Artipedia - Arts News

Image: Walton Ford, Thanh Hoang, 1997, Watercolor, gouache, pencil and ink on paper, 60 1/2 x 119 1/2 inches (153.7 x 303.5 cm.) Courtesy of Paul Kasmin Gallery

Tigers of Wrath: Watercolors by Walton Ford at Brooklyn Museum November 3, 2006, through January 28, 2007

Media Preview, November 2, 10 a.m. to 1 p.m.

More than fifty of Walton Ford’s meticulously rendered, large-scale watercolors of vividly imagined birds, animals, and flora will be on view in an exhibition at the Brooklyn Museum from November 3, 2006, through January 28, 2007. Tigers of Wrath: Watercolors by Walton Ford, which will tour to venues to be announced, comprises watercolors created between 1990 and the present exploring such themes as colonialism, the naturalist tradition, and the extinction of species.

Using the animal kingdom as a mirror of the human world, Ford employs his skill as an artist and observer to communicate his views on society. In The Starling, 2002, he depicts an enormous European starling presiding over a desert-like landscape and being fed by exotic birds from around the world. In Passenger Pigeons of Falling Bough, 2002, Ford presents a massive flock of the squabbling birds perched on a bough that has broken under their weight.

Also included in the exhibition are Dirty Dick Burton’s Aide de Camp, 2002, in which a monkey represents the nineteenth-century naturalist Richard Burton, who employed primates in his house to learn their language; Jack on His Deathbed, 2005, in which the primate is a stand-in for the eighteenth-century British ambassador to Naples, Sir William Hamilton, a diplomat who owned a pet monkey; and Delirium, 2004, which makes reference to John James Audubon’s practice of killing animals in order to study them more closely. In this image the golden eagle, still attached to a trap, flies to freedom, while the tiny figure of Audubon lies flat in the snow below.

Ford drew his early inspiration from the work of nineteenth-century artist and naturalist John James Audubon—particularly his prodigious Birds of America series–as well as from visits to the American Museum of Natural History. Other influences include J.J. Grandville and Sir John Tenniel, the French artists whose caricatures of part-human, part-animal subjects satirized nineteenth-century French and British society; Edward Lear, an artist and writer known for his nonsensical poetry and limericks; George Catlin, a self-taught painter of Native Americans; and Francisco Goya, the Spanish artist working at the turn of the nineteenth-century.

Born in Larchmont, New York, in 1960, Walton Ford is a 1982 graduate of the Rhode Island School of Design. He is the recipient of several national awards and honors including fellowships from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts.

In conjunction with Tigers of Wrath, four prints from the original edition of John James Audubon’s Birds of America series (1827-1838) will be presented in the American Identities galleries on the Museum’s fifth floor. They will remain on view throughout the run of the exhibition.

Tigers of Wrath: Watercolors by Walton Ford is organized by Marilyn Kushner, Chair and Curator, Department of Prints, Drawings, and Photographs at the Brooklyn Museum.

The exhibition is made possible in part by Bloomberg, with additional support from the Prints, Drawings, and Photographs Council of the Brooklyn Museum.

200 Eastern Parkway Brooklyn NY 11238-6052
http://www.brooklynmuseum.org

Jason McCoy Inc. is pleased to share with you the following good news concerning gallery artists:

KEVIN R. BRINE. We are pleased to announce that Kevin R. Brine is now represented by Jason McCoy Inc. Kevin graduated from University of Wisconsin, Madison with a BA in 1975, majoring in South Asian Studies. From 1970 to 1973 he practiced the craft of blacksmithing at the Rochester Folk Art Guild. After settling in New York City in 1976, Brine worked with blacksmith shops in Tribeca and Long Island City before joining Sanford C Bernstein & Co., Inc. (1978-2000). He studied under Graham Nickson at the New York Studio School in 2001. Kevin R. Brine works and lives in New York City and Watermill, Long Island.

CORA COHEN. In 2006, Cora was a recipient of the Adolph and Esther Gottlieb Foundation Award. “Far Less Tangible States of Being, Cora Cohen’s altered x rays, drawings, and photographs” by Lauri Bortz was published in August. On October 24, 2006, Cora will give a lecture on her work at the New York Studio School at 6:30 pm. Her upcoming exhibitions in 2007 include Photographs and Altered x rays at Abaton Garage, Jersey City, New Jersey; Drawings at Galerie Markus Winter, Berlin, Germany; and an exhibition of recent paintings at Michael Steinberg Gallery, New York; as well as No Words And Words On Paper, a group exhibition organized by Sam Jedig of Stalke Kirke Sonnerup, Denmark.

