.0)

Home to the world’s second largest private collection of art, the Museo Nacional Thyssen-Bornemisza owns masterpieces by giants of virtually every art movement—to name just a few, Jan van Eyck, Titian, Caravaggio, Rembrandt, Picasso and Dalí. To spotlight these artistic treasures, the Madrid museum offers an array of multimedia resources. Users can take a virtual tour of the entire building (or a thematic tour covering such topics as food, sustainability, fashion and even “inclusive love”); browse current and closed exhibits; and watch behind-the-scenes videos featuring interviews, lectures and technical studies.

The National Museum of Modern and Contemporary Art, Korea

Visitors look at a site-specific art project called Home Within Home by artist Suh Do-Ho during a media event before the opening of a branch of the National Museum of Modern and Contemporary Art, Korea, in Seoul.

(Jung Yeon-Je / AFP via Getty Images)

Committed to offering a culturally rewarding experience since opening its doors in 2013, the National Museum of Modern and Contemporary Art in Seoul (MMCA) has established itself as a prominent cultural platform and leader in Korean art. In collaboration with Google Arts and Culture, the MMCA is now offering a virtual tour of its collections. This experience takes visitors through six floors of modern and contemporary art from Korea and around the world. Those seeking an educational walkthrough can follow along by tuning into curator-led recorded tours.

The Anne Frank House

Take a virtual tour of the Secret Annex, or explore the home where Frank and her family lived before going into hiding.

The Anne Frank House, established in cooperation with the famed diarist’s father, Otto, in 1957, strives to inform the public through educational programs and tours of the building where the teenager and her family hid during World War II. To delve deeper into the story detailed in Frank’s diary, online visitors can watch videos about her life; virtually explore the Secret Annex; look around the house where she lived before going into hiding; and view the Google Arts and Culture exhibition “Anne Frank: Her Life, Her Diary, Her Legacy.”

The Vatican Museums

The Vatican Museums (pictured here), the Anne Frank House and the National Museum of Anthropology in Mexico City are among the many cultural institutions with online offerings.

(Getty Images)

Home to some 70,000 artworks and artifacts spanning centuries, continents and mediums, the 5.5-hectare Vatican Museums are among Italy’s finest cultural institutions. Virtual visitors can tour seven different sections of the sprawling complex, enjoying 360-degree views of the Sistine Chapel, perhaps best known for Michelangelo’s ceiling and Last Judgment fresco; Raphael’s Rooms, where the Renaissance artist’s School of Athens resides; and lesser-known but equally sumptuous locations such as the Pio Clementino Museum, the Niccoline Chapel and the Room of the Chiaroscuri.

The Solomon R. Guggenheim Museum

Frank Lloyd Wright designed the Guggenheim.

(Stan Honda / AFP via Getty Images)

“Since its founding, the Solomon R. Guggenheim Museum has maintained a belief in the transformative powers of art,” reads the Manhattan museum’s website. “In uncertain times such as these, art can provide both solace and inspiration.”

In a nod to this mission, the Guggenheim, a cultural center and educational institution devoted to modern and contemporary art, has opened up its collections to online visitors. The building itself, designed by Frank Lloyd Wright, is an architectural masterpiece; audiences can listen to an audio guide of its history or journey up its spiral halls via a Google Arts and Culture virtual tour. For those who want to take a deeper dive into the museum’s collections, the Guggenheim’s online database features some 1,700 artworks by more than 625 artists.

The London National Gallery

You can virtually tour 18 galleries in this London institution.

(Getty Images)

Take a virtual tour of 18 gallery rooms, enjoy a panoramic view of the museum’s halls and click through a wide collection of artistic masterpieces using the National Gallery’s virtual tools. Based in London, this museum houses more than 2,300 works reflecting the Western European tradition between the 13th and 19th centuries. Collection highlights include Vincent van Gogh’s Sunflowers and J.M.W Turner’s The Fighting Temeraire.

NASA Research Centers

NASA space scientist, and mathematician Katherine Johnson poses for a portrait at work at NASA Langley Research Center in 1980.

(Photo by NASA / Donaldson Collection / Getty Images)

For those fascinated by space exploration, NASA offers online visitors the chance to take a behind-the-scenes look inside its facilities. Visitors can take virtual tours of the organization’s research centers, where aeronautic technology is developed and tested, and learn more about the functions of different facilities. The online tour of Langley Research Center in Hampton, Virginia, covers 16 locations, including the Flight Research Hangar and the Katherine Johnson Computational Research Facility. The virtual tour of the Glenn Research Center in Ohio, meanwhile, takes visitors inside facilities such as the Supersonic Wind Tunnel, where high speed flight is researched, and the Zero Gravity Research Facility, where microgravity research is conducted.

The National Museum of Anthropology in Mexico City

Carved statue outside the National Museum of Anthropology in Mexico City

(Photo by DEA / G. Dagli Orti / De Agostini via Getty Images)

Home to the world’s largest ancient Mexican art collection, in addition to an extensive collection of ethnographic objects, the National Museum of Anthropology in Mexico City preserves the country’s indigenous legacy and celebrates its cultural heritage. In collaboration with Google Arts and Culture, the museum has made some 140 items available for online visitors to explore from their homes. Among the objects available for viewing are the famous Aztec calendar sun stone and the striking jade death mask of ancient Mayan king Pakal the Great.

San Francisco’s De Young Museum

The observation tower at the de Young Museum in Golden Gate Park

(Photo via Smith Collection / Gado / Getty Images)

One of the Fine Arts Museums of San Francisco, the de Young Museum’s new copper-clad building in Golden Gate Park combines art with architecture. The collection features a priceless array of American art dating from the 17th to the 21st centuries, as well as artifacts from Africa and Oceania, modern and contemporary art, costumes, and textiles. Through Google Arts and Culture, the de Young offers 11 exhibits, including “Cult of the Machine” and “Ruth Asawa: A Working Life.”

The Louvre

The Louvre’s famous glass pyramid

(Photo by Pascal Le Segretain / Getty Images)

Housed in a large fortress along the banks of Paris’ Seine River, the Louvre regularly tops rankings of the most-visited museums in the world, with millions of visitors flocking to its halls in search of Leonardo da Vinci’s Mona Lisa, the Venus de Milo and other instantly recognizable artworks. Virtual tours offered by the Louvre include a walkthrough of the Egyptian antiquities wing and a view of the museum’s moat, which was built in 1190 to protect Paris from invaders.

#History

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webionaire · 3 years ago

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When, in 1916, Alfred Stieglitz first saw the drawings of Georgia O’Keeffe, he reportedly exclaimed, “At last! A woman on paper. ” Yet O’Keeffe’s works on paper, although they are among her most adventurous and sensitive efforts, remain largely unknown. Giant poppies and bleached cow skulls come to mind when most people think of O’Keeffe, but it turns out that we don’t know her as well as we may have thought we did.

This unknown O’Keeffe has come to light as the result of two related events in the past six months: last November’s release of the O’Keeffe catalogue raisonné, by Barbara Buhler Lynes, and the traveling exhibition “O’Keeffe on Paper, ” comprising 55 pastels, watercolors, and charcoals, on view from the ninth of this month through July 9 at the National Gallery of Art in Washington, D.C. The show is co-curated by Lynes and Ruth E. Fine, the National Gallery’s curator of modern prints and drawings.

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gagosiangallery · 7 years ago

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Douglas Dreishpoon, director of the Helen Frankenthaler catalogue raisonné, will discuss Helen Frankenthaler’s printmaking processes with Ruth Fine, former curator of modern prints and drawings at the National Gallery of Art, Washington, DC, and Mark Pascale, Janet and Craig Duchossois curator of prints and drawings at The Art Institute of Chicago. The event is free with museum admission and will take place Friday, April 20, 3–4pm CT. RSVP info here: http://fal.cn/4ZkG

#Gagosian #Helen Frankenthaler #art #Art Institute of Chicago #museum #contemporary #National Gallery of Art #Frankenthaler #talk #Larry gagosian

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uwmspeccoll · 7 years ago

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It’s Fine Press Friday!

Continuing the theme of seasons from last week, this Fine Press Friday we are presenting Summer Day/Winter Night, with linocuts by Ruth Fine, and printed in Newark, Vermont, in an edition of 150 copies at Claire Van Vliet’s Janus Press in 1994. Our copy is one of the many gifts given to us by our friend Jerry Buff, and it is signed by the artist. Enclosed in a gold paper slipcase, the book itself is an accordion-fold design that features a summer day motif on one side, and a moody blue winter night scene on the reverse side.

Ruth Fine worked as the curator of special projects in modern art at National Gallery of Art, Washington, DC, from 1972 to 2012. Her curatorial work included organizing exhibitions, and writing essays about artwork in the National Gallery collection. Fine is trained as an artist herself, she holds a BFA from the Philadelphia College of Art, and an MFA from the University of Pennsylvania. She has kept her studio work mostly private throughout her career.

In an artist statement, Fine describes her process:

“Over time the focus became working on paper, primarily in watercolor, color pencil, oil crayon, pastel, ink and graphite (sometimes combined), and various print media. Eventually this evolved into making books -- both as unique works and as printed books in editions. Most often they are landscape panoramas in an accordion format, with each opening meant to function as a coherent unit as well as a fraction of the whole.”

View more posts about the Janus Press.

View more Fine Press Friday posts.

–Sarah, Special Collections Undergraduate Assistant

#ruth fine #summer day winter night #summer #winter #janus press #jerry buff #fine press fridays #fine press #sarah #Claire Van Vliet #linocuts

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creativinn · 5 years ago

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Granoff opens new Math+Art exhibition

The Granoff Center’s Atrium Gallery began exhibiting a new exhibit, Math+Art, on Oct. 18, featuring multimedia works created by mathematicians and artists from across the country.

