#kirsten swenson

[garadinervi]

Converging Lines: Eva Hesse and Sol LeWitt, Edited by Lucy R. Lippard, Blanton Museum of Art in association with Yale University Press, New Haven, MA, and London, 2014

Essays: Lucy R. Lippard, Veronica Roberts, and Kirsten Swenson

Exhibitions: Blanton Museum of Art, The University of Texas at Austin, Austin, TX, February 23, 2014 – May 18, 2014; Cleveland Museum of Art, Cleveland, OH, April 3 – July 31, 2016

Cover Art: Eva Hesse, Untitled, (gouache, watercolor, silver paint, and pencil on paper), 1968. Cleveland Museum of Art, Cleveland, OH. Private collection. © The Estate of Eva Hesse. Courtesy Hauser & Wirth)

[fxirytxlcfxtc]

Tag Dump - Muses, 5/??

[sokinematic]

Kirsten Dunst as Amber Atkins, Denise Richards as Rebecca Ann Leeman, Amy Adams as Leslie Miller, and Brittany Murphy as Lisa Swenson in "Drop Dead Gorgeous" (1999).

[artbookdap]

American philanthropist Marguerite Steed Hoffman —whose remarkable Dallas collection is documented in 'Amor Mundi,' the forthcoming 980-page, 2-volume publication from @ridinghousebooks — is profiled by @georginacadam this week @financialtimes⁠ ⁠ "Hoffman’s holdings of contemporary art have astonishing depth and breadth, covering painting, sculpture, photography, new media and installations and photography. They brim with pretty well all the super-established names — Agnes Martin, Robert Rauschenberg, Louise Bourgeois, Willem de Kooning,⁠ Ellsworth Kelly — as well as lesser-known ones such as Vincent Fecteau, Aleana Egan and Shelagh Wakely. Everything in this part of her collection will go to the Dallas Museum of Art at the time of her death.⁠ ⁠ The book on her collection, ‘Amor Mundi: The Collection of Marguerite Steed Hoffman’, is now published by Ridinghouse. 'This is a love project,'⁠ she says.'"⁠ ⁠ Read the feature via linkinbio.⁠ ⁠ Edited by Gavin Delahunty. Texts by Martin Jay, Renée Green, Susan L. Aberth, Sarah Celeste Bancroft, Renate Bertlmann, Anna Katherine Brodbeck, Susan Davidson, Gavin Delahunty, TR Ericsson, Tamar Garb, Robert Gober, Rachel Haidu, Merlin James, Wyatt Kahn, Ragnar Kjartansson, Anna Lovatt, Leora Maltz-Leca, Nic Nicosia, Charles Ray, Mark Rosenthal, Dana Schutz, Barry Schwabsky, Richard Shiff, Raphaela Simon, Michelle Stuart, Kirsten Swenson, Mary Weatherford, Terry Winters. Interviews by Martin Jay and Marguerite Steed Hoffman, Gavin Delahunty and Isabelle Graw.⁠ ⁠ Designed by @apracticeforeverydaylife⁠ ⁠ Printed by @veronalibri⁠ ⁠ #amormundi #ridinghousebooks #thebestisyettocome⁠ https://www.instagram.com/p/CbF1xVBrNms/?utm_medium=tumblr

[whileiamdying]

MARINA ABRAMOVIĆ

by Kirsten Swenson June 4, 2010 4:01pm

Marina Abramović’s “The Artist Is Present,” the Museum of Modern Art’s first performance-art retrospective, heralds the discipline’s arrival as mainstream museum fare. It is something of an uncomfortable fit. The genre’s long marginalization reflects its tendency toward extremism, often in the service of politicizing the body. Also challenging for a conventional museum is the critical imperative that performance art take place in real time before a live audience. While Abramović’s retrospective is deeply informative, it reveals the museum’s—and the artist’s—struggle with the question of how to preserve the form and give it broad appeal.

Organized chronologically, the show provides a comprehensive picture of Abramović’s elusive career. It begins with her work as an art student and provocateur in her native Yugoslavia in the late 1960s and early ’70s. Photographs and videos track her path from Belgrade to Amsterdam to New York, and her work’s transition from a spare if demanding vocabulary of physical actions to the theatrical sensibility of the last 15 years. The conditions of life in Communist Yugoslavia inform her early career, and the residue of its constraints is reflected throughout. Among early work documented is The Airport (1972), in which speakers installed at the Student Cultural Center in Belgrade announced the arrivals and departures of fictional flights, underscoring the restrictions on travel under Tito.

