Artipedia - Arts News

Museo de Arte de Puerto Rico (MAPR)

The Puerto Rico Art Museum and ArtPremium open exhibition Basquiat: An anthology for Puerto Rico

Museo de Arte de Puerto Rico (MAPR)
Avenida De Diego 299
Santurce, Puerto Rico 00910
Tel.: 787-977-6277

http://www.mapr.org

The Puerto Rico Art Museum and Art Premium have joined efforts to offer, for the first time in Puerto Rico, a cultural event of international interest that will mark this decade as one of the greatest exhibitions in Puerto Rico, Basquiat: An anthology for Puerto Rico. This exhibition of Jean Michel Basquiat (1960-1988), with 131 original pieces, 25 lithographies and silkscreens, will be displayed from October 21, 2006 through January 7, 2007, after a successful tour among the most important museums worldwide.

The collection is composed of paper artwork that shows the artist’s development from 1977 until his untimely tragic death in 1988, creating a detailed anthology of the most significant moments in his life. The extraordinary quality of his work made him a favorite of personalities such as Andy Warhol, and catapulted him to international fame in a short time. This collection bears witness to the richness and diversity of a production that can be considered emblematic of the most important post-war art movements.

Dr. Lourdes Ramos, Executive Director of the Puerto Rico Art Museum, states: “We are very honored to host such an important event and of being able to provide the people of Puerto Rico the opportunity to enjoy closely Jean Michel Basquiat’s work.”

Corinne Timsit, editor of ArtPremium and project manager for the Basquiat’s exhibition, added: “Our magazine seeks to strengthen the art audience in Puerto Rico and to give Puerto Ricans the opportunity of witness exhibitions of international renown.”

Basquiat: An anthology for Puerto Rico documents the brilliant artistic savvy of young Basquiat. The artist, of Puerto Rican blood on the maternal side, and Haitian on his father’s, was born and raised in New York. Basquiat was able to combine the multicultural elements that besieged his hybrid self within the great North American metropolis.

Basquiat transformed the racial and national tensions that defined his life into objects of a brilliant representation characterized by the easiness of strokes, the insistent use of primary colors, the typical lettering of graffiti, iconic images, a somewhat sinister sense of humor and impressively prolific work. His art is a nouvelle and surprising form of abstract expressionism, Povera art, primitivism, children’s art, abstraction, cubism and surrealism, and a myriad of avant guard elements; all with the underlying concern for the human condition in this violent post modern world.

This exhibition reveals the intimate dialogue between painting and drawing for Basquiat. Judging for the pictorial content of his work, the artist does not distinguish between paper and canvas, using the same images and techniques in both. Given that paper does not require special preparation, it allows faster, more spontaneous and more quantity of work.

Basquiat: An anthology for Puerto Rico comprises artwork from Enrico Navarra’s collection, renowed international art collector and one of the main Basquiat’s collectors. This exhibition has UBS Financial Servicies Incorporated of Puerto Rico as its main sponsor and the support of Assurant Solutions, Doral Bank, Plaza Las Américas Foundation, MCS, Universal Group, PRTC and the University of Puerto Rico, among others. To be part of history through the support of this exhibition, please call (787) 977-4449.

As part of the exhibition, the Museum has coordinated special events for different audiences, inside and outside its premises, such as exhibitions, art workshops for children and teens, guided tours, cultural fairs for universities and educational forums.

The Museum operation hours are: Tuesday to Saturday from 10:00 am to 5:00 pm; Wednesday from 10:00 am to 8:00 pm; Sundays from 11:00 am to 6:00 pm. As part of the benefits of the Museum’s Members Program, its members will enjoy free admission for the Basquiat’s exhibition.

For additional information on the exhibition and its programs, please call (787) 977-6277, Ext. 2226.

For more information go to: http://www.mapr.org

The New Art Dealers Alliance (NADA)

The New Art Dealers Alliance (NADA) Art Fair 2006, Miami

Dates/Times:
December 6-9, 2006; 11am to 7pm
December 10, 2006; 11am to 4pm

Preview: Primera Vista
Opening Night Preview to benefit NADA and the New Museum of Contemporary Art
Tuesday, December 5, 2006
4pm to 8pm
Tickets Available on line at http://www.newmuseum.org/nada.html

Location:
@ The Ice Palace
1400 North Miami Avenue
(Corner of North Miami Avenue and NW 14th Street)
Miami, FL 33136

Contact Info:
info@newartdealers.org
212.594.0883

The New Art Dealers Alliance (NADA) is a not-for-profit collective of professionals working with contemporary art. To date, our initiatives have succeeded on two fronts: making the contemporary arts more accessible for the general public, and creating opportunities that nurture the growth of emerging artists, curators, and galleries. The New Art Dealers Alliance (NADA) Art Fair was established in an effort to further pursue these initiatives and to present an alternative opportunity for exploring new or underexposed art that is not typical of the “art establishment.”

This will be the 4th edition of New Art Dealers Alliance (NADA) Art Fair in Miami. Featuring 82 emerging art galleries from 20 countries around the world, the New Art Dealers Alliance (NADA) Art Fair is renowned for its diverse, high quality group of exhibitors. The fair is free and open to the public during its regular hours of operation.

This year’s schedule begins on Tuesday, December 5 with a special benefit for NADA and the New Museum of Contemporary Art from 4-8pm. Individual tickets for this event are available online at http://www.newmuseum.org/nada.html. Any remaining tickets will be for sale at the door the evening of the event. The public should contact the New Museum with ticket inquiries at 212-219-1222 x220 or awachnicki@newmuseum.org. All online ticket purchases must be made by December 1st.

