Sentences with phrase «politics in art making»

Israel and Daignault will discuss digital image archives, the online experience of art, subversive politics in art making, the complication of the index, the fascism of algorithms, Felix Gonzalez - Torres, Vietnam, the death of the object, and art approaching the singularity.

Not exact matches

The See of Peter fell into the hands of men who were more interested in using it as a power in Italian politics, in aggrandizing the members of their families, or in promoting art and their own personal pleasures than they were in making it effective in furthering the spiritual and moral life of Europe.

Knowledge about individual community leaders, the history and development of a town, the way decisions are made in its institutions and social groups, the deals being made in the world of politics and business, the norms and values in the arts and sciences, the presuppositions and operational concepts of the professions — this is grist for the mill of a core group which has the responsibility of planning strategy for the mission of a particular church in an American community.

I delight in anything you write, whether it be about brittany spears, a comic, theology, happyness, disappointment, family, politics, art whether its controversial, pisses me off, makes me laugh, makes me think, convicts me, empowers me.....

«Black History Month gives us an opportunity to learn about and reflect upon the many achievements African Americans have made in a diverse array of important fields, including science and technology, arts and culture and politics and government» Borough President Katz said.

The month of March celebrates the contributions women have made throughout history in science, politics, law, sports, the arts

The month of March celebrates the contributions women have made throughout history in science, politics, law, sports, the arts With Jim Lange, Lee Majors, Joyce Jillson, Tony Boldi.

(sigh) Film School Rejects on Disney's self cannabilization and the particular folly of trying it with Fantasia Variety TV is invading Cannes with many auteurs now doing both Vulture Tilda Swinton and Steven Yeun on making art in the new impossible - to - avoid - politics era AV Club Janelle Monáe and Leslie Mann are joining Steve Carell in Robert Zemeckis's next film MNPP Tom Hardy to play Spider - Man villain Venom in a standalone film Jezebel the only reporting on the Roseanne revival which includes Luis Buñuel asides Cinematic Corner visual parallels between Logan and Mad Max: Fury Road Hugh Jackman «see you soon Japan» - he's still on his Logan promo tour!

In other art forms this sea change was happening; in comedy, where once jokes were shared, un-authored, between performers in Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal — talking about race, politics, cops, censorship, and heroiIn other art forms this sea change was happening; in comedy, where once jokes were shared, un-authored, between performers in Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal — talking about race, politics, cops, censorship, and heroiin comedy, where once jokes were shared, un-authored, between performers in Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal — talking about race, politics, cops, censorship, and heroiin Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal — talking about race, politics, cops, censorship, and heroin.

Similarly, in «Painting, Politics, and Post-Historical Art,» Danto makes the case for an armistice between formalism and the various theories that arose in opposition, noting that postmodern critics like Douglas Crimp in the 1980s, who positioned themselves against formalism, nonetheless adopted the same constrictive air, minus the revolutionary beginnings.

Kaino often makes statements about current social issues and politics in his art.

The exhibition offers an overview of art made in the United States between 1989 and 2001 — from the fall of Communism to 9/11 — and is organized around three principle themes: the so - called «identity politics» debates; the digital revolution; and globalization.

Indeed, the social histories and identity politics explored in work made during the Civil Rights, Black Power, and Black Arts Movements is being investigated by a new generation of scholars and curators, bringing attention to overlooked artists central to the era, AfriCOBRA artists in particular.

Jonathan T. D. Neil on radical politics and slowing markets; Maria Lind, curator of the next Gwangju Biennale, on Christopher Kulendran Thomas at the Dhaka Art Summit; novelist and Charlie Hebdo columnist Marie Darrieussecq on freedom of speech in the French capital; Mike Watson reflects on processes of nationbuilding through Santiago Sierra's Black Flag project; J.J. Charlesworth agrees to disagree on the removal of public statues and opinion - shaming; and Jonathan Grossmalerman has a decision - making dilemma.

We're very lucky to be living and working in a time when the rapid change in the cycles of art - making — coupled with souped - up systems of information - sharing — has made it easy to follow the trajectory of some of the many ideas, languages, techniques, politics, and passions that shoot in and out of one or another art discussion.