Abramović’s first foray into live performance was a series called “Rhythms” (1973-74), which concluded with Rhythm 0. In this infamous piece, the artist sat unresponsive at a table arrayed with food, weapons and intoxicants, and invited viewers to apply these items as they wished, promising that she would “take full responsibility.” The now legendary event, presented at Studio Morra in Naples and never restaged, became an early instance of “participatory” art: audience members were pressed to police each other’s behavior when (according to slightly murky accounts) the artist was threatened with a knife and a gun.

Abramović met the German artist Ulay (Frank Uwe Laysiepen) in Amsterdam in 1975, and over the next 13 years they collaborated on rule-bound but unrehearsed performances, the durations of which were limited by physical or emotional exhaustion. Their most notable joint performances distilled the strengths and tensions of powerful relationships; the impossibility of intersubjective experience is the lesson of Talking about Similarity (1978), in which Ulay sewed his mouth shut and Abramović attempted to answer questions for him. (It ended when she failed to capture his intentions.)

At MoMA, performers trained by Abramović work in two-hour shifts to continuously enact several of these collaborations (those chosen are among the few that don’t involve serious risk of bodily harm). The effect is largely to convert high-stakes undertakings into empty spectacles, abstracted from their original historical and personal circumstances. The most successful is Imponderabilia (originally presented in 1977 in Bologna),in which two nude performers, one male and one female, stand opposite each other in a narrow doorway at the exhibition’s entrance. Passing through this threshold—sideways, by necessity—entails the flash negotiation of one’s attitudes toward personal space and gender, since a choice must be made of which person to face.

After her collaboration with Ulay ended in 1988, Abramović’s performances grew increasingly ritualistic, sometimes relating to Balkan culture and history. For Balkan Baroque (1997), first performed at the Venice Biennale, Abramović laboriously scrubbed 6,000 pounds of bloody and malodorous cow bones; the mountain of clean bones in its re-creation is dramatic but hardly suggests the power of the original. Vastly different in tone is Balkan Erotic Epic (2005),a video piece in which the enactment of folkloric fertility rites renders them absurd.

Abramović is performing a new piece, The Artist Is Present, her longest yet, for the entire run of the retrospective. Every hour that the museum is open, she sits silently under klieg lights at a simple wood table in the museum’s atrium. Museum goers are invited to sit across from her. When I visited, her meditative quiet was genuinely transformative. Teenagers stopped texting; chatty groups paused to look at art. More viewers will witness this performance than have seen Abramović to date—and their narrative accounts of it will, as always, be the work’s most vivid documentation.

Photo: Marina Abramovic: left, The Artist Is Present, 2010, live performance. right, Balkan Baroque, 2010, re-creation of 1997 performance, 3-channel video, bones and mixed mediums. Both at MoMA.

[emmahargraves]

Chapter 5: Move to South America

This post concludes the previous 4 chapters of my blog, details below.

Chapter 6 will be where I document my experience moving from the USA to Chile. I left my job, bought a plane ticket (2 way, for 3 months), and have a place to live. That’s about it right now. I leave in 1 week. Stayed tuned for the first post of this chapter, a FAQ of why I decided this is what I wanted to do!

Previously on emmahargraves.tumblr.com:

Chapter 4 (January - May 2018)

Spring 2018: Art & the Environment Directed Study

During the final semester of my undergraduate studies, I explored a five-credit directed study on Art and the Environment under Dr. Kirsten Swenson at UMass Lowell. I used this blog to store my notes from books I read, excursions I went on, and reflections. My final product was a research paper about how public art can invite the public to contemplate the relationship between nature and humans.

Chapter 3 (August - December 2017)

Fall 2017: A space for undergraduate course assignments

Web Design

Writing in the Community

Chapter 2 (August - December 2016)

Fall 2016: Semester Abroad in Costa Rica

I moved abroad for the fall semester of my junior year during my undergraduate studies. took four intensive Spanish language courses and one course on climate change at the Universidad Veritas in San Jose, Costa Rica.

Chapter 1 (September 2013 - May 2014)

Year-long Research & Experiential Street Art Project Process

Seniors at my high school were required to complete a year-long research and experiential project that concluded in a 40-minute presentation to a panel and a “product.” I chose Street Art as my topic to explore and my product was a mural I proposed, designed, and painted independently.