The exhibit is part of the Institute for Computational and Experimental Research’s “Illustrating Mathematics” program which aims to bring together mathematicians, makers and artists who share an interest in visualizing mathematical concepts. ICERM is a University-based think tank funded by the National Science Foundation that aims to bring academics and professionals together to “broaden the relationship between mathematics and computation … and support theoretical advances in computation,” according to the organization’s website.

Elisenda Grigsby, one of two deputy directors of ICERM and a leader for the organization’s 2019 Illustrating Mathematics program, explained that the organization’s programs do not typically involve an artistic component, but this program is specifically catered to those who are interested in visualizing their mathematical work, The Herald previously reported.

The Math+Art exhibit was funded by the Alfred Sloan Foundation and has been in the works since the summer of 2018 with ICERM approaching many galleries to showcase the work.

“We didn’t quite know who would say yes,” Grigsby told The Herald. “Eventually, (the Granoff Center) approved the exhibit. They have been amazing.”

Leading up to the exhibition, ICERM partnered with the Bridges Organization, a Kansas-based group devoted to promoting interdisciplinary work in math and art, to develop a platform for participants to submit their artwork online, Grigsby said. A curating committee then met online and reviewed all of the submissions.

Henry Segerman, Oklahoma State University mathematics professor and one of the judges for the exhibition, said the judges not only valued “the mathematical content of each of the submissions, but also the fact that it was aesthetically pleasing.”

“A big part of my work is visualizing mathematics and mathematical ideas,” Segerman said. “I, as well as many of the other participants, do the traditional teaching, making proofs and publishing papers. But I’m very interested in the visual component.”

Frank Farris, a professor of computer science and mathematics at Santa Clara University, has artwork featured in the exhibit. The title of his piece “Alla fine diventava tutto viola,” which means “In the end, everything was becoming purple,” was inspired by a phrase he learned on the language-learning app, Duolingo.

“Of course, I had to make something that was less purple, and then as you evolve to the outside, it’s more purple than you can possibly imagine,” Farris said.

His piece was made using mathematical wave formulas and a photograph of sweet peas, which Farris grew himself. The photograph of the sweet peas is located in the bottom right hand corner of the work.

Farris, like many of the other mathematicians, views his artwork as a way to showcase mathematics in a more accessible and beautiful way.

“Everyone has a general understanding that you can make everything out of waves, such as with CD recordings. This does the same thing but in the visual domain,” Farris said.

The exhibit is open seven days a week and will remain open to the public until Nov. 21. The exhibit will also be a stop on the Gallery Night Providence trolley, a tour that goes through the Providence area on the third Thursday of every month and stops at various art exhibitions.

The tour stop provides “an opportunity for the general public to mingle with the artists and learn about what’s being displayed,” said Ruth Crane, assistant director of ICERM.

This content was originally published here.

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caveartfair · 5 years ago

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Lee Krasner Is Finally Appreciated for Being More Than “Mrs. Pollock”

Lee Krasner, c. 1938. Unknown photographer.

In Lee Krasner’s best paintings, juicy swaths of color swirl around the canvas in unexpected hues: teals and mochas, hot pinks and purples. These alternately bright and somber tempests resolve into natural and biomorphic shapes. An eye emerges from the maelstrom, a flower petal, or a set of waves. What at first looks like elegant chaos eventually transforms into a masterfully composed series of abstract gestures. Krasner’s “paintings are no relaxed picnics on the grass,” critic and art historian Barbara Rose once wrote. “They are direct, vigorous, demanding encounters between the psyche of the artist and that of the viewer.”

Krasner’s particular genius was hard-earned and remains difficult to classify. She painted for decades before arriving at a mature style, cycling first through self-portraiture, Cubism, mosaic, and collage. Her reputation as a painter was, for most of her life, dwarfed by that of her husband, Jackson Pollock. Within the past few years, however, appreciation for Krasner’s work has soared at both the market and institutional levels. Last month at Sotheby’s, her 1960 painting The Eye Is the First Circle sold for $11.6 million—a record for her market. On May 30th, the Barbican in London opened “Lee Krasner: Living Colour,” the first major European survey of her work in over 50 years.

Lee Krasner, Self-Portrait, c. 1928. © The Pollock-Krasner Foundation. Courtesy of the Jewish Museum, New York.

Lee Krasner, Mosaic Table, 1947. © The Pollock-Krasner Foundation. Courtesy of Michael Rosenfeld Gallery LLC, New York.

From the beginning, Krasner demonstrated unwavering devotion to art. Born in Brooklyn in 1908, as a young teenager, she elected to study art at her high school. At 17, she enrolled in the art program at Cooper Union in Manhattan. Krasner’s most formative art education began in 1929, when she enrolled at the National Academy of Design.

It was an exciting time for American art. That year, New York’s Museum of Modern Art opened in midtown Manhattan. Over the previous two decades, American curators had begun to show European avant-garde artists like Constantin Brâncuși, Marcel Duchamp, and Pablo Picasso. A critical mass of enthusiastic aesthetes and leftist thinkers began to gather in Lower Manhattan in the early 1930s. In a second-floor loft in downtown Manhattan, a group of artists and intellectuals formed the Artists Union, which connected artists with job opportunities. Krasner joined, along with painter Arshile Gorky and Harold Rosenberg, the latter of whom became one of the 20th century’s most prominent art critics.

The Eye is the First Circle, 1960. Lee Krasner "Abstract Expressionism" at Royal Academy of Arts, London

A 1930s Works Progress Administration (WPA) initiative further solidified this nascent group of radical thinkers. President Franklin Delano Roosevelt’s program helped artists during the Great Depression by employing them to illustrate books (Krasner drew pictures for marine biology textbooks), create murals, and complete other art-related public works projects throughout the country. Through the WPA, she became friends with soon-to-be-major Abstract Expressionist artists including Stuart Davis, Ad Reinhardt, and Willem de Kooning.

In 1937, Krasner enrolled in art classes taught by German émigré Hans Hofmann at his School of Fine Arts in New York. Under Hofmann’s tutelage, Krasner began making abstract paintings inspired by Picasso’s Cubist efforts and Piet Mondrian’s geometric compositions. A work in another vein from around this period, Mosaic Collage (ca. 1942), demonstrates Krasner’s early facility with color. Deep reds mingle with swaths of serene blues and a small, potent spot of marigold. Despite significant shifts in her practice over the decades, Krasner’s colors always remained vivid and evocative. Hofmann admired her paintings, though he was guilty of the misogyny of his day: “This is so good you would not know it was by a woman,” he once remarked about her work.

Krasner’s destiny took a sharp turn in 1942, when she visited Jackson Pollock’s studio in advance of a group exhibition they were both participating in at the McMillen Gallery. She’d met the painter before, but seeing his roiling, emotive canvases in person inspired her aesthetically—and romantically. The pair married three years later and moved to a farmhouse in Springs, New York, after receiving a $2,000 loan from gallerist Peggy Guggenheim. The newlyweds devoted themselves to their painting.

Lee Krasner, Palingenesis , 1971. © The Pollock-Krasner Foundation. Courtesy of Kasmin Gallery, New York.

Krasner significantly influenced her husband’s practice. Her friend and fellow painter Elaine de Kooning once said that “it was almost as though Jackson took over something Lee had had.” Mary Gabriel, author of the historical account Ninth Street Women, writes: “The formative Pollock drew from all of Lee’s strength, even her strength on canvas.”

Throughout their first few years of marriage, Krasner worked on a series she called “Little Images” (1946–50). These paintings featured dense, flurried surfaces filled with small marks and symbols arranged in grids. Pollock, however, was getting all the glory for his drip and “all-over” painting technique. An article in the August 8, 1949, issue of Life magazine famously asked: “Jackson Pollock: Is he the greatest living painter in the United States?”

Although overshadowed by her husband, Krasner still earned the respect of her artistic peers. The era-defining “Ninth Street Exhibition of Paintings and Sculpture,” curated by gallerist Leo Castelli in 1951, featured one of her works. She also showed alongside Reinhardt, both de Koonings, Philip Guston, Joan Mitchell, Franz Kline, Robert Motherwell, and a list of other mid-century greats. At the same time, Krasner’s marriage—and Pollock’s career—were suffering from his severe alcoholism. In 1956, Pollock wrecked his car in a fatal crash that also killed Edith Metzger, a friend of his mistress Ruth Kligman, who was the only member of the trio to survive the incident.

Lee Krasner at the WPA Pier, New York City, where she was working on a WPA commission, c. 1940. Photo by Fred Prater. Lee Krasner Papers, c. 1905–84. Courtesy of the Archives of American Art, Smithsonian Institution.

Krasner responded to the tragedy, and her mother’s subsequent death in 1959, through her art. Discussing her grief, she once said: “Painting is not separate from life. It is one. It is like asking—do I want to live? My answer is yes—and I paint.” In her series of “Umber” paintings, executed from 1959 through 1962, Krasner made violent, swirling strokes in somber brown tones. The canvases are a beautiful evocation of darkness and mourning.

Krasner made her strongest paintings throughout the 1960s. “While Pollock lived, Krasner could not afford to float away into outer space because she, like her mother before her, took on the responsibility of dealing with the practical matters of daily life,” Rose wrote. The artist was simultaneously weighted and freed by her husband’s death.