The NADA Fair catalog is made possible and sponsored by New American Paintings/Open Studios Press.

The New Art Dealers Alliance (NADA) 2006
* indicates first time exhibiting at the NADA Art Fair

A GENTIL CARIOCA, Rio de Janeiro | aliceday, Brussels * | The Apartment, Athens | Art:Concept, Paris | ATM Gallery, New York | Bellwether, New York | Black Dragon Society, Los Angeles | Blow de la Barra, London * | Broadway 1602, New York | Shane Campbell Gallery, Chicago | Canada, New York | Atelier Cardenas Bellanger, Paris * | Cherry and Martin, Los Angeles * | Galerie Chez Valentin, Paris | Clementine Gallery, New York | Cohan and Leslie, New York | John Connelly Presents, New York | Counter Gallery, London * | Sorcha Dallas, Glasgow | Elizabeth Dee Gallery, New York | Dicksmith Gallery, London * | Elastic, Malmö * | Derek Eller Gallery, New York | Evergreene, Geneva, Switzerland * | Fortescue Avenue/Jonathan Viner, London | Foxy Production, New York | Goff + Rosenthal, New York/Berlin | Mary Goldman Gallery, Los Angeles | Green on Red, Dublin | Grimm/Rosenfeld, New York/Munich | Guild & Greyshkul, New York | Kavi Gupta Gallery, Chicago | Hales Gallery, London |
Hollybush Gardens, London * | Ingalls & Associates, Miami | Galerie Juliette Jongma, Amsterdam * | Iris Kadel, Karlsruhe | Kaikai Kiki, New York/Tokyo | Oliver Kamm/5BE Gallery, New York | Kantor/Feuer Gallery, Los Angeles * | Galerie Ben Kaufmann, Munich/Berlin * | Kirkhoff, Copenhagen * | Nicole Klagsbrun Gallery, New York | Leo Koenig, Inc., New York * | Galerie Kosak Hall, Vienna | KS Art, New York | LEGION, New York * | Linn Lühn, Cologne * | Kate MacGarry, London | Mary Mary, Glasgow * | Momenta Art, Brooklyn | Mother’s Tankstation, Dublin * | Murray Guy, New York | Museum 52, London * | NOGUERASBLANCHARD, Barcelona | Lizabeth Oliveria, Los Angeles | Participant, Inc., New York | Proyectos Monclova, Mexico D.F. * | Raster, Warsaw | Ratio 3, San Francisco | RITTER/ZAMET, London | Rivington Arms, New York | Roebling Hall, New York | Samson Projects, Boston | Sandroni Rey, Los Angeles * | Andre Schlechtriem Temporary, New York * | Sister, Los Angeles | gallery.sora., Tokyo * | Southfirst, Brooklyn * | Nils Staerk Contemporary Art, Copenhagen | STANDARD (OSLO), Oslo | Galerie Olaf Stüber, Berlin | T293, Naples * | Upstream Gallery, Amsterdam | Vacio 9, Madrid * | Martin Van Zomeren/gmvz, Amsterdam * | Wallspace, New York | White Columns, New York | Galleri Christina Wilson, Copenhagen | Jan Winkelmann, Berlin | Workplace Gallery, Gateshead * | ZieherSmith, New York

New Museum and Altoids present Classic Readings in American Schlock
In Classic Readings in American Schlock, the New Museum curates a dose of subversive humor and contemporary critique into the go-go, market driven culture of the art fair. A roster of cutting edge artists, curators, collectors, critics and art world personalities will read aloud classic lowbrow works of American letters. Enacting a live appropriation of that which is considered most frivolous and excessive within a space of high art and commerce, this theatrical reading of texts that are beyond taste and beneath reproach will be a marathon presentation of phenomena that rose, ruled and swan-dived into the cultural river of no return. Classic Readings in American Schlock is curated by the New Museum in collaboration with Altoids.

Also at the NADA Art Fair fair:

Afterall
ARTFORUM
Art In America
Art On Paper
Beautiful Decay
Cereal Art
Electronic Arts Intermix (EAI)
Imperfect Articles
The Journal
Modern Painters
North Drive Press (NDP)
New American Paintings/Open Studios Press
Picture Box
The Sienese Shredder
Useless Printing Project

For more information go to: http://www.newartdealers.org

EXIT ART

EXIT ART presents

INTERPLAY
CITY LIGHTS: NEONART
¡VIVA LA MUSICA!
October 14-November 25, 2006

THE PURPOSE AND FUNCTION OF ART IN THE 21ST CENTURY
What’s Wrong With This Picture: Conversations on Sex, Drugs, Rock ‘n’ Roll
Organized by Carlo McCormick
Saturday October 28 12 noon-6 pm

SERIOUS GAMES
Performances by Trickster Theater
Saturdays November 11 and 18 8-10pm

EXIT ART opens the season with three exhibitions, panels and performances

INTERPLAY focuses on four international emerging New York-based artists whose work is equally defined in a multiplicity of mediums. For each of these artists, the expression of ideas in different mediums is a necessity. Interplay explores individual bodies of artwork by these artists, as they strive to master artmaking in numerous distinct mediums, and at the same time, form a comprehensive artistic statement. Painting, sculpture, sound, installation, poetry, photography, drawing, collage and video are among the methods being investigated by these contemporary artists.