LIZ DI GIORGIO. Liz recently participated in “Stilled Life”, an exhibition held at The Islip Museum of Art, Islip, NY. It ran from June 29 to September 11 and was curated by Daria Brit Shapiro. From October 20 to December 1, Liz’s work will be shown at the Queensborough Community College Art Gallery, featuring selected works of the college faculty.

VIRGIL GROTFELDT. Virgil has had several exhibitions this year, including at Holly Johnson Gallery, Dallas, TX (February) and Houston Contemporary Art at the Museum of Shanghai, China, which was curated by Gus Kapriva and Christopher Zhu (July 23 – August 6, 2006). A bilingual catalogue, with an extensive essay by Christopher Zhu was published. In May, Virgil’s work was featured at the Amsterdam art fair, by Galarie Luca, Zaltbommel. Upcoming exhibitions include a two-person show with Houston sculptor Merideth Jack at the Ellen Noel Museum, Odessa, TX, featuring a group of Virgil’s large bronzepowder paintings from 1991 to 2004 (opening, November 3, 2006).

TERRELL JAMES. Terrell’s 2006 projects include Drawing into Painting, at Froelick Gallery, Portland, OR, which featured a large wall installation, reviewed in the Oregonian (March); a talk on the artist Tam Van Tran entitled TAM VAN TRAN: PSYCHONAUT, held at Blaffer Gallery, Houston, TX (June); Three, US, at Sin Sin Fine Art, Hong Kong (July); and Houston Contemporary Art at the Museum of Shanghai, China, which was curated by Gus Kapriva and Christopher Zhu (July 23 – August 6, 2006). A bilingual catalogue, with an extensive essay by Christopher Zhu was published. In September, her work will be featured in Abstract Painting, held at the Arlington Museum of Art, Arlington, TX and curated by Director Anne Allen.

MARTIN KLINE. On November 2, 2006, Martin Kline’s new exhibition entitled “Made in Japan� will open at the gallery, featuring works completed during his Atlantic Pacific Fellowship in Miyakonojo. A catalogue accompanies the exhibition, which runs through December 16th. The English version of Monochromes, the accompanying catalog to the group exhibition in 2004 at the Museo Reina Sofia, Madrid, Spain, which was curated by Barbara Rose and included Martin’s work, has just been published by the University of California Press. The Haggerty Museum of Art, Marquette University, Milwaukee, will host the exhibition Martin Kline, Recent Painting and Sculpture, February 1st through April 10, 2007.

LI-LAN. In November, Lin & Keng Gallery in Taipei, Taiwan, will host Unfinished Journey, an exhibition of Li-lan’s work from November 18th – December 7th. An extensive catalogue with a foreword by Christine Y. Kim and an essay by Scarlet Cheng will be published on this occasion. The catalogue will celebrate three decades of Li-lan’s work by presenting works and writings from the 1970s to the present. In addition, Joyce Brodsky’s book entitled Experiences of Passage: The Paintings of Yun Gee and Li-lan, is scheduled to be published by the University of Washington Press, in the fall of 2007.

GEORGE NEGROPONTE. We congratulate George and Virva on the birth of their son Viggo Paul Negroponte who was born on September 16 at 9.40 pm. In spring 2007, George will have an exhibition of new works on paper at P37 Gallery in Athens, Greece (March 15th - April 21, 2007).

ESTATE OF FREDERICK KIESLER (1890-1965). Jason McCoy Inc. is currently casting Frederick Kiesler’s sculpture “Bucephalus� at the Polich Art Works foundry. In order to bring this elaborate project to life, we are honored to be working with Kiesler’s longtime studio assistant Len Pitkowsky.

CHRISTIAN VINCENT. The Kemper Museum of Contemporary Art, located in Kansas City, MO, recently purchased a major painting by Christian. Christian’s current exhibition at the gallery, which runs through October 28, was reviewed by John Goodrich for The New York Sun on September 21, 2006.