Her tight symbols and busy compositions unwound into languid shapes with more breathing room. She rounded out her gestures, giving her work legibly feminine undertones. One of her most famous paintings, Gaea (1966), features a series of pink-and-white shapes that resemble eyes, breasts, eggs, and mouths, all set against a purple background.

Lee Krasner, Imperative , 1976. © The Pollock-Krasner Foundation. Courtesy of the National Gallery of Art, Washington D.C.

Lee Krasner, Bald Eagle , 1955. © The Pollock-Krasner Foundation. Photo by Jonathan Urban.

As her practice strengthened, the painter’s reputation slowly grew. In 1965, London’s Whitechapel Gallery mounted the first major international show of Krasner’s work. Marcia Tucker, then a rising curator at the Whitney Museum of American Art, gave Krasner a solo presentation at the New York institution in 1973. If reviewers appreciated the paintings on their own merits, they also sought connections to Pollock’s work.

Since her days at the WPA, Krasner shied away from some of the big debates of the day on art and politics. She didn’t participate in the famous roundtables at the Cedar Tavern, where many of the Abstract Expressionists hashed out their aesthetic principles—and drank liberally. In 1972, however, she picketed at MoMA with a group called Women in the Arts in protest of the museum’s discrimination against female artists. Just over a decade later, Barbara Rose organized a major solo presentation of Krasner’s work at MoMA itself. The retrospective opened in December 1984, exactly six months after the artist died. Though recognition arrived late in her career, Krasner lived to see a celebration of her achievements.

Lee Krasner, Icarus , 1964. © The Pollock-Krasner Foundation. Photo by Diego Flores. Courtesy of Kasmin Gallery, New York.

Curators still face challenges in showing Krasner’s work. The artist was known for being a harsh self-critic who destroyed many of her own paintings. Some of her canvases are lost to history. This has made it more difficult to present a cohesive narrative of her practice. Yet it’s easy for viewers to absorb the artist’s own sense of wonder when they look at her canvases.“Painting, for me, when it really ‘happens,’” Krasner once said, “is as miraculous as any natural phenomenon—as, say, a lettuce leaf.”

from Artsy News

#Artsy News

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nofomoartworld · 8 years ago

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Hyperallergic: Art Movements

George Stubbs, “Two Hacks” (1789), oil painting on panel, 21 1/2 x 29 in (courtesy The Parker Gallery)

Art Movements is a weekly collection of news, developments, and stirrings in the art world.

As anticipated, President Trump’s proposed 2018 federal budget calls for the complete elimination of the National Endowments for the Arts and Humanities (NEA and NEH). The budget also proposes the elimination of the Corporation for Public Broadcasting, the Woodrow Wilson International Center for Scholars, and the Institute of Museum and Library Services. The College Art Association published an “Arts and Humanities Advocacy Toolkit” in response to the anticipated budget earlier this month.

LD50 Gallery, the London art space accused of supporting a racist, far-right agenda, has been evicted from its premises��according to a statement by the Shut Down LD50 Campaign.

The Western Cape High Court found Zwelethu Mthethwa guilty of the murder of sex worker Nokuphila Kumalo. The artist is to be sentenced on March 29.

Art dealer Archie Parker plans to sell “Two Hacks,” a painting recently attributed to George Stubbs at the British Antique Dealers Association fair in London. The work, which was thought to be a copy after the artist, was deaccessioned by the Huntington Library in San Marino, California. In a blog post, art historian Bendor Grosvenor described its sale as “one of the biggest deaccessioning blunders of modern times.” Parker purchased the work at Christie’s for a hammer price of $175,000.

Olafur Eliasson, “Little Sun Diamond” (2017)

Olafur Eliasson unveiled a new solar-powered mini lamp named the “Little Sun Diamond.” It is the third design created by Eliasson for people without access to reliable energy.

The Australian Department of Treasury launched an investigation into security firm Building Risks International Pty. Limited following accusations that it underpaid guards at the National Gallery of Victoria.

Utah’s House and Senate voted to designate Robert Smithson’s “Spiral Jetty” and ancient rock art as official state works of art.

Austrian investigators recovered 67 paintings, including works by Oskar Kokoschka and Koloman Moser, that were stolen from a private collection in Vienna-Hietzing in 2014.

A discovery by the Art Loss Register led to the recovery of eight paintings stolen from a home in Denmark in 2000.

Tunisian authorities arrested a group of suspects in connection with the attempted smuggling of a 15th-century, 121-foot Torah scroll.

The Italian group 100% Animalisti dumped 88 pounds of animal excrement outside Venice’s Palazzo Grassi in protest over an upcoming exhibition by Damien Hirst. On its website, the group described the exhibition as “an insult to a city of art, of REAL art.”

German police raided Julian Charrière‘s studio after learning that he possessed a cannon. The artist built the air cannon, which is designed to shoot a single coconut, for the Antarctic Biennale.

Catherine Pégard, the director of Versailles‘s contemporary art program, announced that the palace will host a group show in the fall as opposed to exhibiting the work of a single��artist.

ShowGrow, a gallery space and cannabis dispensary, opened in Los Angeles.

Transactions

Antonio Lopez, “Missoni” (1984), watercolor, gouache and pencil on paper, 20 x 15 in (courtesy the Estate of Antonio Lopez and Juan Ramos)

El Museo del Barrio acquired 47 works from the Estate of Antonio Lopez and Juan Ramos.

Eleanor “Ellie” Cheney donated a painting by Anna Mary Robertson Moses (aka ‘Grandma Moses’) to the Rutgers–Camden Center for the Arts.

The German government allocated €3.4 million (~$3.6 million) towards provenance research in response to the ongoing controversy over Cornelius Gurlitt’s art collection.

The LUMA Foundation acquired the archives of Annie Leibovitz.

The Victoria & Albert Museum acquired a Pussyhat worn at the Women’s March in Washington, DC, on January 21 as part of its Rapid Response Collection.

(courtesy Victoria & Albert Museum)

Transitions

Wendy Fisher was elected to succeed Jennifer Blei Stockman as president of the Solomon R. Guggenheim Foundation’s board of trustees.

Hendrikje Crebolder was appointed to the Rijksmuseum’s board of directors.

Patrick Moore was appointed director of the Andy Warhol Museum.

Georgina Jackson was appointed director of the Douglas Hyde Gallery in Ireland.

Claudia Dillmann will step down as director of Frankfurt’s Deutsche Filmmuseum in September.

Chad Alligood was appointed chief curator of American art at the Huntington Library, Art Collections, and Botanical Gardens.

Ghislain d’Humières stepped down as CEO of the Speed Art Museum.

Brooke Davis Anderson stepped down as executive director of Prospect New Orleans and will take up the directorship of the Pennsylvania Academy of Fine Arts.

Miety Heiden was appointed deputy chairman and head of private sales at Phillips.

Sotheby’s opened a new gallery and office in Dubai.

The UK’s National Trust opened a new conservation studio at Knole House in Kent.

The estate of artist and art dealer Betty Parsons is now represented by Alexander Gray Associates.

Sandra Gering Inc. will close at the end of July. The gallery first opened in Soho in 1991.

Manhattan art supply store A.I. Friedman will close on April 30.

The Dog Museum of America plans to relocate to New York City within a year.

The Museum of Contemporary Art Chicago named its restaurant ‘Marisol’ after the late sculptor Marisol Escobar.

Accolades

Gala Porras-Kim, “For Learning Zapotec Verbs” (2012), wood, pencil, paper, wire, found rocks, 50 x 37.5 x 2.5 in (courtesy Artadia)

Kahlil Joseph and Gala Porras-Kim received the 2017 Los Angeles Artadia Award.

The Sharjah Biennial Prize was awarded to Dineo Seshee Bopape, İnci Eviner, Uriel Orlow, and Walid Siti. An additional prize was awarded to the late Ali Jabri and is dedicated to the conservation of his work.

Dineo Seshee Bopape also won the 2017 Future Generation Art Prize.

Jennie C. Jones received the Rose Art Museum’s 2017 Ruth Ann and Nathan Perlmutter Artist-in-Residence Award.

Obituaries

Fiora Corradetti Contino (1925–2017), opera maestra.

Henri Cueco (1929–2017), painter and writer.

Christopher Gray (1950–2017), architecture writer and researcher.

Alf Lechner (1925–2017), sculptor.

Marian Lindkvist (1919–2017), drama and movement therapist.

Tommy LiPuma (1936–2017), record producer and music executive.

Jay Lynch (1945–2017), artist, writer, and satirist. Key figure of the underground comics scene during the 1960s and ’70s.

Kurt Moll (1938–2017), bass singer.

Amy Krouse Rosenthal (1965–2017), children’s author and filmmaker.

Joni Sledge (1956–2017), singer and songwriter. Member of Sister Sledge.

Geoff Wainwright (1937–2017), archaeologist.

Robert James Waller (1939–2017), writer. Author of The Bridges of Madison County (1992).

Jay Lynch (Jay Lynch Collection, courtesy the Ohio State University Billy Ireland Cartoon Library & Museum)

The post Art Movements appeared first on Hyperallergic.

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beardcore-blog · 5 years ago

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Concord, Walden I and Walden II (1971) – Tom Philips (1937)

Calouste Gulbenkian Museum, Modern Collection, Lisbon, Portugal

Material: Acrylic paint on canvas Collection: Calouste Gulbenkian Museum, Modern Collection Inv: AC 1379

BIOGRAPHY

Tom Phillips CBE RA (born 25 May 1937 is an English artist. He was born in London, where he continues to work. He is a painter, printmaker and collagist.