Artists: Ernest Concepcion, Vlatka Horvat, Miquel Luciano, William Villalongo
Curators: Jeanette Ingberman and Papo Colo

CITY LIGHTS: NEONART
Over the past fifty years, the use of neon has grown from commercial advertising and signage to fine art sculpture and installation. In City Lights: Neonart, contemporary artists explore the diversity of this vibrant and colorful light. Using the medium’s inherent graphic lines, the artists in City Lights: Neonart use this flexible illustration tool to create bold text works, image-based wall artworks, animated displays, sculpture and more. Exit Art’s storefront windows on 36 Street and Tenth Avenue feature the installations that are viewable 24 hours a day.

Artists: Tim Etchells, Hernan Marina, Kevin Curran, Stephan Krasner, Rocky Pinciotti, Donald Bruschi, Elisabeth Nickles, Khalil Chishtee
Curators: Jeanette Ingberman and Papo Colo

¡VIVA LA MÚSICA! explores the evolution of Latin music album cover art over the last 50 years. Taking inspiration from Pablo Yglesias’ recent book Cocinando! 50 Years of Latin Album Cover Art, this exhibition visually traces the history of Latin identity, culture and aesthetics through the display of over 400 albums. ¡Viva la Música! features sexy, colorful, innovative and creative Latin record covers from all the various genres of Latin music. Featuring covers by legendary performers such as Machito, Tito Puente, Mongo Santamaria, Celia Cruz, and Perez Prado. And pays tribute to the numerous graphic artists including: Chico Alvarez, Ely Besalel, Charlie Rosario, Izzy Sanabria, Manny Vega, Jorge Vargas, Walter Velez, and many others.
Curator: Pablo Yglesias

THE PURPOSE AND FUNCTION OF ART IN THE 21ST CENTURY
What’s Wrong With This Picture: Conversations on Sex, Drugs, Rock ‘n’ Roll
Organized by Carlo McCormick
Saturday October 28 12 noon-6 pm
Sex moderated by Brandon Holley, Executive Editor, Jane magazine
Drugs moderated by Steve Hager, Executive Editor, High Times
Rock ‘n’ Roll moderated by Jon Durbin, Managing Editor, Paper Magazine
advance ticket sales available at 212-966-7745 x15

What’s Wrong With This Picture is the first in a quarterly series, The Purpose and Function of Art in the 21st Century, a day long symposia that address critical issues in the diverse communities of the contemporary art world. Each of the three panels will feature a moderator and three artist-panelists whose work deals with the issues.

SERIOUS GAMES
Performances by Trickster Theater
Saturdays November 11 and 18 8-10pm
“The trickster performance theatre is the individual voice in a collective arena. The artists develop a specific shared subject. The group performs simultaneously inside an exhibition of the same subject. The curve of performance art is the collective theatre”. Papo Colo, Director
Serious Games is the fourth project in a new way of doing performance art, other projects include prayingproject, Water Project and Wild Nights

Artists: Rob Andrews, Mayumi Ishimo, Saeri Kiritani, Wanda Ortiz, Jolie Pichardo, Boryana Rossa & Oleg Mavromatti, Pasha Radetzki, Rafael Sanchez, Mark Stafford, Traci Tullius

Exit Art
475 Tenth Avenue
New York, NY 10018
212-966-7745
http://www.exitart.org

Hours:
Tuesday-Thursday 10am-6pm
Friday 10am-8pm
Saturday 12 noon-8pm
Closed Sunday and Monday
Closed Thanksgiving Day (November 23), open Nov 24-25 12-6pm

Exit Art has charted the new in art and contemporary culture since it’s founding by directors Jeanette Ingberman and Papo Colo in 1982. Over the course of 20 years, Exit Art has acquired a substantial reputation for curatorial innovation, depth of programming in diverse media, and especially for bringing to public attention the work of important unknown artists. Part of its mission is to present the work of under-recognized living artists in innovative ways that expose the diverse, multi-disciplinary nature of contemporary culture. Its exhibitions, performances and programs challenge traditional notions of what art is and explore the rich amalgam of voices and cultures that continually shape America. As such, it has grown to become one of the most admired, innovative spaces for supporting artists and providing the public with a visionary look on what’s to come. Exit Art now stands as an archive of cultural thought and expression routinely mined by artists, students, cura
tors, and scholars.

General exhibition support been provided by General exhibition support provided by American Express, Brown Foundation, Carnegie Corporation, Greenwall Foundation, Jerome Foundation, JPMorgan Chase, New York State Council on the Arts, Rockefeller Brothers Fund, Exit Art’s Board of Trustees and our members.

For more information go to: http://www.exitart.org

Schirn Kunsthalle Frankfurt

ANONYMOUS
In the Future No One Will Be Famous
31 October 2006 – 14 January 2007

SCHIRN KUNSTHALLE FRANKFURT
Römerberg
60311 Frankfurt, Germany
phone: (+49-69) 29 98 82-0
fax: (+49-69) 29 98 82-240,
welcome@schirn.de
http://www.schirn.de

Under the programmatic title Anonymous: In the Future No One Will Be Famous, the Schirn Kunsthalle Frankfurt presents an exhibition with works by 11 international artists who – like the curator – will remain unnamed. In their Notes toward a Manifesto, the initiators of the exhibition proclaim: “Anonymous artists wish to wriggle the status quo into a status incognitos. Their aim is to remove the increasing barbarization of thought via short circuits and fast lanes created by the marketing of artists as brands whose works have become masterpieces in ignorance of philosophy.”

