Sentences with phrase «early performance museum»

Today from the archives we bring you Anuradha Vikram's review of the Hammer Museum's 2014 show Take It or Leave It: Institution, Image, Ideology, which includes an extended reflection on Fraser's noteworthy early performance Museum Highlights: A Gallery Talk and how Fraser's career has «paralleled that of institutional critique as a discipline.»

Today from the archives we bring you Anuradha Vikram's review of the Hammer Museum's 2014 show Take It or Leave It: Institution, Image, Ideology, which includes an extended reflection on Fraser's noteworthy early performance Museum Highlights: A Gallery Talk and how Fraser's career has «paralleled that of institutional critique as a -LSB-.....]

Not exact matches

Her solo exhibition «Carrie Mae Weems: Considered» is on view at the SCAD Museum of Art through June 12; She is directing «Grace Notes: Reflections for Now,» a special performance at Spoleta Festival USA in Charleston, S.C. (June 4 - 5); and her book «Carrie Mae Weems: Kitchen Table Series,» which explores one of her early and most acclaimed bodies of work, was published last month.

She has had solo exhibitions at LACMA (2015), which grew out of an earlier series of performances exploring monumental works of sculpture in the museum's collection.

High above, hanging in the rafters, were several re-creations of the bulbous, monstrous - looking costumes from Lee's late 1980s and early 1990s public performances that had been produced for her midcareer retrospective at the Mori Art Museum in Tokyo, held in early 2012.

The show at Michael Werner — surely a precursor to a retrospective — displays early sculptures and remnants from his performances on a plinth, like relics in a museum.

Themes of self - reflection, performance, and identity are traced from early nineteenth - century experiments through contemporary digital techniques in outstanding self - portraits drawn entirely from the Audrey and Sydney Irmas Collection at the Los Angeles County Museum of Art.

He showed the work at Propect.3 after using an earlier version in a performance at UCLA's Hammer Museum as a part of the museum's biennial Made in LA,Museum as a part of the museum's biennial Made in LA,museum's biennial Made in LA, 2014.

In 1984, Barbara Haskell did an exhibition called «Blam» at the Whitney Museum that surveyed the early years of Pop, Minimalism and performance during 1958 - 64.

This latest issue of Esopus, featuring a brand - new format and design (and encased in a slipcover), features artists» projects by Sharon Core, Joyce Pensato and John Sparagana; 100 still frames from David Lynch's Blue Velvet (introduced by Gregory Crewdson); materials from MoMA's archives related to late artist Scott Burton's early performance pieces; never - before - seen photographs from 1949 by Magnum photographer Burt Glinn; commentary on artworks from the New Orleans Museum of Art by two of its guards; fiction by Chelli Riddiough; and an audio compilation of new songs inspired by the customer - service experiences of Jens Lekman, Richard Swift, Basia Bulat and others.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

Earlier this year she organized the performance «An Ode To» at the Guggenheim Museum in New York, which featured a large cast of musicians and dancers and utilized the building's entire space.

With his performance + art lab Early Morning Opera, Jan's original works — including Holoscenes, The Institute of Memory (TIMe), and Abacus — have been presented by the Whitney Museum, Sundance Film Festival, BAM Next Wave Festival, Hammer Museum, REDCAT, Toronto Nuit Blanche Festival, Ringling Museum of Art, Pasadena Museum of California Art, ICA Boston, and Istanbul Modern, among others.

Joe Sola (b. 1966), whose video works and performances have been presented at major museums internationally, debuts A short film about looking (2010) alongside the earlier work St. Henry Composition (2001).

In one of her earliest performances (Museum Highlights), the artist posed as a tour guide at the Philadelphia Museum of Art and lead museum - goers on a verbose and theatrical tour of the museum, describing a common a water fountain as «a work of astonishing economy and monumentality» or the museum cafeteria as «regarded as one of the very finest of all American rooms.&Museum Highlights), the artist posed as a tour guide at the Philadelphia Museum of Art and lead museum - goers on a verbose and theatrical tour of the museum, describing a common a water fountain as «a work of astonishing economy and monumentality» or the museum cafeteria as «regarded as one of the very finest of all American rooms.&Museum of Art and lead museum - goers on a verbose and theatrical tour of the museum, describing a common a water fountain as «a work of astonishing economy and monumentality» or the museum cafeteria as «regarded as one of the very finest of all American rooms.&museum - goers on a verbose and theatrical tour of the museum, describing a common a water fountain as «a work of astonishing economy and monumentality» or the museum cafeteria as «regarded as one of the very finest of all American rooms.&museum, describing a common a water fountain as «a work of astonishing economy and monumentality» or the museum cafeteria as «regarded as one of the very finest of all American rooms.&museum cafeteria as «regarded as one of the very finest of all American rooms.»