LIFE

Trevor Thomas Phillips was born on 25th May 1937 in Clapham, London, the younger of two sons. His mother ran a ten-roomed boarding house and his father speculated in cotton futures. His family called him Tom.

In 1940 the cotton market collapsed and the family had to sell their home. Phillips’ father went to work in Aberystwyth, leaving his wife to run a small boarding house in London. After the war, the family finances improved and they were able to holiday annually in France and Germany. His parents began to buy short leasehold properties as investments and although these did not yield the return that they wished his mother did buy the freehold of one house, which would later become her son’s studio and home.

From 1942 to 1947 Phillips attended Bonneville Road Primary School in Clapham. Whilst he was there he claims that he "learned the word artist and discovered that an artist is someone who does not have to put his paints away, so decided to become one".

Although he enjoyed school he was noted for his fascination with drawing and his refusal to conform. His mother recalled him buying a platform ticket every Sunday and taking long railway journeys when he was just eleven. In that year he progressed to Henry Thornton Grammar School, Clapham, where he developed his love of music, playing violin and bassoon in the school orchestra and singing solo baritone in school concerts and stage events.

In 1954 he exhibited paintings for the first time, in an open art show on the railings of the Thames Embankment. A year later, at seventeen, he won a travelling scholarship to France and lived there for three months. His mother remembers him returning to London with a sack of horse bones from the first World War, but more significantly he bought himself a piano and started to teach himself to play. In 1957 he became a founder member of the Philharmonia Chorus.

From 1958 to 1960 Phillips read English Literature and Anglo Saxon at St Catherine’s College, Oxford. He attended life drawing classes at The Ruskin School of Drawing and Fine Art, acted in plays and designed and illustrated the Isis magazine.

Upon graduation, he taught Art, Music and English at Aristotle Road School, Brixton, London. He also attended evening classes in life drawing (under Frank Auerbach), and sculpture at Camberwell College of Arts, where he became a full-time student in 1961. When he graduated in 1964 his work was selected for that year’s Young Contemporaries Exhibition in London and in the following year the AIA Galleries in London exhibited his first one-man show.

While studying at Camberwell Phillips married Jill, and their daughter Ruth was born in 1964. Their second child was a son, Leo.

Phillips became a teacher at Ipswich School of Art, where one of his students was Brian Eno, who would become a lifelong friend. He soon moved to teaching Liberal Studies at Walthamstow Polytechnic where he met the pianist John Tilbury and participated in improvisation concerts at several polytechnics. His first musical composition was Four Pieces for John Tilbury.

The year of 1966 was important for Phillips. He exhibited in the Royal Academy Summer Exhibition for the first time, started work on A Humument, and began collaborating with Brian Eno. When Cornelius Cardew founded the Scratch Orchestra, its constitution was drafted in Phillips’ garden in Bath (where he had become a teacher at the Bath Academy of Art) and he participated in most of the concerts until he became disillusioned with its politicisation.

In 1968 he moved to Wolverhampton to teach at Wolverhampton School of Art, and he had a second one-man exhibition, at the Ikon Gallery, Birmingham. He wrote the opera Irma in the following year and started the Terminal Grey series of paintings.

Throughout the 1970s his works were exhibited widely in one-man shows and collections. After a period as a visiting tutor at the Art School in Kassel, Germany he abandoned teaching and took his first trip to Africa.

In 1973 he began the 20 Sites n Years photographic project. His first significant publication, Works/Texts I, was published in 1975 by Hansjörg Mayer and his first retrospective exhibition toured Europe.

This was also the year that he met Marvin and Ruth Sackner, who were to become his patrons and founded an archive in Miami to house most of his work. The following year saw the completion of the privately printed edition of A Humument, which had been published in ten sections since 1971.

In 1978 Brian Eno produced a recording of Irma for Obscure Records directed by Gavin Bryars with a cast including Howard Skempton and Phillips himself. Phillips began contributing regular reviews to the Times Literary Supplement (now TLS). At the beginning of the 1980’s, he designed a series of tapestries for his old Oxford college and he returned to portraiture with a Portrait of Pella Erskine-Tulloch (the bookbinder who bound Phillips’ favourite version of A Humument in three volumes). Erskine-Tulloch would become the subject of a series of weekly sittings which he described as "Pella on Sunday". He had moved out of the family home at 102 Grove Lane and moved back into his studio at 57 Talfourd Road in Peckham. A man with a great pleasure inhabits, he would lunch every Tuesday in the Choumert Café on Choumert Road.

The private limited edition of his own translation of Dante’s Inferno illustrated with his prints was published in 1983 and in 1984 he was elected a Royal Academician. Peter Greenaway and Phillips co-directed A TV Dante with John Gielgud and Bob Peck, which was broadcast on Channel 4 television in 1986. During this time he also collaborated with Malcolm Bradbury, Adrian Mitchell, Jake Auerbach, Richard Minsky and Heather McHugh.

At the beginning of the 1990´s, Phillips painted portraits of the Monty Python team and produced a glass screen and paintings for The Ivy restaurant in London. He illustrated Plato’s Symposium for the Folio Society (for whom he would illustrate Waiting for Godot in 1999), completed his Curriculum Vitae series of paintings and saw a new Works and Texts book published.

In 1994 he went to Harvard as Artist in Residence at the Carpenter Center for the Visual Arts and published Merely Connect, which he had written with Salman Rushdie during a series of portrait sittings. With the move to a new studio in Bellenden Road and a change of ownership of the Choumert Café, Phillips began to lunch regularly opposite his studio at the Crossroads Café, where he could be found reading literary magazines through his blue-rimmed spectacles.

He curated the 1995 exhibition Africa: the Art of a Continent for the Royal Academy and became their Chairman of Exhibitions. Phillips began to move into new areas in the mid-1990s: stage design, The Postcard Century for Thames & Hudson (building on his passion for postcards), quilting, mud drawings and wire structures.

All his old projects continued and he began illustrating Ulysses. He also translated the libretto of Otello while he was designing the English National Opera production. In 1998 Largo Records released Six of Hearts, a CD of Phillips’ songs and other music written since 1992 but this went out of print when the label failed in 2002.

By the late 1990s, Phillips was an establishment figure in most aspects of the arts. He became a trustee of the National Portrait Gallery, an Honorary Fellow of the London Institute, an Honorary Member of the Royal Society of Portrait Painters and a Trustee of the British Museum. He celebrated his fiftieth birthday by playing a game of cricket with many of his friends at the Kennington Oval cricket ground. In 1995, he married the writer Fiona Maddocks, Music Critic of The Observer.

In 2000 he designed lampposts, pavements, gates and arches for Southwark Council’s Peckham Renewal Project. Antony Gormley, whose workshop adjoins Phillips’ studio in Bellenden Road, Peckham, designed bollards for the same project and the work of both artists adorns that street.

Phillips was made a Commander of the Order of the British Empire for services to the Arts in the 2002 Queen’s Birthday Honours list.

He was Slade Professor of Fine Art at the University of Oxford for 2005–06.

In 2006 Phillips exhibited six works in the Royal Academy Summer Exhibition amongst them Colour Sudoku, furthermore, held a Micro-Retrospective (9 February – 23 April 2006) at the Ashmolean Museum in Oxford.

WORKS

Phillips’ best-known work is A Humument: A Treated Victorian Novel originally by W.H. Mallock, alongside River of the Damned it became so popular it won an award for best innovation of Rivers. One day, Phillips went to a bookseller’s with the express intention of buying a cheap book to use as the basis of an art project. He randomly purchased a novel called A Human Document by Victorian author William Hurrell Mallock and began a long project of creating art from its pages. He paints, collages or draws over the pages, leaving some of the text peeking through in serpentine bubble shapes, creating a "found" text with its own story, different from the original. Characters from Mallock’s novel appear in the new story, but the protagonist is a new character named "Bill Toge", whose surname can only appear on pages which originally contained words like "together" or "altogether". Toge’s story is a meditation on unrequited love and the struggle to create and appreciate art.

Several editions of A Humument have been published over the years, with more and more pages being revised each time. The sixth and final edition was published in 2016.

Phillips has used the same technique (always with the Mallock source material) in many of his other works, including the illustration of his own translation of Dante’s Inferno, (published in 1985). He is also fond of re-using images from postcards (which he avidly collects) as well as drawing stencil-style lettering, freehand. The melding of visual art with textual content is a hallmark of Phillips’s work.

He also paints portraits (his portrait of Dame Iris Murdoch is well known) and murals and creates installation art and sculpture. His portrait of Michael Kustow won joint Hunting Art Prize in 1988. He is a member of the Royal Academy (since 1989) and, in 2003 designed a Royal Mint commemorative five-pound coin for the 50th anniversary of the 1953 coronation of Queen Elizabeth II. He is an opera fan and has composed an opera, Irma, using the Humument source material for the libretto. He also wrote the libretto for Heart of Darkness, a chamber opera with music by Tarik O’Regan currently in development with American Opera Projects.

Phillips engages in other projects that challenge the viewer’s perceptions of art, such as his ongoing project 20 Sites n Years, in which he photographs the same 20 spots in his studio’s neighbourhood, once a year.

As the years go by, the viewer watches the neighbourhood gradually change. Similarly, Phillips has done a series of paintings called Terminal Greys, consisting of simple cross-hatched bars of murky, greyish paint composed from the leftovers on his palette at the end of each workday. Since there are no aesthetic judgments on the artist’s part in the creation of these works, they are virtually mechanical; the "art" could be said to lie in the conception of the work and not in the accidental "grey rainbow" appearance of the result.

He collaborated with film director Peter Greenaway on A TV Dante, a television miniseries adaptation of the first eight cantos of the Inferno.

