Sentences with phrase «radical performance art»

In the article «First Lady of Performance Art», Wilson talks with writer Jarrett Earnest about the current state of performance art, the role of women in society, and the future of the radical performance art organization she founded, Franklin Furnace.

Dower was active in the UK industrial music scene of the early 1980s and worked with the radical performance art group Bow Gamelan Ensemble.

Not exact matches

When Andrew decides to contribute a film to the Humpday fest (a real - life amateur porno festival sponsored by Seattle alternative weekly The Stranger), a piece of art that will «push boundaries,» Ben proposes (in front of a crowd of artist - types) that the two of them — two straight men — have sex on camera as a radical performance piece.

I've also just published a book on learning measurement, Performance - Focused Smile Sheets: A Radical Rethinking of a Dangerous Art Form.

In the catalogue for «Radical Presence: Black Performance in Contemporary Art,» currently at NYU's Grey Art Gallery, curator Naomi Beckwith describes Mythic Being as «a seminal work of self - fashioning that both posited and critiqued models of gender and racial subjectivity.»

November 8, 2013 — March 9, 2013 Xaviera Simmons Radical Presence: Black Performance in Contemporary Art The Studio Museum in Harlem, New York, NY Visit Website

Offered in conjunction with Radical Presence: Black Performance in Contemporary Art, an exhibition in two parts.

Warhol, the architect of Pop and subsequent catalyst of a new cultural age, and Beuys, the poetic radical who revolutionized the landscape of the performance and the concept in art, are here sublimely conflated in an epic tribute to both their talents.

This 456 - page volume, published in conjunction with the Walker Art Center and MCA Chicago's exhibition, reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance, including the development of site - specific dance, the use of technology as a choreographic tool and the radical separation of sound and movement in dance.

At once radical, controversial and revered, Marina Abramovic is the progenitor of contemporary performance art At once radical, controversial and revered, Marina Abramovic is one of the most discussed artists today.

Radical Presence: Black Performance in Contemporary Art is on view at the Studio Museum of Harlem in New York through March 9.

Culled from the artist's archive of hundreds of color slides originally shot using Ektachrome film (which Kodak discontinued in 2013), Harris initially presented selections from his archive publicly as digital projections at Yale University, as well as in conjunction with the exhibition Radical Presence: Black Performance in Contemporary Art at New York University's Grey Art Gallery and the Studio Museum in Harlem in 2013 - 14.

Radical Presence: Black Performance in Contemporary Art at the Studio Museum in Harlem continues reframing the historical narrative to include African Americans, as begun in Part 1 at NYU's Grey Art Gallery.

STUART BRISLEY's radical practice over four decades has played a fundamental part in the development of installation and performance art in Britain.

Recent group shows include Prospect 1.5, Prospect 2 and Prospect 3 New Orleans Biennials; a / wake in the water: Meditations on Disaster at the Museum of Contemporary African Diasporan Arts (MoCADA), Brooklyn, NY; and Radical Presence: Black Performance in Contemporary Art at the Studio Museum in Harlem and the Contemporary Arts Museum Houston.

There, he revealed his deep passion for performative practices and so - called «outsider» artists with two trailblazing shows: «Radical Presence: Black Performance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated blaPerformance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artisArt» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated blaperformance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artisart from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artisart» by bringing together both self - taught and formally educated black artists.

SELECTED BIOGRAPHY 2012» «Radical Presence: Black Performance in Contemporary Art», Contemporary Arts Museum Houston, Artforum, December, Sally Frater

The Studio Museum has also shown Leigh's work in the exhibitions The Bearden Project (2011), Radical Presence: Black Performance in Contemporary Art (2013 — 14), Palatable: Food and Contemporary Art (2016), and Regarding the Figure (2017).

Selected recent and upcoming exhibitions include The Waiting Room, New Museum, New York; Greater New York 2015, MoMA / PS1, Long Island City, New York; The Free People's Medical Clinic, Creative Time, New York; I ran to the rock to hide my face the rock cried out no hiding place, Kansas City Art Institute; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston (traveled to The Studio Museum in Harlem, Grey Art Gallery at NYU, and Walker Art Center); Gone South, Atlanta Contemporary Art Center; and You Don't Know Where Her Mouth Has Been, The Kitchen, New York.

Eastern philosophy and radical art collide at this celebration of Chinese installation and performance art since 1980.

2012 Radical Presence: Black Performance in Contemporary Art curated by Valerie Cassel Oliver, Houston, TX Regarding Warhol, curated by Mark Rosenthal with Maria Prather, Ian Alteveer, and Rebecca Lowery, New York, NY

His exhibition and performance highlights include «Greater New York,» MoMA PS1 (2005); «Open House: Working In Brooklyn,» Brooklyn Museum of Art (2004); «PERFORMA» (2005, 2013, 2015); «Radical Presence & The Shadows Took Shape,» Studio Museum in Harlem; and «The Channel,» Brooklyn Academy of Music.