Kenny Scharf looks over some of his early paintings included in the «Club 57: Film, Performance, and Art in the East Village, 1978 — 1983» exhibition at the Museum of Modern Art.

Additional essayists include Franklin Sirmans, Department Head and Curator of Contemporary Art, Los Angeles County Museum of Art, who explores the early performances of Lorraine O'Grady; Tavia Nyong» o, Associate Professor of Performance Studies at New York University, who discusses black performance art from the perspective of sex and gender; and Naomi Beckwith, Curator, Museum of Contemporary Art Chicago, who examines the relationship between live performance and its docPerformance Studies at New York University, who discusses black performance art from the perspective of sex and gender; and Naomi Beckwith, Curator, Museum of Contemporary Art Chicago, who examines the relationship between live performance and its docperformance art from the perspective of sex and gender; and Naomi Beckwith, Curator, Museum of Contemporary Art Chicago, who examines the relationship between live performance and its docperformance and its documentation.

His earliest cross-disciplinary work, Twenty Minutes for the Twentieth Century (2000), a harbinger of the concerns the artist would explore in his later works in relation to the immateriality of performance and the museum, was presented in 2001 in the exhibition I'll Never Let You Go, organized by the Moderna Museet in Stockholm, Sweden.

«Senga Nengudi: Improvisational Gestures» is the artist's first solo museum survey and features work from the 1970s to the present, including documentation of early performances.

There were Ei Arakawa's performances with friends early in the year at the Guggenheim and the Museum of Modern Art that burned with his inimitable ludic wit.

The whimsy of «Deimos» is balanced by a thought - provoking and somewhat discomfiting «Spiderman,» a stand - up comedy performance Bradford debuted earlier this year at his «Scorched Earth» exhibition at the Hammer Museum in Los Angeles.

Her interests include contemporary performance in the museum context, politically engaged artist projects, early video art technologies, and the postwar artists of Latin America and Latinx artists in the United States.

This approach to artmaking has taken the form of a startup that produced stock video clips (which Wilson then liquidated during a performance at the Museum of Modern Art Warsaw earlier this year) and a multi-year collaboration with an outsourced personal assistant from India.

Curated by Naima J. Keith at the Studio Museum in Harlem, «Charles Gaines: Gridwork (1974 - 1989),» puts on view 10 of Mr. Gaines» early conceptual projects and deftly sketches out his context — from Castelli Gallery, where he showed in the 1980s, to Cal Arts, where his teaching has been influential to a generation of artists including his son, the performance artist and curator Malik Gaines.

Medium: Performance, installation, musician, activist Style: Quiet roar Birthday: 1933 Superpower: Whether through absurdly poetic tweets, unauthorized museum exhibitions or the magic of a smile, Ono has imbued conceptual art with her particular brand of magic since the early 1960s.

«Pacific Standard Time» changed that - I was in 8 or 9 museum shows, had 3 solo shows and restaged some of my early performance work in dry ice and fireworks to an entirely different critical reception.

Past recipients of the award are Doryun Chong (2010), Chief Curator at M +, Hong Kong; Nav Haq (2012), recently appointed curator of the 2017 Göteborg International Biennial for Contemporary Art, & Jay Sanders (2012), Curator and Curator of Performance at the Whitney Museum of American Art, New York — both selected for the Award by Hans Ulrich Obrist; and Eva Barois De Caevel (2014), an independent curator who earlier this year collaborated on the 37th EVA International, Ireland Biennial of Contemporary Art, Limerick, selected by Nancy Spector.

Despite Walther's studies at the Kunstakademie Dusseldorf in the early 1960s, a hotbed of European artistic talent that bred classmates such as Gerhard Richter; despite his subsequent four - year immersion in New York City, similar to stays that propelled fellow Germans such as Hanne Darboven to statewide institutional recognition; and despite his participation in seminal shows, including the Museum of Modern Art's «Spaces» in 1969 and Harald Szeemann's Documenta 5 in 1972, North America has still been slow to recognize Walther's significance for the expansion of painting, for the convergence of art and design, and for time -, performance -, and (especially) participation - based art.