[riotgrrravel]

RiotGRRavel 2017 Results

RACE RESULTS:

Place Time Bib# Name Division

1 49:12:00 607 Nygel (age 14) Dey-Johanneck 10

2 49:52:00 611 Lisa Ohnstad 10

3 1:22:57 606 Emily Johanneck 10

4 1:23:00 608 Cyrus (age 11) Dey-Johanneck 10

Place Time Bib# Name Division

1 1:23:59 436 Mark Westlake 20

2 1:26:58 409 Spanish Gonzales 20

3 1:29:02 416 Connie Webb 20

4 1:29:04 417 Matt Webb 20

5 1:47:34 407 Liz  Drews 20

6 1:48:12 406 Laura Crooks 20

7 1:48:14 438 Sarah McGee 20

8 1:48:16 427 Aaron Voreis 20

9 1:52:30 402 Andree Aronson 20

10 1:56:14 432 Lisa Gulya 20

11 1:56:15 433 Tara Loeper 20

12 1:57:32 117 Jamie Staebler 20

13 1:57:53 403 Jeremiah Carter 20

14 1:57:54 405 Ellie Carter 20

15 1:58:25 437 Amy Schwarz 20

16 1:59:12 401 Michaela Ahern 20

17 1:59:16 418 Courtney  Youngberg 20

18 2:11:58 424 Erik Swenson 20

19 2:11:59 423 Laura Dupre 20

20 2:14:33 414 Julia (age 13) Tassava 20

21 2:14:44 408 Melissa Eblen-Zayas 20

22 2:14:46 419 Roberto Zayas 20

23 2:24:26 435 Juniper (age 5) Magner 20

24 2:24:27 434 Alix Magner 20

25 2:28:24 441 RITA WILSON 20

26 2:28:25 440 STEPHEN WILSON 20

27 2:29:09 415 Genevieve (age 10) Tassava 20

28 2:29:13 413 Christopher  Tassava 20

29 2:29:24 426 Julia (age 13) Klein 20

30 2:30:03 425 Kathy Klein 20

31 3:11:47 404 Abraham (age 5) Carter 20

Place Time Bib# Name Division

1 1:51:43 146 Emily Flynn 33

2 1:51:44 95 Will Pass 33

3 1:51:46 120 Tim Staloch 33

4 1:57:32 117 Jamie Staebler 33

5 1:58:04 137 Jenna (age 15) Westlake 33

6 1:58:05 136 Sam (age 17) Westlake 33

7 2:01:11 44 Trisha Groth 33

8 2:02:48 97 Char Psihos 33

9 2:07:22 59 Kristin Johnson 33

10 2:07:56 108 Anna Schmitz 33

11 2:12:52 110 Kristin Sieg 33

12 2:12:56 56 Emily Houser 33

13 2:12:57 21 Robert Brown 33

14 2:14:26 114 Sara Smith 33

15 2:14:43 48 Kadence Hampton 33

16 2:14:45 155 ANDREI LEBEDER 33

17 2:14:48 6 Kate Ankofski 33

18 2:17:42 119 Trina Staloch 33

19 2:17:56 86 Teresa Morgan 33

20 2:22:44 1 Sandy Gress 33

21 2:22:59 83 Murray McSchuetski 33

22 2:27:27 16 Travis Boss 33

23 2:28:34 69 Christine Kurtz 33

24 2:28:59 131 Max Vonhohenberg 33

25 2:29:15 39 Alan Downie 33

26 2:29:40 40 Elaine Downie 33

27 2:30:02 79 Kat McCarthy 33

28 2:30:05 87 Sophie Nikitas 33

29 2:30:37 116 Steven Snyder 33

30 2:30:43 115 Krissy Snyder 33

31 2:33:45 135 Sara Wefel Collison 33

32 2:34:00 77 Erin Mattson 33

33 2:34:47 54 Karlijn Holzenthal 33

34 2:34:48 101 Lucy Roberts 33

35 2:35:34 122 Jill Suurmeyer 33

36 2:37:33 128 Jenny Prochnow 33

37 2:38:05 142 Vanessa Wise 33

38 2:38:06 33 Kyle Davis 33

39 2:38:17 31 Catherine Daigh 33

40 2:39:31 153 KIRSTEN HOOGENAKKER 33

41 2:39:38 134 Bill Webster 33

42 2:40:32 50 Elena Haynes 33

43 2:40:35 61 Tiana Johnson 33

44 2:45:57 151 VADIM PETIUL 33

45 2:46:10 147 Tatiana Hayes 33

46 2:47:01 94 Carol Parendo 33

47 2:47:02 88 Gina Oesterreich 33

48 2:47:04 51 Wendy Heck 33

49 2:47:18 140 Rhiannon Williams 33

50 2:47:25 70 Carey LaMere 33

51 2:49:37 109 Jennifer Seck 33

52 2:49:38 24 Nicole Call 33

53 2:52:05 5 Sarah Andersen 33

54 2:52:22 123 Michelle Terpening 33

55 3:00:19 96 Maggie Peterson 33

56 3:00:21 107 Paige Scheller 33

57 3:00:26 152 TARA SWANSON 33

58 3:00:53 19 Jane  Brandt 33

