Sentences with phrase «what documenta»

Jens Hoffmann, the deputy director of New York's Jewish Museum and a curator of many biennials himself, shared the following story: While he was teaching a curating class at Goldsmiths College in London a few years ago, one of his students asked him what Documenta was.

Not exact matches

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

They gelled into what became known as the Hyperrealist movement, which took flight at the 1972 Kassel Documenta and remains airborne today.

Twenty years after the First Cyberfeminist International at Documenta X, what does Cyberfeminism look like in 2017?

Equilibrium served as the inspiration for what is perhaps their best - known work: the 1987 film The Way Things Go, which premiered at Documenta 8 in 1987.

Spencer Finch's light work Goldberg Variations, new paintings by Art & Language, Michael Rakowitz's What Dust Will Rise project from Documenta, a hanging sculpture by Richard Rezac, and other recent works buttress the exhibition's historical pieces...

Sam Durant's work for dOCUMENTA (13) is a huge sculpture that has a strong presence, but it's not immediately clear what it represents or how it is to be used.

Apart from the rhetorics of the European and Western debt towards Greek culture, it is time to see what is really happening and move away from political clichés, because this time again Documenta seems to be too influential for something, and too irrelevant for other things.

Since then Portnoy has refined his work to an audience - unnerving discipline of what he calls «Relational Stalinism» — a critique of the idea that art is always a democratic, liberalizing force and not a totalitarian tool — and become a favorite of the curatorial elite, appearing in dOCUMENTA 13, the Taipei Biennial, the Baltic Triennial, and shows from the Kitchen to KW Berlin.

For her recent commission for dOCUMENTA (13), for example, Macuga presented Of what is, that it is; of what is not, that it is not (2012), two tapestries that were shown simultaneously in the two separate locations of the exhibition: Kassel, Germany, and Kabul, Afghanistan.

Etel Adnan So I was telling you about what happened to me after I was invited to Documenta 13 as a painter.

I want to start from here, and from my personal answer (through others» words) to a question that posed us all when Adam Szymczyk chose Learning from Athens as working title for this Documenta 14: What is the legacy of this Documenta 14, and what will be of Athens after all these dWhat is the legacy of this Documenta 14, and what will be of Athens after all these dwhat will be of Athens after all these days?

This Documenta 14 receives and transmits what's left the deepest marks on contemporary society, and I'm not talking of wars or struggles, but debt.

That she has chosen to show a number of artists who work in challenging conditions — with high probabilities for conflict and low levels of support from arts institutions or cultural infrastructures — seems to reaffirm what may sound trite but is effectively dOCUMENTA (13)'s sweetest and most profound gift to its visitors: its strange and tender love for what art has been and may no longer be.

Behind this curatorial play of absences and hauntings, past a glass wall inscribed with the apt «The Middle of the Middle of the Middle of», in Lawrence Weiner's familiar font, within the Fridericianum's cranial rotunda, is what Christov - Bakargiev calls the «brain», a densely choreographed collection of small objects from disparate epochs and cultures — a mind - map and microcosm of dOCUMENTA (13) as a whole.

His work was exhibited in documenta IX, the 2008 Whitney Biennial, the 2009 exhibition The Pictures Generation at the Metropolitan Museum of Art, and in 2014, What Is a Photograph?

The last time Documenta, Skulptur Projekte Münster, and the Venice Biennale all lined up, in 2007, George W. Bush was president, the War on Terror was six years old, Twitter had just turned one, Bashar al - Assad was comfortably in power, Lehman Brothers had yet to declare bankruptcy, and Donald Trump was — actually, I don't care to look up what he was doing then.

The physical and metaphorical distance between Kassel and Athens fundamentally alters the way visitors will experience documenta 14 — bringing into play feelings of loss and longing while redefining their understanding of what such an exhibition can be.

What influence did the early Documenta exhibitions have on you?

That's what makes documenta so mysterious and fantastic: it gives us all an opportunity to dream.

That's what I found in Athens, and is one reason why Adam Szymczyk is staging half of next year's Documenta 14 here.

He traces the roots of what he calls «the curatorial epidemic» back to Documenta 5 (1972), directed by Harald Szeemann.

But what about Documenta 14?

«What the 13th Documenta Wants You to See.»

And while I may be an easy mark here, I would argue that this entire Documenta evokes his spirit: «What goes up must / come down, what dooms must do, standing still and walking in New York.&raWhat goes up must / come down, what dooms must do, standing still and walking in New York.&rawhat dooms must do, standing still and walking in New York.»

After the capitulations of the last edition, not to mention the myriad lessons of Documenta, I am excited to see what she can achieve.

Van de Ven heeft onderandere deelgenomen aan de volgende groepstentoonstellingen: Project Europa: Imagining the Impossible, Wallach Gallery, Columbia University, New York; Moving Worlds, Podbielsky Contemporary, Berlijn (bijde 2011); Morality — Act VIII Nether Land, Dutch Cultural Center, Shanghai World Expo (2010); Free as Air and Water, Cooper Union, New York (2009); Be (coming) Dutch, Van Abbe Museum (2008), Documenta 12, Kassel (2007), the 2006 Sydney Biennale, and Be What You Want But Stay Where You Are, Witte de With (2005).

After all the convoluted and controversial gravitas of the 2017 biennial / perennial exhibition season, what with the Whitney Biennial, Documenta, and Venice, we thought the circuit could use a little levity and comic relief.

This time out he and Paul talk about the context of publishing, Documenta, and what Paul has been up to since 2010.

What makes the earlier analogy confusing to me now, and possibly obsolete, is the fact that this year, the uncontested highlight of Art Dubai, which ran through the third week of March, was actually a conversation about Documenta, which brought Catherine David, Okwui Enwezor, and Adam Szymczyk — artistic directors of Documenta 10 (1997), Documenta 11 (2002), and Documenta 14 (forthcoming in 2017), respectively — to the stage of the Global Art Forum, the fair's annual talks program.

Recent exhibitions, performances, and projects include Flint Water Project at What Pipeline, Detroit (2017); Whispering Campaign at documenta 14, Athens and Kassel (2017); Claim (Whitney Version) at the 2017 Whitney Biennial (2017); PLAMA (The Spot), a commercial commissioned for On the Tip of the Tongue at Museum of Modern Art Warsaw (2016); Baile at the 32nd Biennal de São Paulo (2016); The Freedom Principle at ICA Philadelphia (2016) and MCA Chicago (2015); The Public Body at Artspace, Sydney (2016); Less than One at Walker Art Center, Minneapolis (2016); Trinket at The Geffen Contemporary, Museum of Contemporary Art, Los Angeles (2015); Black Pulp!

Most importantly, it included one of the tapestry works exhibited at Documenta 13, Of What is, that it is; of what is not, that is not, 2What is, that it is; of what is not, that is not, 2what is not, that is not, 2012.

Rubinstein compares the two shows and the disparate stance each takes towards abstract painting post-1970: the Biennial's curation (along with that of 1997's documenta X) is characterized as symptomatic of the «death of painting» attitude, while Wei's exhibit represents an admirable if imperfect attempt to work through the difficult subject of «what happened to abstract painting following the decline of the modernist certainties on which it was founded.»