Phillips has provided cover art for music albums including Starless and Bible Black by King Crimson (1974), Another Green World by Brian Eno (1975), and one of the sixteen portraits that form Peter Blake’s design for Face Dances by The Who (1981). His cover art for Dark Star’s Twenty Twenty Sound used the same technique as The Humument, but using the album’s lyrics as the source material.

He has also produced books about art including Music In Art and a study of African art.

SELECTED BIBLIOGRAPHY

Tom Phillips: New and Recent Work [Catalogue of the exhibition held at Flowers East 26 November – 24 December 2004] London. We are the People: Postcards from the Collection of Tom Phillips. [Catalogue of the exhibition held at The Nation Portrait Gallery 2 March- 20 June 2004] London. Fifty Years of Tom Phillips. [Catalogue of the exhibition held at Flowers 12 March – 4 April 1987] London.

MONOGRAPHS

Paschal, H. & Phillips, T. (1992) Tom Phillips: Works and Texts. Thames and Hudson Ltd, London. Phillips, T. & Rosenthal, N. (2005) Merry Meetings: Drawings and Texts by Toms Phillips. D3 Editions Publishers. Phillips, T. (2012) A Humument: A Treated Victorian Novel. Thames and Hudson Ltd, London.

SOURCE: Wikipedia, the free encyclopedia

Posted by pedrosimoes7 on 2018-06-07 17:14:25

Tagged: , Tom Philips , Calouste Gulbenkian Museum , Modern Collection , Lisbon , Portugal , ✩ Ecole des Beaux Arts✩

The post Concord, Walden I and Walden II (1971) – Tom Philips (1937) appeared first on Good Info.

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biofunmy · 5 years ago

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Black Beauty: Photography Between Art and Fashion

Antwaun Sargent adapted this essay from his new book, “The New Black Vanguard: Photography Between Art and Fashion,” to be published next month by Aperture.

In 2018, American Vogue published two covers featuring the global icon Beyoncé on its esteemed September issue. Though it was her fourth time fronting the venerable monthly, this was the shoot heard around the world: For the first time in the magazine’s century-long history a black photographer, Tyler Mitchell, had been commissioned to create its covers.

On one cover the musician is conveying a temporal softness and an air of modern domesticity in a white ruffled Gucci dress and Rebel Rebel floral headdress; on the other cover she is standing amid nature, wearing a tiered Alexander McQueen dress with Pan-African colors, her hair braided into cornrows. Her gaze is confident, a symbol of black motherhood, beauty and pride.

“To convey black beauty is an act of justice,” says Mr. Mitchell, who was just 23 years old when the photographs were published.

For Mr. Mitchell, the Beyoncé portraits, one of which was recently acquired by the Smithsonian’s National Portrait Gallery, are suggestive of his broader concern to create photography that contains “a certain autobiographical element.” Mr. Mitchell, now 25, grew up in Atlanta and was fascinated by art and fashion images he saw on Tumblr. “Fashion was always something distant for me,” he says.

His own images evoke what he calls a “black utopia” — a telegraphing of black humanity long unseen in the public imagination. In “Untitled (Twins II)” from 2017, he features the brothers (and fashion models) Torey and Khorey McDonald of Brooklyn, seen draped in pearls and resting against a pink and cream backdrop. The photographs document the style, identity and beauty of black youth — “what I see to be a full range of expression possible for a black man in the future,” he explains. His subjects are often at play in grass, smiling in repose and occasionally peer with an honest gaze at the camera.

Mr. Mitchell is a part of a burgeoning new vanguard of young black photographers, including Daniel Obasi, Adrienne Raquel, Micaiah Carter, Nadine Ijewere, Renell Medrano and Dana Scruggs, who are working to widen the representation of black lives around the world — indeed, to expand the view of blackness in all its diversity. In the process, they are challenging a contemporary culture that still relies on insidious stereotypes in its depictions of black life.

These artists’ vibrant portraits and conceptual images fuse the genres of art and fashion photography in ways that break down their long established boundaries. They are widely consumed in traditional lifestyle magazines, ad campaigns, museums. But because of the history of exclusion of black works from mainstream fashion pages and the walls of galleries, these artists are also curating their own exhibitions, conceptualizing their own zines and internet sites, and using their social media platforms to engage directly with their growing audiences, who often comment on how their photographs powerfully mirror their own lives.

In 2015, the South African photographer Jamal Nxedlana, 34, co-founded Bubblegum Club, a publishing platform with a mission to bring together marginalized and disparate voices in South Africa, and to “help build the self-belief of talented minds out there in music, art, and fashion.” Mr. Nxedlana’s Afrosurrealist images illustrate the stories of young artists from across the African diaspora. He sees his work as a form of visual activism seeking to challenge the “idea that blackness is homogeneous.”

It’s a perspective often seen in the work of this loose movement of emerging talents who are creating photography in vastly different contexts — New York and Johannesburg, Lagos and London. The results — often in collaboration with black stylists and fashion designers — present new perspectives on the medium of photography and notions of race and beauty, gender and power.

Their activity builds on the long history of black photographic portraiture that dates to the advent of the medium in the mid-1800s. More immediately, their images allude to the ideas of self-presentation captured by predecessors like Kwame Brathwaite, Carrie Mae Weems and Mickalene Thomas. What is unfolding is a contemporary rethinking of the possibilities of black representation by artists who illustrate their own desires and control their own images. In the space of both fashion and art, they are fighting photography with photography.

“The fashion image is vital in visualizing minorities in different scenarios than those seen before in history,” notes Campbell Addy, 26, a British-Ghanian photographer. Mr. Addy’s emerging archive gives pride of place to more fluid expressions of sexuality and masculinity in stylized images — like his untitled portrait of a shirtless black man whose face is covered in a makeshift red-and-white mask and his neck adorned with pearls and a rosary. “To play with fashion is to play with one’s representation in the world,” adds Mr. Addy, who also founded a modeling agency and the Niijournal, which documents religion, poetry, fashion and trends in photojournalism. “There’s a sense of educating the viewer,” he says.

Inspiration for Arielle Bobb-Willis’s pictures of black figures, whose faces are generally obscured from the camera’s gaze and whose bodies are captured in unnatural poses, can be found in the vivid canvases of modernist African-American painters such as Jacob Lawrence and Benny Andrews.

MS. Bobb-Willis is interested in how these artists applied a sly sense of abstraction in their portraiture, pushing representation beyond realism and stereotype. In her works, such as “New Orleans” (2018), a picture of a female figure wearing candy-colored garments as her body bends every which way before an abandoned storefront, Ms. Bobb-Willis, 24, showcases what she calls the personal “tension” of wanting to be visible in a culture that has long misrepresented the realities of black people.

For Quil Lemons, notions of family are a central concern. Mr. Lemons, 22, says his “Purple” (2018) series, striking portraits of his grandmother, mother, and sisters in his hometown Philadelphia, draw on a black-and-white photograph of his grandmother in a frontier-style dress. The four generations of women in his photos wear Batsheva floral print dresses that he selected to express a sense of home and intimacy. “The images are advocating, illuminating and cementing others’ existence,” says Mr. Lemons. “Overall, I’m offering insight or a glimpse into a world or life that could be overlooked.”

The British-Nigerian photographer Ruth Ossai, 28, also incorporates her own Ibo family in eastern Nigeria and relatives in Yorkshire, England. “I try to show texture, depth and love — the strength, tenacity and ingenuity of my subjects,” she explains. In Ms. Ossai’s elaborate, playful and fashionable portraits, they are dressed in a mix of traditional garments and western wear. She says of her photographs, “Young or old, my aunties and uncles flaunt our culture and sense of identity unapologetically, with a sense of pride and confidence.”

Her 2017 series, “fine boy no pimple” features her younger cousin, Kingsley Ossai, reclining in an oversized red suit and yellow durag while holding an umbrella, against a printed backdrop depicting a pastoral landscape. Much of her work, which sometimes incorporates collage and has been published in fashion campaigns for Nike and Kenzo, is inspired by contemporary West African pop music, Nollywood films and the pomp of Nigerian funerals. It is evocative of the African mise-en-scène studio portraiture of the 1960s, created by such artists as Sanlé Sory in Burkina Faso and Malick Sidibé in Mali.

The documentary nature of Stephen Tayo’s street snapshots of stylish shopkeepers, elders and youth in Lagos speak to this generation’s interest in recording contemporary black identity and its use of photographs as a space for fresh invention. His untitled 2019 group shot of modish young men huddled together on a street in colorful suiting showcases traditional Nigerian weaving techniques while alluding to the “youthquake” movement taking hold in his city. The image also conjures the post-independence street photography of the Ghanaian artist James Barnor.

“The current generation is keen on just believing in their crafts” says Mr. Tayo, 25, whose work is currently on view in “City Prince/sses” at Palais de Tokyo in Paris. “It’s also very to be part of a generation that is doing so much to regain what could be termed ‘freedom.’”

Images of the black body are not the only way these photographers consider notions of identity and heritage. The Swiss-Guinean photographer Namsa Leuba focuses on specific objects used in tribal rituals across the African diaspora to probe, conceptually, the way blackness has been defined in the western imagination. Ms. Leuba, 36, creates what she calls “documentary fictions” that possess an anthropological quality. In series like “The African Queens” (2012) and “Cocktail” (2011), her figures are draped in ceremonial costume and surrounded by statues imbued with nobility.