Jason McCoy, Inc.
41 East 57th Street, 11th floor
New York, NY 10022
Email: jmccoy@mindspring.com

James Turrell
Meeting

One of the highlights of P.S.1, this site-specific installation has been at P.S.1 since the fall of 1986. It was initially part of a series commissioned by P.S.1 Director Alanna Heiss focusing on light and perception. Meeting is composed of a square room with a rectangular opening cut directly into the ceiling. Carefully calculated artificial lights produce an orange glow on the white walls of the room, permitting the viewer to appreciate the intensity of the sky’s color. As Turrell described it: “There’s this four-square seating that’s inside, seating toward each other, having a space that created some silence, allowing something to develop slowly over time, particularly at sunset. Also, this Meeting has to do with the meeting of space that you’re in with the meeting of the space of the sky.� Meeting is one of Turrell’s series of “skyspaces,� all involving enclosed spaces with rectangular or rounded holes cut into the ceiling exposing the open sky.

The artist intends for Meeting to be open one hour before dusk, weather permitting.

Location: Third Floor

Meeting viewing hours: 2006 through 2007

October 19 – October 28 5:00 pm
October 29 – November 6 4:00 pm
November 9 – November 20 3:45 pm
November 23 – January 1 3:30 pm
January 4 – January 22 3:45 pm
January 25 – January 29 4:00 pm
February 1 – February 12 4:15 pm
February 15 – February 26 4:30 pm
March 1 – March 10 4:45 pm

P.S.1 Contemporary Art Center
Background:

P.S.1 was founded in 1971 by Alanna Heiss as The Institute of Art and Urban Resources Inc., a non-profit organization dedicated to the organization of contemporary art exhibitions in abandoned or underutilized buildings. P.S.1 became an affiliate of The Museum of Modern Art in 2000 and now operates two internationally acclaimed spaces for contemporary art: P.S.1 in Long Island City, featuring museum-quality galleries, and The Clocktower Gallery, which now contains the radio studio for P.S.1’s online radio station WPS1.

P.S.1 is one of the largest and oldest arts organizations in the United States solely devoted to contemporary art. Recognized as a defining force of the alternative space movement, P.S.1 stands out from major arts institutions in its cutting edge approach to exhibitions and direct involvement of artists within a scholarly framework. P.S.1 acts as an intermediary between the artist and its audience. Functioning as a living and active meeting place for the general public, P.S.1 is a catalyst for ideas, discourses and new trends in contemporary art. With its educational programs, P.S.1 assists the public in understanding art and provides the tools to appreciate contemporary art and its practices.

Support:
Operations and programs of P.S.1 are supported by the P.S.1 Board of Directors, the New York City Department of Cultural Affairs, The Office of the President of the Borough of Queens, The Council of the City of New York, the National Endowment for the Arts, and the New York State Council on the Arts, a state agency. Additional funding is provided by individuals, foundations and corporate contributions.

Directions:
P.S.1 Contemporary Art Center is located at 22-25 Jackson Avenue at 46th Street in Long Island City, Queens, across the Queensboro Bridge from midtown Manhattan. It is easily accessible by bus and subway. Traveling by subway, visitors should take either the E or V to 23 Street-Ely Avenue (note that the V does not run on weekends); the 7 to 45 Road-Courthouse Square; or the G to Court Square or 21 Street-Van Alst. Visitors may also take the Q67 bus to Jackson and 46th Avenues or the B61 to Jackson Avenue.

Hours:
P.S.1 is open from 12:00 p.m. to 6:00 p.m., Thursday through Monday. It is closed on Thanksgiving, Christmas and New Years Day.
• artbook@PS1 is open from 1:00 p.m. to 5:30 p.m., Thursday through Sunday.
• LeRosier Café is open from 12:00 p.m. to 6:00 p.m., Thursday through Monday.

Admission:
Admission is a $5.00 suggested donation; $2.00 for students and senior citizens; free for MoMA members and MoMA admission ticket holders. The MoMA ticket must be presented at P.S.1 within thirty days of date on ticket and is not valid during Warm Up or other P.S.1 events or benefits.