Unlike other manifestations of anonymity in the current contemporary art scene – where artists take on pseudonyms – this exhibition is unique in gathering a group of artists who have put themselves undercover for a certain period of time (vaguely stated as “until the expiration date has been reached”).

In recent years, critical observations of the art market and its influence on the discourse of contemporary art have increased noticeably. Artworks have turned into branded commodities and the artist’s name has become the primary means of distinction. Content fades into the fog, magazines feature artists who have not even graduated from art school, and dealers purchase works en masse in advance. Exhibition curators have changed into impresarios setting the tenor for the reception of the work with their names and the themes associated with them. Under such circumstances, the work of art is forced into the background and loses its disturbing and subversive potential. An exhibition in which the artists remain unnamed, however, takes on the social and aesthetic task of revitalizing access to art and individual experience by leaving out certain codes that have become primary, as it were. A playful situation is created where the work can be critiqued ad hoc without having to read t
he label.

The enormous quantities of data with which the contemporary art system operates today is difficult to ignore. What art is today and how we think and talk about it is dependent not least on how we deal with this data and what weight is given to various bits of information.
Whether it is a specific artist or the depiction of a certain theme, the perception of an artwork is immanently informed by the prior experience one brings to the exhibition. Artist names inevitably structure subjective experience and, at times, even hinder spontaneous reactions and aesthetic encounters.

In addition to keeping the artists’ names undercover, the exhibited works have been placed within an architectural puzzle piece, a labyrinth of deferred meaning. By taking up the theme of anonymity as well, the exhibition transposes the subject of hidden authorship onto another level. Is there an author of the five white cars mysteriously parked one after the other? Has the hand of the artist intervened within recognized “acts of nature” – is the bird’s song making that branch move? Did the dog’s bark spark a fire? Why are the authors of city fountains most always anonymous, and was Duchamp cognizant of this fact when he titled his famous latrine “Fountain”? And what happens to the notion of sculpture when the sculpture begins to drip? The phenomenal questions raised by these works yield to an unparalleled autonomy of the spectator.

In the case of an exhibition that casts an opaque veil over names and whose works not only communicate this enigma but themselves contain traces of anonymity – laying a trail replete with mysteries and myths – the ability to read art by means of its metadata shifts to a lower-lying level. As if a space has been folded into multiple strata, in which the ceiling becomes the floor and the window only lets in that which already exists inside, viewers are continually cast back on themselves, on their own observations, and they are, thus, connected with the works whose reality is shaped in part by their perception and a language that explains them.

Well-known artistic strategies like Appropriation or Conceptual Art recede to the periphery of perception – and the metalanguage that has long since permeated and “managed” artistic works (or manipulated the reception thereof) undergoes a recession. Under the bright light of aesthetic perception, the names of the artists appear as distracting prosthetics, supplemental limbs that keep us from falling into a conceptual void. It is precisely this gap that anonymous works seek to fill. Removing the names produces a strange chaos, a game that is more than an obvious trick and also more than a deliberate deception. As viewers, we stand at the edge between knowing and not knowing the work, and at the same time we see the names that appear in our consciousness and their meaninglessness, and stand in the center of a mysterious or rather unknown language.

In art, the known and the unknown are not mutually exclusive opposites. Not infrequently, the idea is to foreground the unknown aspect of a known artist, to confront the unknown side of an artist with what is known about him or her, increasing the significance of his or her work. This legitimizes not only the repeated exhibitions of so-called classics but also results from the variety of perspectives and interpretations of a work of art that ensures that its meaning is not restricted but demarcated (or stripped of its boundaries). It proves more difficult – though many ambitiously contemporary galleries and exhibition spaces pursue competition on this front – to make previously unknown artists known, and the chances of success in that venture are in no small measure based on how well the institution – or curator – is known that shows the unknown artist’s work. In both cases, the unknown is less a failing of art than a guarantee of its continuation.

Andy Warhol – whose artistic reproduction of everyday images and celebrated faces became world-famous even beyond connoisseurs of art – made the prophetic statement in 1968: In the future everyone will be world-famous for 15 minutes. Undoubtedly, this certainly approximates the truth of the devaluation of the status of fame and the assembly line production of so-called art stars. With the popularization of fame, however, comes an unwieldy hunger for fame that must be fed – a vicious circle as more and more famous people are fabricated, who, likewise, possess less and less of the “aura” of fame and, consequently, are quickly and easily replaced. Anyone who is world-famous today, thus the tautological formula, will be soon forgotten tomorrow.

CATALOGUE: “ANONYM /ANONYMOUS – In the Future No One Will Be Famous,” anonymous and Max Hollein (eds.), with a preface by Max Hollein and texts by Dominic Eichler, Stephan Heidenreich, April Elizabeth Lamm, Eckhart Nickel, and Hans Ulrich Obrist. German/English edition, 160 pages, 32 b/w illustrations, Snoeck Verlagsgesell-schaft mbH, Cologne, ISBN 3-936859-51-5, hardcover, linen.
In addition, 500 blank catalogues with 160 empty pages will be published.

DIRECTOR: Max Hollein
CURATOR: Anonymous

OPENING HOURS: Tue, Fri–Sun 10 a.m.–7 p.m., Wed and Thur 10 a.m.–10 p.m.