For our Art and Design issue, New York has been examining the art world's recent past — tracing the identity - politics revolution; catching up with Richard Prince, the Warhol of the Instagram age — and it's present, as we sit down with James Franco to let him make a case for his art and get a crash course in today's market from a Sotheby's advisArt and Design issue, New York has been examining the art world's recent past — tracing the identity - politics revolution; catching up with Richard Prince, the Warhol of the Instagram age — and it's present, as we sit down with James Franco to let him make a case for his art and get a crash course in today's market from a Sotheby's advisart world's recent past — tracing the identity - politics revolution; catching up with Richard Prince, the Warhol of the Instagram age — and it's present, as we sit down with James Franco to let him make a case for his art and get a crash course in today's market from a Sotheby's advisart and get a crash course in today's market from a Sotheby's advisor.

Pietrobono and fellow Occupy member Noah Fischer contend that art has been completely taken over by monetary interests: corporations that engage in «brandwashing» (supporting the arts as a PR play), controversial figures like David Koch using art philanthropy as a way of deflecting from his politics, and unsavory practices such as free ports (storage areas outside national jurisdictions that make it possible to buy and sell art without being taxed).

The city as canvas: How self - expression, politics, and protest reclaim the streets Made in collaboration with its featured artists, Trespass traces the rise and global reach of graffiti and urban art, not just as a fringe visual movement but as a social phenomenon and central expression of youth.

His realism, politics, and personal experience must all contribute to making his homosexuality more literal than in most postwar American art.

In 2017, the fair was made up of three sections: the main section, Focus and Sex Work: Feminist Art & Radical Politics.

The show, curated by Lawrie Shabibi Gallery in collaboration with Nafisa Rizvi of the Karachi - based online magazine Art Now, gives insight into the daily reality of life in Pakistan, while making subtle, yet relevant critiques of contemporary Pakistani society and politics.

In Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s BritaiIn Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s BritaArt Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s politics as it played out in the making of feminist art in 1970s Britaiin the making of feminist art in 1970s Britaart in 1970s Britaiin 1970s Britain.

Part of our interest in creating For Freedoms was to acknowledge the commonalities between art and politics, but also make visible the bridges between the two.

Admittedly, we agreed to give Powhida a solo show after seeing one drawing at Pulse in New York and thought his sense of humor about art world politics would make a splash in LA.

Select group exhibitions and biennials / triennials featuring his work include Synthesize: Art + Music, Museum of Contemporary Art Jacksonville, FL (forthcoming, 2017); Shifting Views: People and Politics in Contemporary African Art, Baltimore Museum of Art, MD (2016 - 2017); PERFORMA 15, Arnold Schönberg's Erwartung - A Performance by Robin Rhode, New York (2015), Making Africa.

Drawing on her background within the field of curatorial studies, Katsof examines the participatory nature of politics and, in particular, Public Movement's recent body of research about Modern art made in Palestine before 1948.

Thea Westreich Wagner: Both of us have been drawn to the notion of a new idea, of some sort of contribution to thinking that's new and that extends your understanding of art making practices and, in fact, of history, of politics, of literature.

John Updike took up the same cause 25 years later: «In the heyday of Abstract Expressionism, the scorn was simple gallery politics; but resistance to Wyeth remains curiously stiff in an art world that has no trouble making room for Photorealists like Richard Estes and Philip Pearlstein and graduates of commercial art like Wayne Thibauld, Andy Warhol, and for that matter, Edward Hopper.&raquIn the heyday of Abstract Expressionism, the scorn was simple gallery politics; but resistance to Wyeth remains curiously stiff in an art world that has no trouble making room for Photorealists like Richard Estes and Philip Pearlstein and graduates of commercial art like Wayne Thibauld, Andy Warhol, and for that matter, Edward Hopper.&raquin an art world that has no trouble making room for Photorealists like Richard Estes and Philip Pearlstein and graduates of commercial art like Wayne Thibauld, Andy Warhol, and for that matter, Edward Hopper.»