Web Sites:
www.ps1.org • www.wps1.org • www.moma.org

This Week at Eyebeam:
- Personal Kyoto from Ben Engebreth
- Sept. 29 - Oct. 1 - Aphrodite Project: Platforms at
Next Fest
- Sept. 29 - Cory Arcangel at Team Gallery
- Reentry: New York City from Bill Dolson - on view

Upcoming:
- Oct. 5 - World of Awe - CD Release Party and Performance

540 W. 21st Street (between 10th & 11th Aves) NYC

Personal Kyoto
from Ben Engebreth

Eyebeam R&D Fellow Ben Engebreth has launched Personal
Kyoto,
a web-based tool designed to automatically measure, track and share progress
toward reduction of your residential or commercial electric consumption
in order to achieve your own Personal
Kyoto
Protocol.

By analyzing
your ConEd electric usage information, the site can calculate a Personal
Kyoto Goal for you that represents the amount you need to
reduce your electric use to to achieve something like what would be required
of you by the Kyoto
Protocol. This calculation is based on how residential
electric use has grown in the US since 1990 — the year upon which
the Kyoto Protocol is based. Assuming that your electric use has increased
at the same rate as the average American, the site calculates a target
usage goal that would effectively make you Kyoto Protocol compliant (at
least
for electric usage — a big component of New Yorkers’ energy consumption).
There are many ways to reduce your electric use, but there’s not
a good way to monitor and share your progress and that’s what Personal
Kyoto provides.

To register with
Personal Kyoto, all you need is your ConEd account number. This is used
to retrieve your historical energy usage from the
ConEd web site (try it here yourself).
The energy usage data is the only thing stored and your account
number is encrypted. Eyebeam is
a non-profit organization and will not sell or exploit your personal
information in any way. Personal Kyoto was developed by Ben during
his year-long R&D
Fellowship in Eyebeam’s
OpenLab. If
you are a software developer interested in bringing Personal Kyoto
to your town, please get in touch with Ben through the Personal Kyoto web
site.

To learn more and sign up for Personal Kyoto visit http://personal-kyoto.org/

The Aphrodite Project: Platforms
at WIRED’s Next Fest
Sept. 29 - Oct. 1, 2006

The Aphrodite
Project: Platforms, from Eyebeam Residents Norene Leddy and Andrew
Milmoe, will be exhibited in the Future of Design Pavilion at WIRED’s Next
Fest. The Platforms, designed for the safety and communication
needs of sex workers, are 6-inch, silver leather sandals with built-in
video
and GPS technology that link the wearer to emergency services and an
online community network. This project includes the shoe prototypes
as well as two web sites, http://theaphroditeproject.tv and http://sexygpsshoes.com,
and a P.S.A. designed to stimulate discussion about sex work and
sex workers rights.

Next Fest is WIRED Magazine’s vision of a new world’s fair including
more than 130 exciting exhibits from scientists, researchers and inventors
around
the globe. Next Fest features
innovations in communication, design, entertainment, exploration, health,
transportation, security and green living. Next Fest takes place at the
Javits Center in NYC from Sept 29 - Oct. 1 and Eyebeam is proud to be
an affiliate
sponsor of this
event.

For more information on Next Fest and a complete schedule of events
visit http://www.nextfest.net/

Cory Arcangel at Team Gallery
Sept. 29, 2006

6-8pm

Cory Arcangel, Eyebeam senior R&D Fellow, has an exhibition
opening Friday Sept. 29 at Team Gallery in Soho. If you aren’t able to make
it Friday to help Cory celebrate, subtractions,
modifications, addenda, and other recent contributions to participatory culture is
on view through Nov. 2 at Team’s new space, 83 Grand Street.

For more information visit http://teamgallery.com/

Reentry: New York City
Studies for Synthetic Meteors
Now on view thru Oct. 21, 2006

Bill Dolson’s Reentry: New York City merges iconic night cityscapes
with HD computer simulations in a series of studies for a daring new public
art project: synthetic meteor showers in the Manhattan sky. Evoking the
spectacle of the Apocalyptic Sublime painting movement and the audacity
of Land Art, these new simulations created by Bill during his Eyebeam
residency are on view through Oct. 21. The exhibition is open
to the public Tuesday through Saturday from 12-6pm and is free of charge
with a suggested donation.