INFORMATION: http://www.schirn.de

PRESS CONTACT: Dorothea Apovnik and Simone Krämer, phone: (+49-69) 29 98 82-118, fax: (+49) 29 98 82-240, e-mail: presse@schirn.de, www.schirn.de (texts and pictures for download under PRESS).

For more information go to: http://www.schirn.de

SMART Project Space

Last Lives in the Universe

Rosa Barba, François Bucher, Claire Harvey, Sung Hwan Kim, Katya Sander, Nicholas Spratt

Opening: October 21, 2006, 21.00hrs
Exhibition: Oct. 25 – Nov. 18, 2006
Opening hours: Wednesday – Saturday, 12:00-18:00 hrs

SMART Project Space, Amsterdam
Arie Biemondstraat 105-113
NL-1054 PD Amsterdam
http://www.smartprojectspace.net
info@smartprojectspace.net
phone: +31 20 42 75951
fax +31 20 247 59 53

Intimate attitudes are gleaned from and woven into expansive ideas, becoming both a celebration of individual empowerment and a haunting ground for loneliness and isolation. Last Lives in the Universe reflects singular, finite relationships within the dynamics of power and communication.

The solitary or singular exists as a binary condition, defined in part by the broader context around it. Micro narratives provide portals by which we can peer into a complex world, citing incidents of global relevance as well as the immediate or personal repercussions. These singular attitudes serve to focus an awareness of embedded power and relationship dynamics, proposing that it is these interactions which provide a quantifiable measure of intent. An historic ambition of activism or revolution becomes manifest as a normalised state of being, a form of communication with its own peculiarities - questionable, romanticised or diffused. Here the multitude is recognised by the component parts within it – be they people, thoughts, or actions, they propose tangible realities that reflect the vast urgencies surrounding us.

SMART Project Space is kindly supported by the Mondriaan Foundation, Gemeente Amsterdam, Project BroedplaatsAmsterdam, Stichting Doen, Filmfonds, Prins Bernhard Cultuurfonds.

Last Lives in the Universe is further supported by the Danish Arts Agency.
Press information contact Tessa Giblin, acting Head of Exhibitions: tessa@smartprojectspace.net

Further information and updates visit: http://www.smartprojectspace.net
How to get here: http://www.smartprojectspace.net/info/location

For more information go to: http://www.smartprojectspace.net

Grey Art Gallery

Moving Pictures: American Art and Early Film, 1880–1910

Grey Art Gallery
New York University
100 Washington Square East
New York, NY 10003
(212) 998-6780
greygallery@nyu.edu
http://www.nyu.edu/greyart

“[A] quirky and delightful exhibition.… It leads one to wonder what innovations in our new century could possibly match the wonders of the early days of film.”
–Barbara Pollack, Time Out New York

Moving Pictures explores links between the earliest films and American visual art at the turn of the 20th century. The first exhibition to integrate cinema into the history of American art, the show features paintings installed alongside films representing landscape, the human figure, and urban life, revealing how technological advances affected both visual perception and representation. Highlighting art and cinema’s multifaceted interrelationships, Moving Pictures offers a groundbreaking reinterpretation of a crucial period in modern American visual culture.

Exhibition remains on view through December 9, 2006.

SELECTED PUBLIC PROGRAMS

Mit Out Sound: Moving Image Visual Culture and Technology
Wednesday, October 18, 6:30–9 pm
19 University Place (near E. 8th St.)

Coined by Austrian-American movie director Erich von Stroheim, the term “mit out sound” (MOS) means to film without sound. Focusing on the visual in moving image culture, this panel discussion will explore relationships among art, theory, film, science, popular culture, and technology. With Zoe Beloff, artist, filmmaker, and Assistant Professor, Queens College; Jonathan Crary, Meyer Schapiro Professor of Modern Art and Theory, Columbia University; and Jon Kessler, artist and Associate Professor, School of the Arts, Columbia University. Moderated by Susanna Cole and Erin Donnelly, co-curators of The Golden Hour, exhibition on view at Gigantic ArtSpace.

Co-sponsored by NYU’s Deutsches Haus and Grey Art Gallery, with Gigantic ArtSpace. Information: 212/998-8663 or nr49@nyu.edu.

Moving Pictures: Fine Art, Early Cinema, and the Politics of Culture
Friday, October 20, 4-–6 pm
721 Broadway, Room 656 (near Waverly Place)

In this panel discussion, Nancy Mowll Mathews, curator of Moving Pictures and Eugénie Prendergast Senior Curator of 19th and 20th Century Art, Williams College Museum of Art, Howard Besser, Professor of Cinema Studies and Director, Program in Moving Image Archiving and Preservation, NYU, and Elizabeth Hutchinson, Assistant Professor of Art History, Barnard College, will address issues raised by Moving Pictures: How might the exhibition’s reconsideration of the dynamics between fine art and film, high and low culture affect the disciplines of art history, cinema studies, and cultural history? Moderator: Charles Musser, Professor of American Studies and Film Studies, Yale University. Discussant: Alan Trachtenberg, Neil Gray Professor Emeritus of English and American Studies, Yale University.

Co-sponsored by NYU’s Center for Media, Culture and History, Center for Religion and Media, Department of Cinema Studies (TSOA), and Grey Art Gallery. Information: 212/998-7608.

For a complete list of public programs being offered in conjunction with Moving Pictures, please visit the Grey Art Gallery’s website at http://www.nyu.edu/greyart

Gallery Hours:
Tuesday/Thursday/Friday: 11:00 am–6:00 pm
OPEN LATE Wednesday: 11:00 am–8:00 pm
Saturday: 11:00 am–5:00 pm
Closed Sunday/Monday/Major holidays, including November 23–27 (Thanksgiving Weekend).