2011 All that Glisters, Stephen Friedman Gallery, London, England One, Another, curated by Stephanie Roach, FLAG Art Foundation, New York, USA Collecting for the Future: The Safeco Gift and New Acquisitions, Tacoma Art Museum, Tacoma, Washington, USA Contemporary Collection, Centre Pompidou, Paris, France I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, The Museum of Modern Art, New York, USA Making a Mark: Drawings from the Contemporary Collection, High Museum of Art, Atlanta, USA Compass: Drawings of the Museum of Modern Art New York, The Judith Rothschild Foundation Contemporary Drawings Collection, Berliner Festspiele, Berlin, Germany

This For Freedoms political campaign advertisement, created by Zoë Buckman and Hank Willis Thomas, is featured along side 14 others also made by artists in a special section of this month's issue of W Magazine titled The Art of Politics.

A seminal figure in both photography and feminist art, Charlesworth made photographs that call into question the role of images in society, and its influence and projection of sexuality, gender, and politics.

Post-Fischli and Weiss at the Guggenheim, the theme's timely, and we're especially keen on Jen Catron and Paul Outlaw's «Spaghetti Machine Monument,» which is described in the press release as «an ultimate monument of 2016, making a momentous year (so far) in humanity's collective achievements in politics, social justice and art.»

Jonathan T.D. Neil considers whether Bruno Latour can help with fake news; J.J. Charlesworth gets tired and emotional about emotionalism in art and politics; Maria Lind reports on the state of art - making in a tense and anxious Egypt; Christian Viveros - Fauné considers the legacy of art interventionists General Idea; and, thinking about dead language, Heather Phillipson wants to wake up in a time and place that's not yet written

This was a groundbreaking show in 1974 that featured seven German artists, from Joseph Beuys to Gustav Metzger, and addressed art and politics and a more engaged process of democratic exhibition making.

M. K. Flavell, in George Grosz: A Biography, said of Mr. Cenedella that «no other artist chronicles the everyday life and the changing rituals and mythologies — of sex, sport, art, politics, money - making in contemporary America — with his combination of imaginative vitality, precision, and humor.»

Hung salon - style in the lobby of the Jewish Museum, Joffe will be showcasing her portraits of Jewish women (as both adults and children) who made significant contributions to 20th century art, literature, philosophy, and politics.

Now «Seeds of Change: New York — A Botany of Colonization» is making its debut in the Americas, at the Vera List Center for Art and Politics at the New School.

Practice - based theory and a shift to art - making practices situated in the context of cultural studies (including art and politics, philosophy, sociology, and science studies) has framed contemporary art discourse.