Hancock's work has also been included in a number of significant group exhibitions, including Juxtapoz x Superflat, curated by Takashi Murakami and Evan Pricco, Pivot Art + Culture, Seattle, WA (2016 - 17), Statements: African American Art from the Museum's Collection, Museum of Fine Art, Houston, TX (2016), When the Stars Begin to Fall: Imagination and the American South, The Studio Museum in Harlem, New York, NY (2014), Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston, Houston, TX (2012), The Best of Times, The Worst of Times: Rebirth and Apocalypse in Contemporary Art, Kiev International Biennale of Contemporary Art, Armory, Kiev, Ukraine (2012), Wunderkammer: A Century of Curiosities, Museum of Modern Art, New York, NY (2008), Darger - ism: Contemporary Artists and Henry Darger, American Folk Art Museum, New York, NY (2008), Political Nature, Whitney Museum of American Art, New York, NY (2005), Whitney Biennial, Whitney Museum of American Art, New York, NY (2002), Whitney Biennial, Whitney Museum of American Art, New York, NY (2000).

The world's authority on performance art, RoseLee Goldberg, tells Artsy, «Tania Bruguera's work remains as radical today as it was when I first encountered it in the mid -»90s, with a work entitled What Belongs to Me, a two - hour silent piece on censorship.»

Previously, he was Assistant Curator at The Studio Museum in Harlem, where he organized When the Stars Begin to Fall: Imagination and the American South (2014); Radical Presence: Black Performance in Contemporary Art (2013), a traveling exhibition curated by Valerie Cassel Oliver; and Fore (2012), co-organized with Lauren Haynes and Naima J. Keith.

Last fall, ARTNews reported that renowned conceptual artist Adrian Piper had asked New York University's Grey Art Gallery to remove her video from the traveling exhibition Radical Presence: Black Performance in Contemporary Art.

Recently, Adrian Piper's request to withdraw her work from the exhibition Radical Presence: Black Performance in Contemporary Art at NYU's Grey Art Gallery stirred up debate around ethnocentric exhibitions once more.

His work is currently being shown at the CAM in Houston as part of the exhibition, Radical Presence: Black Performance in Contemporary Art.

2012 Radical Presence: Black Performance in Contemporary Art, Contemporary Art Museum Houston, TX Traveled: Studio Museum in Harlem, New York, NY; Walker Art Center, Minneapolis, MN; Yerba Buena Art Center, San Francisco, CA It's the Political Economy, Stupid, Austrian Cultural Forum, NY, New York, New York; Traveled: Thessaloniki Center Of Contemporary Art, Thessaloniki, Greece; Pori Art Museum, Pori Finland

Radical Presence: Black Performance in Contemporary Art is on view at NYU's Grey Art Gallery through December 7, 2013, and at the Studio Museum of Harlem through March 9, 2014.

Artforum, review of Radical Presence: Black Performance in Contemporary Art at the Contemporary Art Museum Houston, 2012

2012 Markus, David, «It's The Political Economy, Stupid,» Art in America, March 2012 p 117 - 118 Frater, Sally «Radical Presence: Black Performance in Contemporary Art» Artforum, December Picks English, Ron, John Law, «Interview» Juxtapoz, n142 Nov 12, p 108 - 113 illus

While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to Conceptual Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practiArt to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practiart practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practice.

From the first Gutai Art Exhibition (1955), a large - scale documentary photograph and video of Shiraga's performance piece, Challenging Mud, set the stage for the radical and progressive art in the exhibitiArt Exhibition (1955), a large - scale documentary photograph and video of Shiraga's performance piece, Challenging Mud, set the stage for the radical and progressive art in the exhibitiart in the exhibition.

Footage from Piper's «Mythic Being» was presented in «Radical Presence: Black Performance in Contemporary Art» at NYU's Grey Art Gallery in 2013.

The history of performance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Performance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to tperformance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Performance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to the Preseart as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Performance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to tPerformance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to the PreseArt Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to tPerformance: Live Art 1909 to the PreseArt 1909 to the Present.

Contemporary Arts Museum Houston senior curator Valerie Cassel Oliver's latest exhibition, Radical Presence: Black Performance in Contemporary Art, explores how black visual artists have used performance sincePerformance in Contemporary Art, explores how black visual artists have used performance sinceperformance since the 1960s.

His work has been featured in numerous group exhibitions including Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Greater New York 2010, P.S. 1 Contemporary Art Center, Long Island City, New York (2010); Intense Proximity, La Triennale, Palais de Tokyo, Paris (2012); Alphabets / Heaps of Language, The Museum of Modern Art, New York (2012); Radical Presence: Black Performance in Contemporary Art, Walker Art Center, Minneapolis (2014 — 15); the Belgian Pavilion at the Venice Biennale (2015); The Revolution Will Not Be Grey, Aspen Art Museum, Colorado (2016); and the Gwangju Biennale, South Korea (2016).