Grey Art Gallery
New York University
100 Washington Square East
New York, NY 10003
(212) 998-6780
greygallery@nyu.edu
http://www.nyu.edu/greyart

For more information go to: http://www.nyu.edu/greyart

The New Museum

PASSION: FOR LOVE OR MONEY?

A Hot Button! Panel presented by the New Museum

Wednesday, November 1, 2006
6:30-8PM

The Great Hall at The Cooper Union
7 East 7th Street @ 3rd Avenue, NYC

Free for New Museum members and Cooper Union students and faculty

http://www.newmuseum.org

Join Marina Abramovic, performance artist; Wylie Dufresne, chef and restaurateur, WD-50; Hans Ulrich Obrist, Co-Director of Exhibitions and Programs and Director of International Projects, Serpentine Gallery, London; John Richardson, independent scholar and author of A Life of Picasso; and Jerry Saltz, Senior Art Critic, Village Voice, as they discuss the driving forces behind the creative acts and unconventional artistic gestures that they make. This panel will be moderated by Massimiliano Gioni, Curator, New Museum.

Passion: For Love or Money is the first in a series of Hot Button! panels organized by the New Museum in association with the School of Art at The Cooper Union for the Advancement of Science and Art. Hot Button! represents the first programmatic initiative of the New Museum’s recently appointed curatorial team: Richard Flood, Chief Curator; Laura Hoptman, Senior Curator; and Massimiliano Gioni, Curator. The three panels – “Passion: For Love or Money?”; “Location, Location, Location: Is Provincial a Bad Word?”; and “The “IT” Factor: What Makes Something Hot?” – are presented in anticipation of the re-opening of the New Museum at 235 Bowery in late 2007, and represent the spirit of an institution dedicated to new art and new ideas, and ready to embrace debate. Hot Button! panels aim to engage a broad audience interested in contemporary culture by featuring leading figures in contemporary art, architecture, cuisine, design and fashion in frank conversation with each other.

Other upcoming Hot Button! panels:

Location, Location, Location: Is Provincial a Bad Word?
Wednesday, January 10, 2007
6:30-8PM
The Great Hall at The Cooper Union
7 East 7th Street @ 3rd Avenue, NYC

The “IT” Factor: What Makes Something Hot?
Wednesday, March 28, 2007
6:30-8PM
The Great Hall at The Cooper Union
7 East 7th Street @ 3rd Avenue, NYC

The New Museum’s Hot Button Topic Panels are generously supported by Altria Group, Inc.

The New Museum receives lead general operating support from Carnegie Corporation of New York, New York City Department of Cultural Affairs, New York State Council on the Arts, and the trustees and members of the New Museum. Additional support provided by American Express, Bloomingdale’s Fund of the Federated Department Stores Foundation, Con Edison, Goldman, Sachs & Co., Merrill Lynch & Co., and May and Samuel Rudin Family Foundation.

For more information go to: http://www.newmuseum.org

Rose Art Museum

Fall ’06 exhibitions at The Rose Art Museum include a look at performance and surveillance in video art, and a large-scale installation by Clare Rojas

Rose Art Museum
Brandeis University
415 South Street
Waltham, MA 02453

Amid unprecedented concern over privacy and security issues in America and abroad, The Rose Art Museum at Brandeis this fall will feature a look at artists’ uses of surveillance techniques related to performance art and government spying systems.

Michael Rush, the Henry and Lois Foster Director of The Rose, will curate the timely exhibit called “Balance and Power: Performance and Surveillance in Video Art.”

“This exhibit examines both the early days of video art as well as current practices,” Rush said. “It’s an attempt to understand the complex relationship between voluntary acting for the camera and involuntary taping by a camera on the part of power systems that have an interest in the movement of citizens.” The exhibition will run Sept. 21 through Dec. 17, 2006.

Also this fall, The Rose will present a large-scale installation by California-based artist Clare Rojas called “Hope Springs Eternal.” The exhibition, her first solo show in New England, will be on display from Sept. 21, 2006 through April 1, 2007.

“Balance and Power” features work by a diverse group of artists, from early video pioneers such as Andy Warhol, Vito Acconci, and Bruce Naumann, to emerging practitioners such as Jill Magid and Tim Hyde. Other international artists are Sophie Calle, Jim Campbell, Peter Campus, Jordan Crandall, Harun Farocki, Subodh Gupta, Kevin Hamilton, Tiffany Holmes, Paul Kaiser and Shelley Eshkar, Kristin Lucas, Steve Mann, Jenny Markatou, Jonas Mekas, Muntadas, Martha Rosler, Julia Scher, and Kiki Seror.

Balance, says Rush, can be described as “an essential talent for the performer,” while power is “the essential currency of surveillance.” The terms are interconnected through themes such as “star” culture, identity theft, privacy and cultural paranoia, he said.

Many of these psycho-social phenomena are reflected in the current mega success of reality TV. “People voluntarily allow themselves to be taped openly and surreptitiously. Surveillance becomes performance and vice versa,” Rush said.

The exhibit will feature a dozen video installations in a uniquely designed space created by Antenna Design Group in New York. There will be large-scale installations, single channel tapes, and newly commissioned work. The exhibition was originally organized by the Krannert Art Museum at the University of Illinois.