«Art Conversation with Filipa Ramos,» Palazzo Grassi, Venice, Italy, December 12, 2013 «Conversation in Urban Art: Theaster Gates and Steve Edwards,» The Women's Board, The University of Chicago, Chicago, IL, December 10, 2013 «To Dig Constantly, Mining Myself,» The Rapp Lecture in Contemporary Art, Art Gallery of Ontario, Toronto, Canada, November 20, 2013 «Theaster Gates: A Way of Working,» Sears Crosstown Arts Visiting Artist Series, Crosstown Arts, Memphis, TN, November 16, 2013 «Artist Talk: «12 Ballads for Huguenot House» with Theaster Gates,» Krannert Art Museum, University of Illinois at Urbana - Champaign, Champaign, IL November 11, 2013 «Du Bois: The Early Social Practitioner with Theaster Gates,» University of Massachusetts Amherst Architecture + Design Public Lecture Series, University of Massachusetts Amherst, Amherst, MA, November 4, 2013 «Walid Raad and Theaster Gates in Conversation with Mohsen Mostafavi, «On Art and Cities»,» Harvard University Graduate School of Design, Cambridge, MA, October 24, 2013 «A Way of Working,» Vera List Center Prize for Art and Politics Public Lecture, The New School, New York, NY, September 18 — 19, 2013 «Thought Leadership Speaker Series,» Kunstmuseum Basel, Basel, Switzerland, June 12, 2013 «Urban Think & Drink: Theaster Gates,» Metropolitan Planning Council, Chicago, IL, May 22, 2013 «Artist Talk: Theaster Gates with David Levin & Hamza Walker,» Museum of Contemporary Chicago, Chicago, IL, May 18, 2013 «To Make the Thing that Makes the Thing,» 16th Annual Benesse Public Lecture, Cincinnati Art Museum, Cincinnati, OH, April 3, 2013 «Current Perspectives Lecture Series: Theaster Gates,» Kansas City Art Institute, Kansas City, MO, March 28, 2013 «I Believe in Places,» Bemis Center for Contemporary Arts, Omaha, NE, March 27, 2013 «Architecture Lecture: Theaster Gates,» University of Detroit Mercy, Detroit, MI, March 20, 2013 «To Make the Thing That Makes the Thing,» The University of Pennsylvania School of Design, February 2013 «Leading Ideas Speaker Series: Theaster Gates,» in conjunction with Our Literal Speed, The Banff Center, Banff, Alberta, Canada, January 30, 2013 «Theaster Gates: Soul Manufacturing Corporation: To make the Thing that Makes the Things,» Fabric Workshop and Museum, Philadelphia, PA, January 21, Make the Thing that Makes the Thing,» 16th Annual Benesse Public Lecture, Cincinnati Art Museum, Cincinnati, OH, April 3, 2013 «Current Perspectives Lecture Series: Theaster Gates,» Kansas City Art Institute, Kansas City, MO, March 28, 2013 «I Believe in Places,» Bemis Center for Contemporary Arts, Omaha, NE, March 27, 2013 «Architecture Lecture: Theaster Gates,» University of Detroit Mercy, Detroit, MI, March 20, 2013 «To Make the Thing That Makes the Thing,» The University of Pennsylvania School of Design, February 2013 «Leading Ideas Speaker Series: Theaster Gates,» in conjunction with Our Literal Speed, The Banff Center, Banff, Alberta, Canada, January 30, 2013 «Theaster Gates: Soul Manufacturing Corporation: To make the Thing that Makes the Things,» Fabric Workshop and Museum, Philadelphia, PA, January 21, Make the Thing That Makes the Thing,» The University of Pennsylvania School of Design, February 2013 «Leading Ideas Speaker Series: Theaster Gates,» in conjunction with Our Literal Speed, The Banff Center, Banff, Alberta, Canada, January 30, 2013 «Theaster Gates: Soul Manufacturing Corporation: To make the Thing that Makes the Things,» Fabric Workshop and Museum, Philadelphia, PA, January 21, make the Thing that Makes the Things,» Fabric Workshop and Museum, Philadelphia, PA, January 21, 2013

Pope.L is included in The Barnes Foundation's exhibition, Person of the Crowd: The Contemporary Art of Flânerie, which features work by more than 50 international artists who have taken to the street to play detective, make fantastic maps, scavenge and shop for new materials, launch guerrilla campaigns, and make provocative spectacles of themselves to speak to issues as diverse as commodity fetishism, gentrification, gender politics, globalization, racism, and homelessness.

Amanda has an architecturally inspired artistic practice and obsessed with color as both a material concern and social construct and she makes art that uses color as a lens to highlight the complexities of the politics of race, place and value in cities.

«A seven - member international jury made up of artists, curators, and museum directors selected Salcedo, a [Colombian] sculptor and installation artist whose politically charged work, in her words, aims to «connect worlds that normally are unconnected, like art and politics.»»

Formed in Toronto in 1969 by AA Bronson, Felix Partz and Jorge Zontal, the artist collective General Idea built its body of work on a strikingly diverse array of themes, constantly revisiting both the field of contemporary art production and the identity politics of the era that ultimately underscores so much of the artist's act of world - making, critique and expression.