With a diverse assembly of historical and contemporary art, including several site - specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movemeart, including several site - specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movemeArt to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movement.

Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the «happenings» of the early 1960s, throughout the 1980s, and into the contemporary practices of a new generation of artists.

Even though Radical Presence is about black artists working in performance, the subtext is that it is about performance art coming from the visual spectrum and the fact that you can pick up any book on performance and not see these artists in that book.

Radical Presence: Black Performance in Contemporary Art Contemporary Arts Museum Houston November 17 - Feburary 15

This exhibition illuminates a radical period of 1970s performance art that flourished in downtown Manhattan, or what filmmaker and performance artist Jack Smith called «Rented Island,» and still remains largely unknown today.

This includes his poetry, painting, sound work and performance; his recording projects, and his founding of Giorno Poetry Systems; his AIDS activism; his Tibetan Buddhism and his vast personal archive that comprises a history of radical art and poetry in New York during the second half of the twentieth century.

Exhibition and performance highlights include: MoMA PS1 Greater New York 2005; PERFORMA 05 and a performance project commissioned by the Calder Foundation for PERFORMA 13; Brooklyn Museum Open House, 2005; The Kitchen NYC, 2010; The Bearden Project at the Studio Museum in Harlem, 2011/12; a four - night solo performance in BAM's Fisher Theater, 2012; and a solo exhibition at Galerie Anne de Villepoix, Paris, 2013; Radical Presence: Black Performance in Contemporary Art, at the Contemporary Art Museum Houston & Studio Museum in Harlem 2013/14; The Shadows Took Shape, Studio Museum in Harlem, 2013; and Aestheticised Reductions of Self - Representation at the Hales Gallery, Lperformance highlights include: MoMA PS1 Greater New York 2005; PERFORMA 05 and a performance project commissioned by the Calder Foundation for PERFORMA 13; Brooklyn Museum Open House, 2005; The Kitchen NYC, 2010; The Bearden Project at the Studio Museum in Harlem, 2011/12; a four - night solo performance in BAM's Fisher Theater, 2012; and a solo exhibition at Galerie Anne de Villepoix, Paris, 2013; Radical Presence: Black Performance in Contemporary Art, at the Contemporary Art Museum Houston & Studio Museum in Harlem 2013/14; The Shadows Took Shape, Studio Museum in Harlem, 2013; and Aestheticised Reductions of Self - Representation at the Hales Gallery, Lperformance project commissioned by the Calder Foundation for PERFORMA 13; Brooklyn Museum Open House, 2005; The Kitchen NYC, 2010; The Bearden Project at the Studio Museum in Harlem, 2011/12; a four - night solo performance in BAM's Fisher Theater, 2012; and a solo exhibition at Galerie Anne de Villepoix, Paris, 2013; Radical Presence: Black Performance in Contemporary Art, at the Contemporary Art Museum Houston & Studio Museum in Harlem 2013/14; The Shadows Took Shape, Studio Museum in Harlem, 2013; and Aestheticised Reductions of Self - Representation at the Hales Gallery, Lperformance in BAM's Fisher Theater, 2012; and a solo exhibition at Galerie Anne de Villepoix, Paris, 2013; Radical Presence: Black Performance in Contemporary Art, at the Contemporary Art Museum Houston & Studio Museum in Harlem 2013/14; The Shadows Took Shape, Studio Museum in Harlem, 2013; and Aestheticised Reductions of Self - Representation at the Hales Gallery, LPerformance in Contemporary Art, at the Contemporary Art Museum Houston & Studio Museum in Harlem 2013/14; The Shadows Took Shape, Studio Museum in Harlem, 2013; and Aestheticised Reductions of Self - Representation at the Hales Gallery, London, 2013

BOOKSHELF Compelling catalogs have accompanied Valerie Cassel Oliver's recent exhibitions, including «Cinema Remixed and Reloaded: Black Women and the Moving Image Since 1970,» «Radical Presence: Black Performance in Contemporary Art,» and «Jennie C. Jones: Compilation.»

Valerie Cassel Oliver introduces the exhibition «Radical Presence: Black Performance in Contemporary Art.»

«rAdicAl preEsEncE: Black Performance in Contemporary Art» ran at the Grey Art Gallery through December 7, 2013, and at the Studio Museum in Harlem through March 9, 2014.

Their performance has taken place as a gesture calling to mind notorious artists of earlier radical art movements but the historical, linguistic and political context of their practice is often related specifically to their origins: China.

Their performances have taken place as radical gesture calling to mind notorious artists of earlier radical art movements but the historical, linguistic and political context of their practice is often related specifically to their origins: China.