59 3:00:54 18 Dave Brandt 33

60 3:03:22 20 Robin Brandt 33

61 3:18:26 3 Carissa Schmidt 33

62 3:18:27 2 Sonnet Neisen 33

63 3:19:40 145 Colleen Zvosec 33

64 3:19:41 4 Beatrice Zvosec 33

65 3:26:19 12 Jaime Berglund 33

66 3:26:19 99 Kimberly Resheske 33

67 3:26:23 106 Laura Schaefer 33

68 3:26:24 130 Ashley  Von Edge 33

69 3:27:52 112 Ellie Skelton 33

70 3:27:54 124 Cedar Thomas 33

71 3:33:45 80 Michael McDonald 33

72 3:34:44 93 Rachel Pain 33

73 3:37:15 149 MC (Carrie) Muehlbauer 33

74 3:37:23 150 Green Kathleen 33

75 3:39:07 29 Ryan Clough 33

76 3:39:55 52 Taya Heinrich 33

77 3:52:52 143 Molly Young 33

78 3:52:53 14 Sarah Blair 33

79 3:55:00 63 Michelle Jordan 33

80 3:55:01 67 Wesley Kuhnley 33

81 3:56:00 113 Kristen Smith 33

82 3:57:00 43 Stephenie Greschner 33

83 3:57:01 129 Alicia Vin Zant 33

84 4:05:00 9 Brook Lemm-Tabor 33

85 4:05:01 23 Laura Burrichter 33

86 4:50:00 133 Cassie Warholm-Wohlenhaus 33

87 5:03:00 92 Karen Otto 33

88 5:03:01 91 Renn Otto 33

89 5:08:00 64 Natasha Kataeva 33

90 5:15:00 37 Erik Dosedel 33

91 5:15:01 38 Michael Dosedel 33

92 5:15:02 60 Marissa Johnson 33

93 5:15:03 118 Brittany Stahlman 33

[newbooks-tulibrary]

Critical landscapes : art, space, politics

From Francis Alÿs and Ursula Biemann to Vivan Sundaram, Allora & Calzadilla, and the Center for Urban Pedagogy, some of the most compelling artists today are engaging with the politics of land use, including the growth of the global economy, climate change, sustainability, Occupy movements, and the privatization of public space. Their work pivots around a set of evolving questions: In what ways is land, formed over the course of geological time, also contemporary and formed by the conditions of the present? How might art contribute to the expansion of spatial and environmental justice? Editors Emily Eliza Scott and Kirsten Swenson bring together a range of international voices and artworks to illuminate this critical mass of practices. One of the first comprehensive treatments of land use in contemporary art, Critical Landscapes skillfully surveys the stakes and concerns of recent land-based practices, outlining the art historical contexts, methodological strategies, and geopolitical phenomena. This cross-disciplinary collection is destined to be an essential reference not only within the fields of art and art history, but also across those of cultural geography, architecture and urban planning, environmental history, and landscape studies.

[grupaok]

Critical Landscapes: Art, Space, Politics,  forthcoming from UC Press in 2015.

Featuring contributions from Edgar Arceneaux, Amy Balkin, Nuit Banai, Kelly C. Baum, Ursula Biemann, Aaron Bobrow-Strain, Nicholas Brown, Julia Bryan-Wilson, Andrew Burridge, Ashley Dawson, TJ Demos (reprint), Ruth Erikson, Robby Herbst, Institute for Infinitely Small Things, Sarah Kanouse, Yazan Khalili, Dongsei Kim, Janet Kraynak (reprint), Shiloh Krupar, Jenna Loyd, Saloni Mathur, Lize Mogel, Julian Myers-Szupinska, James Nisbet, Trevor Paglen (reprint), Giulia Paoletti, Paul (Monty) Paret, Lorenzo Pezzani, David Pinder, Chunghoon Shin, Luke Skrebowski, Jeannine Tang, and Ying Zhou.

The cover features a work by Yazan Khalili, Colour Correction - Camp Series, 2007-2010.