2018 Galerie Max Hetzler, Berlin Galerie Greta Meert, Brussels Aspen Art Museum, Aspen 2017 Marian Goodman Gallery, New York Nature & Politics Saint Louis Art Museum, Saint Louis Figure Ground Haus der Kunst, Munich (catalogue) Nature & Politics Moody Center for the Arts - Rice University, Houston 2016 Nature & Politics Museum Folkwang, Essen (traveled to Martin - Gropius - Bau, Berlin; High Museum, Atlanta)(catalogue) 2015 Galerie Rüdiger Schöttle, Munich Galleria Monica De Cardenas, Milan Marian Goodman, London 2014 Thomas Struth - Photographs Metropolitan Museum of Art, New York Rineke Dijkstra & Thomas Struth: Seeing Henry Art Gallery, Seattle Cristina Iglesias & Thomas Struth Ivory Press, Madrid Galerie Max Hetzler, Berlin Five Works Nederlands Fotomuseum, Rotterdam Marian Goodman Gallery, New York 2013 Stiftung zur Förderung zeitgenössischer Kunst, Weidingen / Eifel 2012 St. Petersburg Schirmer / Mosel Showroom, Munich Galleri K, Oslo 2011 Thomas Struth, Fotografien 1978 — 2010 Museu Serralves, Porto; traveled from: Whitechapel Gallery, London; K20, Düsseldorf; Kunsthaus Zürich, Zurich (catalogue) 2010 Situation Kunst, Bochum Thomas Struth, Korea 2007 — 2010 Gallery Hyundai, Seoul New Works Galerie Max Hetzler, Berlin Marian Goodman Gallery, New York (catalogue) 2009 Paradises Frieze Art Fair 2009 - DB VIP Lounge, London Museum of Cycladic Art, Athens 2008 Galleria Monica de Cardenas, Zuoz Galerie Meert - Rihoux, Brussels Museo d'Arte Contemporanea Donna Regina — MADRe, Naples Familienleben SK Stiftung Kultur, Cologne; traveled to: De Pont Museum of Contemporary Art, Tilburg (catalogue) Family Portraits Galerie Paul Andriesse, Amsterdam 2007 Making Time Marian Goodman Gallery, New York Making Time Galerie Max Hetzler, Berlin Making Time Museo del Prado, Madrid (catalogue) 2006 Thomas Struth — Rineke Dijkstra Galerie Xippas, Athens Galerie Meert - Rihoux, Brussels 2005 Audience, Read This Like Seeing It For The First Time (Video work in collaboration with The Bern Academy of Music) Marian Goodman Gallery, New York Museum Photographs 1987 - 2004 Galleri K, Oslo Audience Galerie Paul Andriesse, Amsterdam Imágenes el Perú Museo de Arte Lima, Lima Arbeiten aus Peru Galerie Max Hetzler, Berlin Audience Galerie Rüdiger Schöttle, Munich 2004 Pergamon Museum I - VI Hamburger Bahnhof - Museum für Gegenwart, Berlin (catalogue) Une Heure: Video Portraits CAPC - Musée d' Art Contemporain de Bordeaux, Bordeaux 2003 1977-2002 Museum of Contemporary Art, Chicago Metropolitan Museum of Art, New York Cities Marian Goodmann Gallery, Paris Strassen Galleri K, Oslo Pergamon Musum I - VI Galleria Monica de Cardenas, Milan 2002 Pergamon I — IV Marian Goodman Gallery, New York 1977 - 2002 Dallas Museum of Art, Dallas; MOCA - Museum of Contemporary Art, Los Angeles (catalogue) New Pictures from Paradise Staatliche Kunstsammlungen Dresden; Centro de Fotografía, Universidad de Salamanca (catalogue) Galerie Rüdiger Schöttle, Munich 2001 Pictures from the Dandelion Room Schirmer / Mosel Showroom, Munich (catalogue) Galerie Max Hetzler, Berlin (catalogue) Galerie Meert - Rihoux, Brussels 2000 My Portrait National Museum of Modern Art, Tokyo; traveled to: National Museum of Modern Art, Kyoto; Galleri K, Oslo (catalogue) Galerie Shimada, Tokyo 1999 Galleria Monica de Cardenas, Milan Still Centre National de la Photographie, Paris Gallery Shimada, Tokyo The Berlin - Project (with Klaus vom Bruch) Hamburger Kunstverein, Hamburg New Pictures from Paradise Marian Goodman Gallery, New York; Marian Goodman Gallery, Paris 1998 The Berlin - Project (with Klaus vom Bruch) Kunstmuseum Luzern, Luzern Still Carré d'Art, Musée d'Art Contemporain, Nîmes; Stedelijk Museum, Amsterdam (catalogue) Centro Galego de Are Contemporanea, Santiago de Compostela Galerie Meert - Rihoux, Brussels Nouveau Portraits Marian Goodman Gallery, Paris 1997 Face to Face (with Luo Yongijn) Fine Arts Foundation of Beijing; International Art