Rojas, a native of Columbus, Ohio, incorporates different media styles of painting, installations, film, printmaking, quilting, and music in a complementary fashion. The project is curated and organized by The Rose’s chief curator, Raphaela Platow.

Rojas’s work is influenced by American folk art, particularly by the history, material, and aesthetics of quilts. Her paintings usually include themes surrounding women and animals in stylized landscapes. Rojas is the fourth recipient of Brandeis’s Ruth-Ann and Nathan Perlmutter Artist-in-Residence Award. For her show, Rojas will work with students and other members of the Brandeis community.

Rojas has a personal style and iconography that provides many references to the folkloric traditions of quilting, fairy tales and European fables. The natural environment featured in her work such as trees, flowers, bodies of water and clouds are transformed into simple, pattern-like shapes.

Women of all ages and colors in simple patterned dresses are commonly found in Rojas’s work. The smiling, strong and confident women interact with other women, little girls, men, animals and nature. On the other hand, men with slumping soft bodies are often depicted naked in simple, flowing lines and in poses normally assumed by women in fashion magazines. These images reverse imposed sexual roles and the objectivation of female bodies in art and the media.

In addition to her visual artistry, Rojas performs under the name of “Peggy Honeywell” and has released five albums, four of which she also produced.

About the Rose Art Museum at Brandeis

Opened in 1961, The Rose Art Museum has one of the most distinguished collections of modern and contemporary art in New England. Each year, The Rose organizes highly acclaimed special exhibitions and collection displays, presenting a mix of international, national and local artists.

For more information go to:

Cabinet magazine

Cabinet magazine issue 23, with a special section on “Fruits,” available now

For a full table of contents, see http://www.cabinetmagazine.org/issues/23

Serving up a cornucopia of material on the theme, including:

- Fran Beauman on the pineapple as an early status symbol
- The Los Angeles-based artist collective, Fallen Fruit, on property laws and public fruit
- Barry Sanders on his father’s tomato wholesale business in Los Angeles’s rough-and-tumble pre-war produce market
- Ellen Birrell’s artist project, starring mutant bud mite lemons from her own farm
- Frances Richard on Thoreau’s unfinished manuscript, Wild Fruits
- Larry Tye on Freud’s nephew, Eddie Bernays, and his role in the colonial adventures of the United Fruit Company
- Sina Najafi in conversation with Adam Leith Gollner on the aptly named “miracle fruit” and why it was banned by the FDA

And a delectable array of other bounty, including:

- Brian Dillon on the curious research conducted at the British government’s Common Cold Unit
- Irene Cheng on beaver dams, beehives, and the nineteenth-century debate on animal consciousness
- McKenzie Wark on how we all came to live in The Game
- Anna von Mertens’s artist project mapping the position of the stars during the most violent moments of American history
- Christopher Turner on Gerhard Zucker’s quixotic proposal for “rocket mail”
- Sabrina Gschwandtner on string games, eruvim, and quipu knots
- Joshua Glenn on the color scarlet
- Anne Walsh and Chris Kubick on sound effect catalogues
- Jeffrey Kastner in conversation with Andrew Smith on the colonial history of the turkey
- Celeste Olalquiaga on the bowels of Paris

For a full table of contents, see http://www.cabinetmagazine.org/issues/23/
Subscribe online at http://www.cabinetmagazine.org/shop/index.php?cPath=31

Cabinet on sale in the US at independent bookstores, Barnes & Noble, Tower, Borders, Hudson News, and Universal News. Also available in Canada, the UK, Germany, Belgium, Holland, Sweden, Germany, Spain, Portugal, Greece, Turkey, Singapore, New Zealand, and Japan. A partial list of retailers worldwide can be found at http://cabinetmagazine.org/information/wheretobuy.php

Cabinet magazine is published by Immaterial Incorporated, a not-for-profit 501(c)(3) organization. Cabinet receives generous support from the Annenberg Foundation, the Andy Warhol Foundation, the Greenwall Foundation, the National Endowment for the Arts, the Starry Night Fund of the Tides Foundation, the New York State Council on the Arts, and Two Trees Management.

For more information go to: http://www.cabinetmagazine.org/issues/23

Hessel Museum of Art / Bard College’s Center for Curatorial Studies

Inauguration of New Hessel Museum of Art
at Bard College’s Center for Curatorial Studies
Annandale-on-Hudson, New York

Sunday, November 12, 2006
10am – 4pm
Free and open to the public

Inaugural Exhibition:
Wrestle
(November 12, 2006 – May 27, 2007)

Curated by CCS Bard executive director Tom Eccles and independent curator Trevor Smith

http://www.bard.edu/ccs/

This weekend, the Center for Curatorial Studies at Bard College inaugurates the new 17,000 square-foot Hessel Museum of Art with Wrestle, an exhibition of over 150 representative works from the Marieluise Hessel Collection. Curated by Center for Curatorial Studies (CCS Bard) executive director Tom Eccles and independent curator Trevor Smith, Wrestle will open November 12 and remain on view until May 27, 2007.

This compelling overview of the Hessel Collection focuses on works that challenge notions of self and others, offering connections in form and content among works from diverse artistic and social positions. “We have tried to be sensitive to the context and intentions of the artists,” Tom Eccles states, “but we have also tried to craft an exhibition that is contentious, provocative, and faithful to the character of the collection as a whole and the collector’s bold and passionate choices over the past 40 years.”