Awol Erizku, in addition to his celebrity portraits of black actors and musicians such as Michael B. Jordan and Viola Davis, creates powerful still life imagery filled with found objects set against monochromatic backdrops. They reference art history, black music, culture and nature. The works also highlight Mr. Erizku’s interest in interrogating the history of photography while disrupting existing hierarchies.

In “Asiatic Lilies” (2017), a black hand with a gold bangle holds a broken Kodak Shirley Card, named for the white model whose skin tone was used to calibrate the standard for color film. The hand is comparing the card to objects that have been whitewashed, including a bust of Nefertiti, painted black. Mr. Erizku, 31, also includes in his photograph a small gold sculpture of King Tut, and fresh lilies, the flower of good fortune.

The message for his generation of image makers is clear: “I am trying to create a new vernacular — black art as universal.”

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mikeyd1986 · 6 years ago

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MIKEY’S PERSONAL BLOG 116, August 2018

Last Saturday afternoon, I decided to spend my day off work by visiting the Mornington Peninsula Regional Gallery for the National Works on Paper 2018 exhibition. It’s not very often that I have a day to myself to not worry about the many commitments in my life. Being on open area at Dunns Road Reserve, there was absolutely no protection from the strong gusty winds blowing over the peninsula. As it turns out, today they had some artist talks on that afternoon and I figured that I might as well stick around for at least one of them.

The first talk was by Cameron Robbins who produces “wind drawings” using a wind machine which features many turbines, pulleys, wires, a rotating drawing board, a weather vane and a black fineline pen. Along with the MPRG curator Danny Lacy, Cameron discussed how variables such as the wind speed, wind direction, rain and sunlight impacts on what the drawing produced will look like. He also brought up concepts like Chaos Theory and Fractal Design as inspirations for his work as an artist.

The artist talks drew quite a large crowd today of around 50-60 members which was very unexpected. I had a brief wander around the exhibition and was very impressed by the high quality of the artwork. Lots of hours and so much detail went into these pieces which covers everything from paintings and drawings to sculptures, collages and mixed media works. Whilst I’ve pretty much gone on hiatus as an artist myself, I will always have a huge appreciation for art and fellow artists in the community. https://mprg.mornpen.vic.gov.au/Exhibitions/Current-exhibitions/2018-National-Works-on-Paper

On Monday night, I had my second session with the Men of Doveton health and fitness program at Doveton College. This week we started the session downstairs in the gym where we did some footy training lead by Mitch from the Casey Demons. It’s actually been about 16 years since I last did anything football related and re-learning the sport tonight brought up some emotional issues in me from high school. Part of it is that fact that I’m not the biggest fan of footy and never really got into it. http://www.melbournefc.com.au/casey-demons

Playing any kind of team sport during my P.E. classes was something that I really didn’t enjoy whatsoever. I had fears around being hit in the face by the ball, being tackled by other students, doing something dumb if I was in possession of the ball and been made fun off because I was really terrible at footy. It was a huge weakness of mine both ball-handling skills and getting involved during a game.

Thankfully tonight, all of those hurts from the past have been laid to rest. All the guys in the Men of Doveton program are starting at ground zero and this is very much a supportive and encouraging environment. The aim is to basically just have a go and participate as much as possible. We started by doing some hand balling at a distance of 5 meters then doing some kick-to-kick at 10 and 15 meters.

Of course the footballs were flying in all directions but it was honestly fine. It was all about having fun and not taking things too seriously. I did well to not let that 16 year old version of Michael Dixon out. He would have been off the footy field trying everything possible to avoid the ball. Next we did a few games and drills, learning how to bounce the ball properly, aiming and kicking at goals and avoid being tagged by other players.

Lastly, we got divided into two teams: the plains and the whites and played a game of basic footy with just hand balling and no contact. This was another thing I used to struggle with back in high school is that nobody ever passed the ball to me because they knew I was a weak player and would end up making the team lose. But again that stuff was a long time ago and I did my best to get involved by passing the ball around and being distracting to the opposite team. It actually felt good participating in a sport I haven’t played in a very long time.

The second half of the session focused on mental health issues. After catching our breaths (Seriously so not used to running up and down a basketball court), we returned to the theatre and Mo gave everyone a journal for us to keep and write down any positive thoughts, things that we’re grateful for, reflections etc in. Writing is a huge part of me and probably the area I have the least amount of difficulty in. However, I do sometimes get forgetful and need to remember to actually do it.

Lastly we had a guest speaker named Greg from Beyond Blue talking about his personal experiences with Bipolar disorder. Being an Irishman, we was very animated and funny but also understandably nervous about sharing his story. I could very much relate to his degree of denial and assuming that “I’m fine” after one or two counselling sessions. There are always underlying issues to be found and back when I was originally diagnosed with depression and anxiety over 10 years ago, I wasn’t ready to open up or unpack my baggage. https://www.beyondblue.org.au/get-support/get-immediate-support

The most important things I learned from Greg’s talk is the importance of finding the right counsellor or therapist for you, having lots of support and people you can trust in, not being afraid to speak up about mental health issues, accepting that it’s okay to not be okay as well as express normal human emotions. I really didn’t feel comfortable enough to speak up about my own issues in this large group setting but it’s something that I’m working towards. https://www.caseystadium.ymca.org.au/whats-on/upcoming-events/event/men-of-doveton-free-health-program-2

On Tuesday night, I attended the first of four NDIS workshops hosted by AMAZE (Formerly Autism Victoria) at Bunjil Place in Narre Warren. I haven’t fully processed the fact that my access request was successful and that I’m now officially an NDIS participant so now I have a reason to attend these workshops beyond just gaining knowledge and information. A lady named Pamela Gatos, who presented at the info night a few months back, has returned to run this workshops designed to better prepare NDIS participants for the journey ahead. http://www.amaze.org.au/2018/04/amaze-announces-ndis-information-sessions-and-workshops-sign-up-now/

There were about 20 other parents, carers and people with autism in the same meeting room as I was. The silence was very uncomfortable for me but I was 100% determined to push through it. I did find that Pam could come across as blunt, intimidating and snarky at times, often making very sarcastic comments about the NDIS and all the negative stories she’s heard about it.

To be fair, her opinions can be justified as I myself has found the NDIS to be a very daunting, overwhelming and confusing system to wrap my head around. She also has a lot of experience working with current participants and families with autistic kids and adults so she knows what she’s talking about.

Tonight’s workshop focused on the topics of: The 3 types of management for the funding of supports (Self Management, Plan Management and Agency Management), the NDIS Pricing Guide July 2018, how to access the NDIS portal via the mygov website, the 3 types of Supports (Core, Capital and Capacity Building) and the 15 support categories. https://www.ndis.gov.au/participants/reasonable-and-necessary-supports

It was a lot of information to process but it did get me thinking about which supports I should be asking for in my plan. The ones I could identify for myself include: Improved living Arrangements, Increased Social and Community Participation, Finding and Keeping a Job, Improved Health and Wellbeing, Improved Life Choices and Improved Daily Living Skills. https://abilityoptions.org.au/ndis/ndis-supports-categories

The challenge now is to find arguments to justify why these supports are reasonable and necessary. It’s probably the most difficult part of the whole process as it’s an important part of the planning meeting and developing my first plan. It’s going to take many baby steps but I know I’ll get there. Still I really wasn’t a fan of Pamela’s attitude and personality. She came off as a judgemental bitch and wasn’t very constructive.

Being the odd-one-out (an adult diagnosed with Autistic Spectrum Disorder rather than a child), I didn’t feel supported or accepted in that meeting room. I walked out of this first workshop feeling very conflicted and confused as I really didn’t like Pamela’s views or approach to NDIS preparation. So I think that I’m going to look elsewhere. https://www.ndis.gov.au/operational-guideline/planning/participant-statement-goals

On Friday afternoon, I saw my counsellor Ruth at Piece Together Counselling in Narre Warren. The high velocity winds outside and poor quality of sleep have really impacted on my moods and emotions this week. I’ve found myself taking a lot of things personally including my opinions about the UNIFY 2019 lineup and my decision not to go next year, the pressures placed upon me by others including customers and members of the general public. It all got a bit much for me this week and now I’m feeling drained and exhausted.

Ruth reminded me of the importance of using Cognitive Behavoural Therapy and not allowing myself to fall into the trap of maladaptive thinking. It’s the reason why I often take things so personally. To essentially consider alternative explanations for the way other people react to situations and not believe that I’m the sole cause of it. She also pointed out that using my journal more regularly is vital to focus more on the positive aspects in my life. https://www.succeedsocially.com/challengethoughts

On Friday night, I went to my Strength and Circuit small group training session at CinFull Fitness. I was honestly feeling like shit after some posts on social media was dragging me down inside plus I was mentally drained from how busy my week has been. Tonight I was training with a couple of other clients. We did some warm-up drills with the dead balls doing overhead squats and ball slams plus walking lunges with dumb bells, kettle bell swings and push-ups.

Next we did a series of exercises to work and tone the biceps and triceps including rows, kick-backs and curls, tricep push-ups and lifts. Lastly we did some core training using the med balls including overhead situps, pull ups with leg extensions and Russian twists. It was very difficult for me to keep up as I was fatiguing and feeling out of breath a lot quicker than the others and Cinamon noticed straight away. Plus lots of sweat but that’s nothing new for me.