Palace, Peking (catalogue) Portraits Sprengel Museum, Hanover (catalogue) Achenbach Kunsthandel, Düsseldorf (with Cindy Sherman) The Berlin - Project (with Klaus vom Bruch) Galerie Max Hetzler, Berlin Marian Goodman Gallery, New York Nieuw Werk Galerie Paul Andriesse, Amsterdam 1996 Valocuvia Fotografier Kluuvin Galleria, Helsinki (catalogue) Galerie Shimada, Tokyo 1995 Strangers and Friends Art Gallery of Ontario, Toronto (catalogue) Strassen Kunstmuseum Bonn, Bonn (catalogue) Neue Arbeiten Galerie Max Hetzler, Berlin Oeuvre récentes Galerie Marian Goodman, Paris Landschaften Galerie Shimada, Yamaguchi 1994 Strangers and Friends Institute of Contemporary Art, Boston; ICA - Institute of Contemporary Arts, London (catalogue) Marian Goodman Gallery, New York Galerie Meert - Rihoux, Brussels 1993 Museum Photographs Hamburger Kunsthalle, Hamburg (catalogue) Galleria Monica de Cardenas, Milan Photographien aus Deutschland Galerie Shimada, Yamaguchi The Saint Louis Art Museum, St. Louis Marian Goodman Gallery, New York Galerie Max Hetzler, Cologne 1992 Portrait Museum Haus Lange, Krefeld (catalogue) Directions Hirshhorn Museum and Sculpture Garden, Washington D.C. Galerie Max Hetzler, Cologne 1991 Galerie Meert - Rihoux, Brussels House - Street - Individual - Group Galerie Shimada, Yamaguchi 1990 Photographs The Renaissance Society, University of Chicago, Chicago (catalogue) Portrait and Museum Photographs Marian Goodman Gallery, New York Galerie Paul Andriesse, Amsterdam Giovanni Minelli, Paris Urbi et Orbis, Paris 1989 The Clocktower, New York (with Andreas Gursky) Halle Sud, Geneva Galerie Peter Pakesch, Vienna Neue Bilder Galerie Max Hetzler, Cologne 1988 Galerie Meert - Rihoux, Bruxelles Neapel and Tokyo Galerie Rüdiger Schöttle, Munich Portikus, Frankfurt / Main (with Siah Armajani) 1987 Unconscious Places Kunsthalle Bern, Bern; Westfälisches Landesmuseum Münster, Münster (with Siah Armajani); Prefectural Museum of Art, Yamaguchi; Fruitmarket Gallery, Edinburgh (catalogue) Tokyo und Münster Galerie Max Hetzler, Cologne 1986 Galerie Shimada, Yamaguchi 1985 Galerie Rüdiger Schöttle, Munich 1980 Galerie Rüdiger Schöttle, Munich Stadtmuseum Düsseldorf, Düsseldorf (with Roswitha Ronkholz) 1978 PS1 - Contemporary Art Center, Long Island City

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

[4] The Spectrum London director, Royden Prior, said people shouldn't just look at the politics, but should look beyond them because «These artists are good, and are part of art history,» [17] Jane Morris wrote in The Guardian, «If the stuckists go down in art history, and the jury is still out as to whether they will, Sir Nicholas Serota Makes an Acquisitions Decision by stuckist co-founder Charles Thomson may well become their signature piece.»

An experimental art publication that maps the city of Karachi, Exhausted Geographies is a radical engagement with the politics of representation and map - making in order to explore and produce

A version of this article appears in print on 08/17/2012, on page C2 of the NewYork edition with the headline: Making Art Out of Presidential Politics.

«Harmonic Distortion» has worldwide environmental scope: marble clouds intricately patterned by wave formations; cyanotypes making apparent abstraction out of fifteen years of data showing that our cloud cover is reducing; a performance in which one woman is bound by another, Kinbakushi style, in state of the art fibre optic cable even as she tries to draw circles using the oldest of means — ochre pigment... So whether you wanted academic analysis, obsessive drawing burrowing into the psyche or the wide sweep of science and its consequent politics, you had them.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bolognin California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, BolognIn a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bolognin the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.