An innovative two-volume catalogue, also titled Wrestle, continues the curatorial play of suggestive juxtapositions. All works in the exhibition are illustrated along with three specially commissioned artist projects. In addition to essays by Eccles, Smith and CCS faculty member Ivo Mesquita, independent critic Michael Brenson interviews Ms. Hessel and Tom Eccles. Designed by Goto Design, New York, the Wrestle catalogue will be launched at the inauguration of the Hessel Museum on November 12.

The Artists
Eija-Liisa Ahtila, Giovanni Anselmo, Janine Antoni, Vanessa Beecroft, Alighiero E Boetti, Daniel Buren, Larry Clark, Martin Creed, Rineke Dijkstra, Valie Export, Luciano Fabro, Robert Gober, Nan Goldin, Felix Gonzalez-Torres, Mona Hatoum, Eberhard Havekost, Gary Hill, Roni Horn, Isaac Julien, Imi Knoebel, Yayoi Kusama, Sol LeWitt, Robert Mapplethorpe, Christian Marclay, Malerie Marder, Paul McCarthy, Ana Mendieta, Mario Merz, Marisa Merz, Bruce Nauman, Cady Noland, Gabriel Orozco, Tony Oursler, Nam June Paik, Giuseppe Penone, Sigmar Polke, Richard Prince, Jason Rhoades, Pipilotti Rist, Doris Salcedo, Thomas Schütte, Cindy Sherman, Thomas Struth, Do-Ho Suh, Rosemarie Trockel, Karlheinz Weinberger, Lawrence Weiner, Christopher Wool.

Inauguration Schedule on November 12:

10:00 AM Witness to Her Art Panel and Book Launch
With editors Rhea Anastas and Michael Brenson
Blithewood Manor

A new anthology of artists’ writing and criticism featuring artists in the Marieluise Hessel Collection: Witness to Her Art: Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne. Presentations by Michael Brenson, Faculty, CCS and Milton Avery Graduate School of the Arts, Bard College; Helen Molesworth, Chief Curator of Exhibitions, Wexner Center for the Arts, Columbus, OH.

Noon Welcome Remarks
Leon Botstein
Tom Eccles

12:30 PM Hessel Museum of Art Ribbon Cutting
Followed by a special performance by British conceptual artist Martin Creed, with students of The Bard College Conservatory of Music

1:30 PM Lunch (*Sandwiches and concessions will be available for purchase at the
Museum)

2:30 PM Wrestle Panel Discussion
With curators Tom Eccles and Trevor Smith
Theater, Milton and Sally Avery Center for the Arts

A special panel discussion addressing the Wrestle exhibition with curators Tom Eccles and Trevor Smith, as well as invited guests Arthur Danto, Johnsonian Professor Emeritus, Philosophy, Columbia University; Vasif Kortun, Director, Platform Garanti Contemporary Art Center, Istanbul; Ute Meta Bauer, Director and Associate Professor, Visual Arts, MIT; and Molly Nesbit, Professor of Art, Vassar College.

All events take place on the campus of Bard College.
Limited free seating on a chartered bus is available to and from the reception from New York City. Call (845) 758-7598 for details and reservations.

Directions
The Hessel Museum of Art and the Center for Curatorial Studies are located on the campus of Bard College in Annandale-on-Hudson, New York, on the east bank of the Hudson River, about 90 miles north of New York City.

By Car
>From New York City, New Jersey, and points south, take the New York State Thruway (I-87) to Exit 19 (Kingston), take Route 209 (changes to Route 199 at the Hudson River) over the Kingston-Rhinecliff Bridge to Route 9G; at the second light, turn left onto Route 9G and drive north 3.5 miles. Once on campus, follow signs for CCS Bard Hessel Museum.

>From southern Connecticut, follow I-84 to the Taconic State Parkway, take the Taconic north to the Red Hook/ Route 199 exit, drive west on Route 199 through the village of Red Hook to Route 9G, turn right onto Route 9G, and drive north 1.6 miles.

>From northern Connecticut, take Route 44 to Route 199 at Millerton, drive west on Route 199, and proceed as from southern Connecticut.

>From Massachusetts and northern New England, take the Massachusetts Turnpike to Exit B-2 (Taconic Park- way), take the Taconic south to the Red Hook/Route 199 exit, and proceed as from southern Connecticut.

By Train
Amtrak provides service from Penn Station, New York City, and from Albany to Rhinecliff, about 9 miles south of Annandale. Taxi service is available at the Rhinecliff station.

About the Center for Curatorial Studies and the Hessel Museum of Art
The Center for Curatorial Studies and Art in Contemporary Culture is an exhibition and research center dedicated to the study of art and exhibition practices from the 1960s to the present day. Created in 1990 by Marieluise Hessel and Richard Black, the Center initiated its graduate program in curatorial studies in 1994. The Center’s original 38,000-square-foot facility, designed by architect Jim Goettsch and design consultant Nada Andric, was completed in December 1991. Expanded and completely renovated in 2006, the Center now offers 9,500 square feet of exhibition galleries, advanced collection storage facilities, classrooms, a library and archive, and offices for faculty, staff, and visiting curators and scholars.

# # #

CCS Bard Contact:
Jaime Henderson
Phone: 845-758-7598
henderso@bard.edu

Bard College Contact:
Mark Primoff
Phone: 845-758-7412
primoff@bard.edu

Media Contact:
Blue Medium, Inc.
Antoine Vigne or Lucy Toole
Phone: 212-675-1800
lucy@bluemedium.com

For more information go to: http://www.bard.edu/ccs/