Bill is simultaneously exhibiting digital C-prints of frames from these
video studies at Photographic Gallery, 252 Front Street (South Street
Seaport Historic District) in New York City. The exhibition, Trajectories:
Carter Hodgkin & Bill Dolson opens September 28 with an artists’
reception 6-9 pm.

For more information on Reentry visit http://www.eyebeam.org/engage/engage.php?page=exhibitions&id=103

Bit by Bit, Cell by Cell - World of Awe
CD Release Party and Performance
Oct. 5, 2006
7pm

Join us to celebrate the release of Bit by Bit, Cell by Cell
(Innova), the latest World of Awe project. The music CD is a collaboration
between media artist Yael Kanarek, composer Yoav Gal and dancefilmmaker
Evann Siebens. World of Awe band (Gal with sopranos Heather Green
and Sarah Rivkin) will play songs from the CD and Siebens will
perform choreographed elements from her dancefilm Portal.

For more information on this event visit http://www.eyebeam.org/engage/engage.php?page=unique&id=106

Simon Starling, Tabernas Desert Run (details), 2004. Courtesy of the artist and The Modern Institute, Glasgow.

Friday 29 September, 7pm
International Lecture Series: Simon Starling
The Brigantine Room, 235 Queens Quay West. Free to members. $15 non-members.

Reserve NOW. To order tickets call Box Office at 416 973 4000.

Join The Power Plant on this rare occasion to hear British artist and 2005 Turner Prize winner Simon Starling speak on his practice and recent works. In elaborately staged installations Simon Starling creates breathtaking relationships that enact cyclical, sometimes absurd detours across geography and time, and provoke ruptures in our preconceptions about cultural and political economies. “When I’m making art,� says Simon Starling, “I’m thinking up novels in a way. Whether things I’m telling are true or not … I’m involved in an activity which is similar to that of a narrator.� Starling’s works draw out an array of ideas, revealing previously hidden relationships between art, nature, economics, history and place.
In Tabernas Desert Run, Starling retrofitted a bicycle to run on a Nexa Fuel Cell, a power source whose by-product is water. Starling rode the bike across Spain’s Tabernas Desert—the same desert where Sergio Leone filmed his renowned Spaghetti Westerns—in homage to American Chris Burden, who infamously rode a motorcycle across California’s Death Valley. Upon completing his more eco-friendly feat Starling created a watercolour painting of an Opuntia cactus—a species imported into the Tabernas from Death Valley by Leone to make Spain look more like the American West—using water from the fuel cell collected on the journey.

Simon Starling is a member of a young generation of British and Scottish artists who have emerged in the last decade to increasingly popular and international acclaim, and his work has exhibited internationally in significant solo and group exhibitions. In 2005 Starling received the Turner Prize, Britain’s most prestigious and important award for artists under the age of 50. For his recent exhibition, Cuttings, at the Museum fur Gegenwartskunst, Basel, Switzerland, The Power Plant co-published his exhibition catalogue (available at The Power Plant).

Currently showing at The Power Plant: Make Your Own Life: Artists In & Out of Cologne and Eve Sussman’s 89 Seconds at Alcázar.

Gallery Hours are Tuesday to Sunday: 12-6pm, Wednesday: 12-8pm, Closed Monday, open holiday Mondays. Admission is Free to Members, $4 adults, $2 students/seniors.

Media contact: Linda Liontis, 416 973 4381, lliontis@harbourfrontcentre.com

FOR MORE INFORMATION ON PLEASE CONTACT
THE POWER PLANT CONTEMPORARY ART GALLERY
at Harbourfront Centre
231 Queens Quay West
Toronto, ON M5J 2G8
tel: (416) 973-4949
fax: (416) 973-4933
www.thepowerplant.org

thepowerplant@harbourfrontcentre.com

New Portfolio: Eric Slayton, Techno-Color Eyes.
Welcome to fall. Hope you all enjoyed your summer. We wanted to let you know about a new portfolio from Eric Slayton. This is one of a number of new portfolios and artists we will be adding over the next several months.

There was a time when the animals that star in Eric Slayton’s diorama images made national headlines: Explorers were the heroes of their day, returning from remote corners of the world with new specimens like generals bearing the spoils of war. It was the beginning of our relationship with nature behind glass. Slayton considers this series a scientific-based art form, though his images have a historical, almost nostalgic, feel, too, as if they were taken during an expedition before the age of safari vacations and live animals behind glass in Vegas.

