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Henry Art Gallery

The Henry Art Gallery
is pleased to announce
Mouth Open, Teeth Showing:
Works from the True Collection
June 23—September 23, 2007

Mouth Open, Teeth Showing reveals the unique personality of the contemporary art collection created over the past dozen years by William and Ruth True: an emphasis on younger artists, experimental formats, and large-scale installation. The exhibition features 13 major works, most of which have never been seen in the Northwest, notably the U.S. debut of Doug Aitken’s five-screen video installation i am in you. It also includes video installations by Maria Marshall, Stephen Dean, Gary Hill, Jeanne Dunning, Jeremy Shaw, Tracey Rose, Jim Campbell, and Ann Hamilton, Martin Creed’s Work N_ 312 (A lamp going on and off), and multi-part works on paper by Tracey Moffatt and Joseph Grigely. An installation of 162 found dolls set in military formation by Zoe Leonard inhabits the center of the exhibition and also provides its provocative title.

In May 2004, William and Ruth True opened their exhibition space Western Bridge, sharing their collection, recent acquisitions, and commissioned installations with the public. At the same time, they announced a plan to donate a major work from each exhibition to the Henry. This generous promise has enriched the Henry’s collection with works by Carsten Höller, Shirin Neshat, Oliver Boberg, among others, ensuring that these artworks will continue to speak to a broad audience. As part of its 80th Anniversary Year, the Henry Art Gallery is delighted to showcase this extraordinary collection of contemporary art.

Mouth Open, Teeth Showing is organized by Henry Art Gallery Chief Curator Elizabeth Brown.

Opening reception:
Friday June 22, 2007, 8 – 10 PM
Free to Henry Art Gallery Members
For more information call 206.543.2281 or visit http://www.henryart.org

About The Henry Art Gallery
Founded in 1927 on the University of Washington Campus, the Henry Art Gallery was the first public art museum in the State of Washington. The Henry engages diverse audiences in the powerful experience of artistic invention and serves as a catalyst for the creation of new work that inspires and challenges. The museum’s exhibitions bring important works of art to Seattle from throughout the world and bring into public view works of art from the Northwest.

Henry Art Gallery, University of Washington
15th Avenue NE and NE 41st Street
Box 351410
Seattle, WA 98195-1410
info@henryart.org
t: 206.543.2281/ f: 206.685.3123
http://www.henryart.org

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

frieze

frieze issue 108 out now

‘I relate my approach to homeopathy, which puts poison in the system in order to generate energy to defeat the weakness.’ Gustav Metzger

The June–July–August issue of frieze is themed around ecology. Mark Godfrey talks to Gustav Metzger, one of the key figures of postwar British art, about his work exploring social issues surrounding memory, history and the environment. Influential novelist Brian W. Aldiss examines science fiction’s fascination with ecological disaster and global apocalypse. Swedish artist Henrik Håkansson has produced a specially commissioned poster for frieze, distributed free inside this issue.

‘It’s hard to get round the fact that most art just isn’t particularly environmentally friendly.’

Dominic Eichler discusses the work of Tue Greenfort, a Danish artist who drives a bus fuelled by vegetable oil and makes sculptures from recycled materials; and Max Andrews considers work by artists who recognize that environmentalism needs to embrace political, social and economic factors as well as ecological ones.

James Trainor and Ana Paula Cohen report from São Paulo, a vibrant ‘hypercity’ that fosters an attitude of resourcefulness and cultural cannibalism amongst its artists. Tom Morton reflects on the work of Lara Almarcegui, an Argentinian artist who highlights processes of change in the built environment. The videos and installations of Puerto Rican artist Jennifer Allora and Cuban artist Guillermo Calzadilla, whose work fuses politics, travel and absurdity, intrigue Sally O’Reilly. American artist Paul Chan responds to the frieze questionnaire.

Plus Focus pieces on British artist Marcus Coates by Jonathan Griffin, Learning Site, the international collective, by Lars Bang Larsen, Colombian artist Alberto Baraya by José Roca and India’s Raqs Media Collective by Francesco Manacorda.

In the front section, Director of the Venice Biennale, Robert Storr, enjoys the temporary distraction of academic sculpture, and George Pendle explores a high-tech cavern designed to hold a back-up the Earth’s plant life. Curator of this year’s American Pavilion in Venice, Nancy Spector, asks whether you need to infiltrate a system in order to change it, and Polly Staple laments the faded glamour of air travel.

Also, Santiago García Navarro is impressed by The Eloisa Cartonera publishing house’s novel response to the collapse of the Argentine economy and British artist Hamish Fulton lists the movies that have influenced him for ‘Life in Film’. Plus our regular review sections devoted to the latest in books, events and music.