I guess I want to do the best that I can but also have to be aware and mindful about my physical limitations. I have to keep reminding myself that there’s no shame in needing to stop and rest, that nobody is going to judge me for not being as physically fit as they are. Doing strenuous exercise is still a struggle for me but I’m determined to keep plugging away at it, no matter how long it takes me. I want to continue to lose weight and improve my fitness as I need to make classes like these a regular part of my routine. https://www.facebook.com/CinFullFitness/

“I watched them go 'round and 'round. My blouse wrapping itself in your trousers. Oh the waves are going out. My skirt floating up around my waist. As I wade out into the surf. Oh and the waves are coming in. Oh and the waves are going out. Washing Machine.” Kate Bush - Mrs. Bartolozzi (2005)

“There were hundreds of people living here. Sails at the windows. And the planes came crashing down. And many a pilot drowned. And the speed boats flying above. Put your hand over the side of the boat. And what do you feel?” Kate Bush - A Coral Room (2005)

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artistasrelevantes-blog · 5 hours ago

Text

MACCHI, JORGE

Born in Buenos Aires, Argentina, in 1963.

Lives and works in Buenos Aires.

Education

Studied art at the National School of Fine Arts in Buenos Aires.

Exhibitions (selected)

2017

Díptico, Jorge Macchi and Nicolás Fernandez Sanz, Galería Ruth Benzacar, Buenos Aires. Mikrokosmos, Galerie Peter Kilchmann, Zurich. Threshold, Alexander and Bonin, NY.

2015

Lampo, curated by María Iovino , NC ARTE, Bogota, Colombia.

2013

Loop, Alexander and Bonin Gallery, New York, USA.

Awards (selected)

2005 ArtPace, San Antonio, Texas. USA.

2002 Civitella Ranieri Fellowship, Italy.

2001John Simon Guggenheim Memorial Foundation Fellowship, New York, USA.

2000 Fondo Nacional de las Artes Fellowship, Buenos Aires, Argentina.

#jorge macchi #jorge #macchi #man #argentina

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micaramel · 7 years ago

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Artists: Aimar Arriola, Nicole Bachmann, Omer Fast, Pedro G. Romero, Paul Maheke, Amalia Pica

Venue: Tenderpixel, London

Exhibition Title: A Gesture Towards Transformation

Note: Aimar Arriola’s Keratin Manifesto associated with the exhibition is available for download here.

Date: October 4 – November 25, 2017

Click here to view slideshow

Pedro G. Romero, excerpt of La Casa, 2005, video

Full gallery of images, video, press release and link available after the jump.

Images:

Video:

Omer Fast, excerpt of CNN Concatenated, 2002, video

Images and videos courtesy of Tenderpixel, London. Photos by Orestis Lambrou.

Press Release:

As verbal communication is becoming less and less trustworthy – and one could say, purposely and progressively emptied out of meaning through politics and mass media – we search for meanings that lie elsewhere. How can we free ourselves from set definitions enforced by spoken language’s power structures? Beyond words, we find plenty of other forms of communication, such as sound, tone, gesture, movement, rhythm, resonance and the repetition of all of the above. They are essential to how we go through the world, arranging the space between ourselves and our others – our boundaries become relational, they touch and intersect.

Such ways of sensing and describing our circumstances become essential parts of our identities. This is how we relate to our surroundings, how we define ourselves in the eyes of others as well as to ourselves, thinking about the permeability of borders such as our skin. With A Gesture Towards Transformation, the gallery spaces become a territory encoding a multiplicity of identities and geographies, constantly shifting and moving.

Expanding the idea of the present, the works were conceived and enacted at various historical moments over the last two decades, and yet remain viscerally relevant to our current times. Carrying the potential for transformation and activism, rather than being directly reactionary to contemporary politics, they build a new language and meaning bottom up, and through their own logic. Rather than creating utopian or parallel circumstances, the works exist in this reality and articulate empowering statements.

Aimar Arriola (b 1976 Markina-Xemein, Basque Country, Spain) works as an independent researcher, curator and editor based in London and Basque Country. He is a graduate from PEI Independent Studies Program at Museum of Contemporary Art (MACBA), Barcelona, and Curatorlab – Curatorial Postgraduate Program at Konstfack University, Stockholm.

At present, he is a Visual Cultures PhD Candidate at Goldsmiths, University of London, UK as well as Chief editor of The Against Nature Journal, a new inquiry on the ‘against nature’ concept in law initiated by Council, Paris, FR. Together with Nancy Garín and Linda Valdes, he develops AIDS Anarchive, a long term project on the cultural responses to HIV/AIDS in southern Europe and Latin America, with a focus on Spain and Chile.

In 2016-2017 he has developed exhibitions and public program initiatives in contexts such as The Showroom, London, UK; CentroCentro, Madrid, SP; Tabakalera, San Sebastián, SP; Museum of Fine Arts, Bilbao, SP, among others. He has been a researcher-in-residence at X Central American Biennial, Costa Rica (2016); Visual AIDS, New York, US (2014); and Reina Sofía Museum, Madrid, SP (2012-2013).

As a writer, he has contributed to Afterall Journal, Caderno Videobrasil, We Who Feel Differently (an editorial project by artist Carlos Motta), and L’Internationale Online. He runs Album, his own on-and-off publishing house and is the editor of various artist books and web projects.

Nicole Bachmann (b 1978, Zurich Switzerland) is based in London and Zurich.

After graduating from Zurich University of the Arts, she completed an MFA at Goldsmiths, University of London, in 2010. In her practice Nicole Bachmann explores ways of knowledge production through the use of the voice, language, movement and rhythm, and how can they be activated by the individual to make oneself heard and used as an agent for social and political change.

A selection of solo and group exhibitions includes Block Universe, Performance Art Festival, London, UK; London meets Altdorf, Haus für Kunst, Uri, Switzerland; Helmhaus Museum, Zurich, Switzerland; Solo Show, Corner College, Zurich, CH (all 2017); Historical Exhibition: Sites under construction, co-curated by Francesca Gavin, Manifesta 11, Zurich, CH; Performance, Haus der Zünfte, Cabaret Voltaire, Zurich, CH; L*, a project by Marie-Michelle Deschamps, Darling Foundation, Montreal, CA; Take One/Take Two/Take Three, Eastside Projects, Birmingham, UK (all 2016); DOings & kNOTs / Tegevus-sõlmed, Tallinn Art Hall, Estonia Rhythm of Thought, Whitechapel Gallery, London, UK; Look Live, Performance, ICA, London, UK; Control / Shift / Plus, Museum Bärengasse, Zurich, CH; Werkstipendien, Helmhaus, Zurich, CH (all 2015); Objective Considerations, MOT International Project Space, London, UK; Say it in words, Coleman Project Space, London, UK; Performance as Publishing presents: The flow between the thing and the word, Modern Art Oxford, UK; Performance as Publishing, New York Art Book Fair, with Classroom curated by David Senior, PS1, NY, US; Swiss Art Awards, Basel, CH Aus dem OFF, curated by Patricia Bianchi, Winterthur, CH (all 2014); Disappearing Into One, Zabludowicz Collection, London, UK (2013); Performance as Publishing, Kunsthalle Basel, CH (2012); Ha, around the corner of one eye, Perla Mode, Zurich, CH (solo presentation) (2011).

Her recent awards include Werkbeitrag, the Swiss Arts Council Pro Helvetia; Winner Werkstipendium (Art Prize) City of Zurich, CH; and Art Prize 2008, Nationale Suisse, Basel, CH; she has been awarded a number of residencies including Residency at LUX, London and Residency at Edinburgh Sculpture Workshop both with Ruth Beale and the Escalator program atWysing Arts Centre, Cambridgeshire, UK. And several project grants by various foundations and Arts Council England and Swiss Arts Council.

Omer Fast (b 1972, Jerusalem Israel) lives and works in Berlin. He has received an MFA from Hunter College in New York City and completed his BFA from Tufts University/School of the Museum of Fine Arts (1995). He is a contemporary video artist and filmmaker, employing multichannel techniques, repetition and re-staging narratives at the frontier of documentary and fantasy.

He is the recipient of Preis der Nationalgalerie für junge Kunst, Berlin and 2008 Bucksbaum Award from the Whitney Museum of American Art and the Louis Comfort Tiffany Foundation Prize (2003).

Solo shows include Talking is not always the solution, Martin-Gropius Bau, Berlin, DE(2017); Continuous Present, Baltic Center of Contemporary Arts, Gateshead; Omer Fast, James Cohan, New York, US; Omer Fast, Kunsten Museum of Modern Art, Aalborg, DK(all 2016); Omer Fast, Le présent continu, Jeu de Paume, Paris, FR; Omer Fast, Taro Nasu Gallery, Tokyo; MOCAK Muzeum Sztuki Wspolczesnej w krakowie, Krakow, PL(all 2015); 5000 Feet is the Best, Stedelijk Museum, Amsterdam, NL(2014).

Selected group shows include Please come back. The world as prison?, MAXXI, Rome; Modern and Contemporary Art Portland Museum, Portland, UD; Looking for the Clouds,Casino Luxembourg Forum d’art contemporain, Luxembourg, LX; Under Arms, Fire & Forget 2, Museum Angewandte Kunst, Frankfurt, DE (all 2017); Fire and Forget, Museum für Angewandte Kunst, Frankfurt, DE; Whistleblowers and Vigilantes; Figures of Digital Resistance, Hartware Medien Kunst Verein, Dortmund, DE; Art from Elsewhere, Towner, Eastbourne; Thomas Demand: L’image volée, Fondazione Prada, Milano, IT; Se souvenir des belles choses, Musée Régional d’Art Contemporain Languedoc-Roussillon Midi-Pyrénées, Sérignan, FR (all 2016); 1st Asia Biennial / 5th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou; Fomo, Friche de la belle de Mai, Marseille; Art from Elsewhere, Birmingham Museum & Art Gallery, Birmingham, UK (all 2015); Invisible Hand: Curating as Gesture, CAFAM Biennale, Central Academy of Fine Arts Museum, Beijing CH (2014).