For this series, shot at various natural history museums, Slayton switched from black and white to color, working with a color scheme reminiscent of ’70s cibachrome.”I’m not a nature and wildlife photographer, so I didn’t want the work to be too literal,” he says. “The images in this series are not just about animal life, but also about how color transforms them into plastic nature.” The scenes that Slayton turns his lens on lead us to reconsider our relationship with nature. At the first glance, that rhino might just be real; during the second take, uncertainty sets in (wait a minute); and by the third look, we’re asking ourselves, What exactly does it mean to “capture” nature anyway?

We hope you enjoy this new work from Eric Slayton.

Marty Weiss
Curator/Founder

www.metergallery.com

Six performances scheduled for October 2006

Beacon, New York–Multimedia and performance artist Joan Jonas will restage The Shape, the Scent, the Feel of Things, following the overwhelming success of its 2005 premier, at Dia:Beacon, Riggio Galleries. Commissioned by Dia as a site-specific artwork, the performance will be presented over three weekends in October 2006. One of only two New York performances Jonas has created in over a decade, The Shape, the Scent, the Feel of Things is the second in a series of artist performances at the museum, following Robert Whitman’s Prune Flat and Light Touch in 2003.

Incorporating movement, sound, live music, and projected video footage, The Shape, the Scent, the Feel of Things is, in part, a response to the writings of German art historian Aby Warburg based on his visit to the American Southwest in 1896. Equally formative was her collaboration with renowned jazz pianist Jason Moran, who devised the score in tandem with Jonas as she developed the project in situ in the summer of 2005. Employing piano, African bells, and other instruments, Moran performs during each presentation.

Like other Jonas works, The Shape, the Scent, the Feel of Things touches upon themes pertaining to ritual, folklore, and myth. The work features an interplay of live actors, music, and video projections of pre-edited footage and closed-circuit live footage.

The Shape, the Scent, the Feel of Things will be presented on October 14, 15, 21, 22, 28, and 29, at 2 pm. Admission is $15 general, $13 for students and seniors, and $3 for Dia members. Tickets include museum admission. To reserve tickets, please call 845 440 0100, extension 44.

Joan Jonas

A pioneer of video and performance work, Jonas belongs to a group of artists whose use of live action and video beginning in the late 1960s and early 1970s gave rise to contemporary genres of video art and performance art, which have been embraced by younger generations of artists.

Born in New York in 1936, Jonas received a BA in art history from Mount Holyoke College, South Hadley, Massachusetts; studied sculpture at the School of the Museum of Fine Arts in Boston; and received an MFA in Sculpture from Columbia University in 1965. She has performed and exhibited her work extensively throughout the world and has had major retrospectives at Stadtsgalerie Stuttgart, Stuttgart, Germany (2000); Stedelijk Museum, Amsterdam (1994); and, most recently, at the Queens Museum of Art in New York (2003). Jonas’s many one-person exhibitions and performances have included presentations at The Kitchen, New York (2004); the Renaissance Society, University of Chicago (2004); Kunstmuseum, Bern (1980); University Art Museum, Berkeley, California (1980); among others. She is currently working on a show for the spring of 2007 at MACBA, Barcelona. In 2000, Dia and Electronic Arts Intermix (EAI) presented a program of Jonas’s film and video works at Dia’s New York City exhibition facility. In 1988 Jonas was awarded the American Film Institute’s Maya Deren Award, and was the recipient of the 3rd Annual Polaroid Video Art Award in 1987. Since 2000 she has taught at Massachusetts Institute of Technology, Cambridge, Massachusetts. Jonas lives and works in New York.

Jason Moran

Born in Houston, Texas, in 1975, Moran began studying the piano at age six. He attended Houston’s High School for the Performing and Visual Arts and later studied at the Manhattan School of Music with the pianist Jaki Byard. After joining saxophonist Greg Osby’s band for a European tour in 1997 Moran made his professional recording debut on Osby’s 1997 album Further Ado. His debut recording as a leader followed in 1999 and he has since released seven albums on Blue Note records. His latest album, titled Artist in Residence, features three commissions from American arts institutions: the Walker Art Center in Minneapolis (MILESTONE), Jazz at Lincoln Center (RAIN), and Dia Art Foundation through Joan Jonas (The Shape, the Scent, the Feel of Things). Artist in Residence also features guest appearances by artists Joan Jonas and Adrian Piper. Moran was recently awarded the 2005 Pianist of the Year and Small Ensemble of the Year (The Bandwagon) by the Jazz Journalist’s Association and the first-ever 2005 Playboy Magazine Jazz Artist of the Year.

Funding

Joan Jonas’s commission for Dia:Beacon is made possible by the Dutchess County Arts Council; the Dyson Foundation; Jean Stein, JKW Foundation; and the New York State Council on the Arts. Support for video production during this project was provided, in part, by the Renaissance Society, Chicago, and the Massachusetts Institute of Technology,

Dia:Beacon, Riggio Galleries

Dia:Beacon, Dia Art Foundation’s museum in the Hudson Valley, presents a distinguished collection of contemporary art from the 1960s to the present. Situated on the banks of the Hudson River in Beacon, New York, the museum occupies a former Nabisco box-printing facility, which was renovated by Dia with artist Robert Irwin and architect OpenOffice.

Dia:Beacon’s expansive galleries comprise 240,000 square feet of exhibition space illuminated by natural light. The museum houses works by a focused group of some of the most significant artists of the last half century, including Bernd and Hilla Becher, Joseph Beuys, Louise Bourgeois, John Chamberlain, Walter De Maria, Dan Flavin, Michael Heizer, Robert Irwin, Donald Judd, On Kawara, Imi Knoebel, Sol LeWitt, Agnes Martin, Bruce Nauman, Blinky Palermo, Gerhard Richter, Robert Ryman, Fred Sandback, Richard Serra, Robert Smithson, Andy Warhol, and Lawrence Weiner.

Programming at the museum includes a series of year-long temporary exhibitions as well as public programs designed to complement the collection and exhibitions, including monthly Gallery Talks, music performances by St. Luke’s Chamber Ensemble, Readings in Contemporary Literature, Community Free Days for neighboring counties and an education program that serves area students at all education levels.

Dia Art Foundation

Dia Art Foundation was founded in 1974. A nonprofit institution, Dia is internationally renowned for initiating, supporting, presenting, and preserving art projects. Dia presents public programs and its permanent collection of works from the 1960s through the present at Dia:Beacon, Riggio Galleries, in New York’s Hudson Valley. Dia has also proposed a plan to relocate its contemporary exhibition program in New York City to a new facility located at the future entrance to the High Line public park in downtown Manhattan. Additionally, the foundation maintains long-term, site-specific projects in the western United States, in New York City, and on Long Island.