His work has been acquired and included in permanent collections of Whitney Museum of American Art, Solomon R. Guggenheim Museum and the Metropolitan Museum of American Art in New York, US; The Los Angeles County Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris, FR; and the Stedelijk Museum, Amsterdam, NL. He is the recipient of Preis der Nationalgalerie für junge Kunst, Berlin, DE (2009), Bucksbaum Award from the Whitney Museum of American Art (2008) and the Louis Comfort Tiffany Foundation Prize (2003).

Pedro G. Romero (b 1964 Aracena, Huelva, Spain) lives and works in Seville, where he graduated in Fine Arts. His body of work unfolds through multiple disciplines: he worked as a curator, sculptor, painter, flamenco expert, performer, theatrical author, screenwriter, critic of art and literature, editor and essayist.

He is the recipient of a selection of important awards such as the Spanish National Radio prize ‘El Ojo Crítico’ and a scholarship from the Cartier Foundation in Paris. He is the author of two publications on his own work, Las correspondencias and Los países, in a co-edition between Casa sin fin and Periférica. His project Archivo FX (an open archive, created at the end of the 90s, that establishes relations between different readings of documentary sources, used as a dictionary which also functions as an artistic index), has been exhibited in institutions such as the Tàpies Foundation (Barcelona), the Reina Sofía Museum (Madrid), the Venice Biennale, Manifesta, the Serralves Foundation (Porto), the MUSAC (Leon), MACBA (Barcelona), Montehermoso Cultural Center (Vitoria), CAPC (Bordeaux), MUDAM (Luxembourg), the Sculpture Center (New York), the Picasso Museum (Barcelona) or the Kunstverein in Stuttgart, among others.

Selected solo and group shows include dOCUMENTA 14, Kassel, DE; Máquinas de Trovar, àngels Barcelona, ES; Don Dinero Dos (Mister Money Two), Galería Casa Sin Fin, Madrid, ES (all 2017); Atlas. How to Carry the World on One´s Back?, Museo Nacional Centro de Arte Reina Sofía, Madrid, ES; ZKM, Karlsruhe; Deichtorhallen, Hamburg, DE; (all 2011-2012); Manifesta 8, Cartagena, Murcia, ES; Monument to Transformation, Montehermoso, Vitoria-Gasteiz, ES; (2010); Insiders. Practices, Customs, Know-How, Musée d´art contemporain, Bordeaux, FR; Out of Storage II: Rythmes, Musée d´Art Moderne Grand-Duc Jean, Luxemburg, LU; (2009); Soy el final de la reproducción, SculptureCenter, Long Island, US (2008); Silo. Archivo F.X., Museo Nacional Centro de Arte Reina Sofía, Madrid, ES;The Unavowable Community, Catalan Pavilion, 53rd Venice Biennial, Venice, IT (all 2009); Soy el final de la reproducción, Castillo/Corrales, Paris, FR; MACBA im Frankfurter Kunstverein, Kunstverein Frankfurt, DE; 1st Thessaloniki Biennial of Contemporary Art, Thessaloniki, GR (all 2007); Archivo F.X. La ciudad vacia, Fundació Antoni Tàpies, Barcelona, ES (2006).

His work as curator includes Brossa Poetry, MACBA, Barcelona, Es (2017); The Spanish Night. Flamenco, Avant-Garde and Popular Culture, Museo Nacional Centro de Arte Reina Sofía, Madrid, ES (2007-2008) and A Theatre Without Theatre, MACBA Barcelona, ES (2007).

Paul Maheke (b 1985, Brive-la-Gaillarde France) lives and works in London. He completed an MA Art Practice from École nationale supérieure d’arts de Cergy (2011) and was an Associates of study at Open School East’s Programme of study, London, UK (2015), with a focus on research and public engagement around identity politics and new subjectivities, dance and the body as political and affective archive.

Selected solo and group exhibitions from recent years include Acqua Alta, Galerie Sultana, Paris, FR; What Flows Through and Across, Assembly Point, London, UK; In Me Everything is Already Flowing, cur. Room E-1027, Center, Berlin, DE; Ten Days Six Nights, cur. Catherine Wood and Andrea Lissoni, Tate Modern, UK; Diaspora Pavilion, cur. David A. Bailey, during 57th Venice Biennale, IT; (X) A Fantasy, David Roberts Art Foundation, London, UK; Partitions Performances, cur. Christian Alandete, Fondation Ricard, Paris, FR; Klub Fiesta, cur. Michal Novotný + Lumír Nykl, Plato, Ostrava, CZ; The problem with having a body / is that it always needs to be somewhere, The Approach, London, UK; Posthuman Complicities, cur. Andrea Popelka and Lisa Stuckey, Akademie der Künste, Vienna, AT; Opaque Poetics, Music Festival cur. Nkisi, Wysing Arts Centre, Cambridge, UK; La Pensée du Tremblement, cur. Diamètre, YGREC, Paris, FR; Habits of Care, cur. Helena Reckitt, Blackwood Gallery, Toronto, CA (all 2017); I Lost Track of the Swarm, South London Gallery, London, UK; Green Ray Turns Out To Be Mauve, Green Ray, London, UK (all 2016); Re-former le monde visible, Le 116, cur. Marlène Rigler, Montreuil, France; Festival of minimal actions, cur. Thomas Geiger, Bruxelles, Belgique; Paysage Sauvage / Wilderness, Les Banquets du Château, cur. Marianne Lanavère, Centre International d’Art et du Paysage – Île de Vassivière, France (all 2014); 59th Salon de Montrouge, France; VIVA!, Centre CLARK, Montreal, Quebec; Si nous continuons à nous parler le même langage, nous allons reproduire la même histoire, Le Commissariat, Treize, cur. Mikaela Assolent + Flora Katz, Paris, France; Videoakt, French Institute, Barcelona, Spain; Supermarket 2013, LMDP crew, Kulturhuset, Stockholm, Sweden (all 2013); «Pratiques Furtives» : fragments d’une enquête, cur. Patrice Loubier, Skol art center, Montreal, Quebec (2012); Le musée performatif, Patio del Liceo, cur. Liv Schulman, Bueños Aires, Argentina (2011).

Paul Maheke was awarded the South London Gallery Graduate Residency, UK, 2015 – 2016; Moving UP, commissioned by The Serpentine Galleries, London, UK, 2015; Darling Foundry, Montreal, 2015; Centre International d’Art et du Paysage, Vassivière, France, 2014; Résidence de la Ville de Montrouge, France, 2014; Villa Pan, Hors les Murs programme, French Institute, Suzhou, China, 2010.

Amalia Pica (b 1978, Neuquén, Argentina). She is currently living and working in London and is the 2011 recipient of a grant from the Cisneros Fontanals Art Foundation, Miami. Completing her education at Rijksakademie van Beeldende Kunsten, Amsterdam, NE and Instituto Universitario Nacional del Arte, Buenos Aires, AR, her work has its interest in social circumstances and their effect on how language is used to communicate, along with the potentiality of language. She makes us of comical and historical narratives to explore social situations, communal spaces and freedom of speech.

Selected solo and group shows include The Power Plant, Toronto, CA Institute of Modern Art, Brisbane, AU; A un brazo de distancia, NC Arte, Bogotá, CO; Instituto de Vision, Bogotá, CO (both 2017); Double Edge, Folkestone Triennial, Folkestone, UK; This Is Not a Selfie: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of

Art, San Jose, US; EXIT, curated by Adam Carr, Rodolphe Janssen, Brussels, BE; The Shyness of the Crowns, Museum of Contemporary Art, Vigo, ES; FRAC Lorraine, Metz, FR; Nieuw Amsterdams Peil: Where do we go from here?, Amsterdam, NL; Gray Matters, Wexner Center for the Arts, Columbus, US; Asamble (performance), Solomon R. Guggenheim Museum, New York, US; Drawing Biennial 2017, The Drawing Room, London, UK; EAT SLEEP WORK REPEAT, Travelling Gallery, Scotland (various locations), UK; The String Traveller, S.M.A.K, Ghent, BE; CONDO, Herald St, London, UK (all 2017); Blow the Whistle, Beat the Drum, Mark Foxx, Los Angeles, US; Gwangju Biennale, Gwangju, KR; Manifesta 11, Zurich, CH (all 2016); PORTLLIGAT, El Nuevo Museo de Arte Contemporáneo, Guatemala City, GT; Galerie Johann König, Berlin, DE (all 2015); La Criée Centre d’art Contemporain, Rennes, FR; A ∩ B ∩ C (line), Van Abbemuseum, Eindhoven, NL; Switchboard, Mostyn, Llandudno, UK; One Thing After Another, Stigter van Doesburg, Amsterdam, NL (all 2014); Amalia Pica en el MNBA, Museo Nacional De Bellas Artes, Neuquen, AR; Se essas paredes falassem, Phosphorus, São Paulo, Brazil, BR; A ∩ B ∩ C (line), Herald St, London, UK; Memorial for Intersections, Kunsthalle Lissabon, Lisbon, PT; Low Visibility, Galerie Johann Konig, Berlin, DE; A ∩ B ∩ C, Museo Tamayo, Mexico City, MX (all 2013); Amalia Pica, Chisenhale Gallery, London, UK (2012); I am Tower of Hamlets as I am in Tower of Hamlets, just like a lot of people, Off-site project, Chisenhale Gallery, London, UK ( all 2011).

Link: “A Gesture Towards Transformation” at Tenderpixel

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