Transmundane Diversions Adam Rompel September 23 - October 20, 2006 Reception for the Artist: Saturday, September 23, 6 to 9pm
The Office An Art space 5122 Bolsa Ave. Suite #110, Huntington Beach, Ca 92649 Phone: 714-767-5861 Email, Web site, Blog, Hours, Tuesday - Friday, 1-5 p.m.
Adam Rompel
The Office is pleased to announce: Transmundane Diversions, an installation of new work by Adam Rompel. For this exhibition, three distinct bodies of work are presented that find commonality in emphasizing the abstracted moment.
Temp Work, the first project, documents the recontextualization of Minimal Art and Land Art for the corporate environment. While at his day job, the artist surreptitiously produced and then briefly displayed objects using materials available from the supply & break rooms. Secondly, Instances of Transcendent Bliss offers a series of transitory moments of affected happiness. And lastly, Often Better Thought About, attempts to document the sporadic instances of the artistic process through a systematic cataloging of ideas.
Adam Rompel was born and raised in Los Angeles. He received his BA in Art Practice with a focus on New Genres & Installation from the University of California, Berkeley in 1998. Since school, Rompel had exhibited regularly until he decided “to open a gallery that I would like to show in” (Lucky Tackle, 2002 - 2005). Most recently, he participated in New Langton Art’s Five Habitats: Squatting at Langton. Currently, he splits his time between Oakland and San Francisco.
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Galerie L’Oeuvre de l’Autre Louis-Pierre Bougie Le corps est la demeure du temps. Du 27 septembre au 20octobre 2006 Vernissage le mercredi 27 septembre à 17 hres.
Ce qu’on appelle le « corps » est une représentation de l’esprit? Sans doute que cette image nous dit quelque chose du corps mais elle met en scène bien d’autres choses. Y compris comment l’esprit se représente à lui-même. Le corps, lorsqu’il paraît inachevé, larvaire, handicapé, etc., est sans doute l’expression d’un état de l’esprit, sinon d’une condition de l’être : comment celui-ci est ouvert sur le monde ou au contraire replié sur lui-même. Ainsi notre corps serait tantôt un puits d’émotion, dans lequel nous pouvons puiser des hurlements, ou plutôt une surface où nous jouons avec des sentiments empruntés : le corps prend à chaque fois la forme de ses affects. Chez Louis-Pierre Bougie il y a un mouvement tournant du corps qui entraîne une torsion de l’espace : nous avons la révélation de la relation du corps à l’espace, le corps se saisit de l’espace dans lequel il se produit et retrouve une indistinction du dedans et du dehors, du possible et de l’actuel. Nous avons appelé de telles figures des toponiries car elles refusent de disjoindre le subjectif de l’objet, l’imaginaire du concret, - sur le modèle de la coïncidence des contraires dans le rêve. Alors dessiner c’est une façon de se demander par quelle extrémité de soi-même, perdu dans quelque coma matériel, nous sommes aussi une image dans un rêve lointain.
Le travail récent de Bougie travaille aussi la matière du temps dans les corps. En premier lieu nous concevons le temps en tant que déroulement continu auquel nous prêtons une pureté géométrique. En fait le temps est fuseau d’univers où le début et la fin se touchent, où les répétitions laissent un tracé, les habitudes sont des plis et tout ce qui revient laisse un contour. Alors le temps n’est pas lisse, uni et symétrique, comme on le dit de l’espace - il semble cependant que le temps est un espace qui se souvient, que le temps - strié, rugueux, fissuré - est partout, dans la structure de nos pensées, la tension interne de notre vie, et aussi dans cette lecture que vous faites de ce texte, dans le moment pris à regarder un dessin.
Notre conception de la réalité s’est déplacée : celle-ci ne serait pas faite de particules matérielles mais plutôt de perceptions partagées selon nos capacités de communication et les probabilités sur lesquelles on s’accorde. Selon ce nouveau paradigme la réalité ne tire pas sa consistance d’une matière inerte mais de la durée de ceux qui vivent dans cette réalité et aussi des projections symboliques et organiques de ceux-ci. En fait, les formes, les sons, les couleurs, etc., ce qui résiste et ce qui jaillit dans le monde dit « extérieur », tout cela n’est que vide tant que le temps ne s’est pas inséré dans les objets. C’est lorsque le temps se laisse absorber dans les matières et concentrer dans les êtres, - alors les êtres et les formes, les objets et les matières acquièrent une densité. Inversement, lorsque le temps s’échappe des corps, ils perdent toute consistance. Les dessins et peintures de Louis-Pierre Bougie s’attardent à observer comment le temps se dissipe lentement hors des objets, et comment le fait même de décrire les choses a pour effet de compresser le temps pour les générations futures. Ici le dessin serait déjà une façon d’intervenir directement sur une réalité qui serait à la fois une description éphémère et un étau de souffrance. Ici, en effet, le corps est la demeure du temps. -Michaël La Chance
Louis-Pierre Bougie qui vit et travaille à Montréal a acquit sa formation de graveur grâce à de nombreux travaux et stages effectués dans des ateliers de peinture et gravure principalement en France où il y a passé sept années à maîtriser les techniques de lithographie à l’Atelier Champfleury et la gravure chez Lacourière et Frélault. Il a ensuite poursuivi sa carrière au Canada, en France, en Pologne et aux États-Unis notamment à New York. Récipiendaire de nombreux prix récompensant son talent de graveur, il a à son actif plus d’une cinquantaine d’expositions solo au Canada et à l’étranger. Ses oeuvres font partie de nombreuses collections privées et publiques au Canada et en France. Bougie est membre fondateur de l’Atelier Circulaire de Montréal.
L’‘uvre de l’Autre est située au Pavillon des arts de l’UQAC et ouvre ses portes tous les jours de 11h00 à 16h00.
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