The back section includes reviews from Colombia, France, Germany, Iceland, Italy, Mexico, The Netherlands, Sweden, Switzerland, the United Arab Emirates, the UK and the USA, including the ‘Sharjah Biennial’, ‘WACK!’, Robert Beavers, Roni Horn, ‘The Age of Discrepancies’, Mark Lewis, Gregor Schneider, Wilhelm Sasnal, Mike Marshall, ‘Ambient Tour’, Swetlana Heger, Nina Fischer & Maroan el Sani, Bethan Huws, ‘Let Everything Be Temporary’, ‘London Fieldworks’, ‘The Last Piece by John Fare’, ‘Encuentro Internacional Medellin 2007’, ‘High Times, Hard Times’, Tom Woolner, Benoît Maire, ‘Sleeping Beauty + Friends’, ‘Shrinking Cities’, Grazia Toderi, ‘Models for Tomorrow’, ‘New Humans’, Margarita Gluzberg, Miriam Bäckström / Kira Carpelan, A.L. Steiner & robbinschilds, and ‘Great White Bear’.

frieze art writer’s prize 2007
This is the second year of the annual award to discover and promote new art critics. Entrants must submit one 700-word review of a recent contemporary art exhibition before 2 July 2007. The winning entrant will be commissioned to write a review for the October issue of frieze and be awarded £2000. For full details see http://www.frieze.com .

Subscribe at http://www.frieze.com to receive this issue and subsequent issues as soon as they are published.

For more information go to: http://www.frieze.com

Artforum

Summer 2007 in Artforum

This summer in Artforum: “Who Is Guy de Cointet?” A childhood friend of Yves Saint Laurent? The descendant of a general in Napoleon’s army? Studio-mate to Viva and, later, a fabricator of Larry Bell’s glass boxes? In truth, Guy de Cointet was all of these things. And from the late ’60s until his death in 1983, he was an active member of the Los Angeles art scene whose encrypted works on paper and theatrical productions were often as enigmatic as the Frenchman himself. Looking back on the life and work of this quintessential artist’s artist are curators Marie de Brugerolle and Connie Butler, writer Jay Sanders, artists Mike Kelley and Matthew Brannon, and Cointet colleagues and collaborators Larry Bell, Mary Ann Duganne Glicksman, William Leavitt, and Jeff Perkins. These new assessments and reminiscences are followed by a facsimile manuscript of a 1976 play by Cointet, At Sunrise . . . a Cry Was Heard.

“Cointet made theatrical performances that defy categorization and yet are absolutely central to a largely unmined history of Conceptual performance art.” —Connie Butler

Also this summer: the expanded stage. A number of writers and conversants consider the increasing role of performativity in both contemporary art and culture. In “The Beggar’s Pantomime,” artist and critic Melanie Gilligan examines the present tangle of politics and performance as artists restage historical works while economic forces restage experience itself. Elsewhere, art historian Rachel Haidu revisits Décor: A Conquest by Marcel Broodthaers, a 1975 artwork (recreated this spring at Galerie de France, Paris) in which a bourgeois interior is staged as a battlefield—suggesting the ways in which the spectator’s relationship to war and imperialism can be subtly domesticated. Finally, cultural theorist Homi K. Bhabha and Artforum editor Tim Griffin speak with architectural historian Beatriz Colomina about her new book, Domesticity at War, taking up her consideration of the inscriptions of military technologies in the home environment during the Cold War in order to sur
mise our own situation today amid an “endless” and “borderless” war on terror.

“Until now, identity at the frontier, border, customs area—all the flash points of what is inside and outside a nation—was basically a matter of documentation. Your identity documents proved you were who you said you were. But now there is a search for an identity that seeks to find out what your intentions are. At the borders, there is a new biopolitics afoot.” —Homi K. Bhabha

And: “A Kind of True Living.” On the occasion of Beijing-based artist Ai Weiwei’s much-anticipated contribution to Documenta 12—Fairytale, for which 1,001 Chinese will be flown to Kassel—critic Philip Tinari looks at the grand arc of the agent provocateur’s practice, from his salad days in New York in the ’80s to his pivotal role in contemporary Chinese art now.

Plus: Francesco Vezzoli talks to Artforum senior editor, Scott Rothkopf, about his contribution to the new Italian Pavilion at the Venice Biennale, Democrazy, which pits Sharon Stone against Bernard-Henri Lévy in a race for the American presidency.

“Election campaigns are so glamorous, so powerful, so precise, and so cruel that they themselves become the object of debate. The campaign is the object of desire. It’s the handbag of the political world.” —Francesco Vezzoli

In addition: Briony Fer travels to Roni Horn’s Library of Water in Iceland; artist Glenn Ligon sits down with the Julie Ault–edited book of texts on and by Felix Gonzalez-Torres; artist Matt Saunders appraises the restoration of Fassbinder’s epic Berlin Alexanderplatz, and James Quandt discusses 12:08 East of Bucharest and the Romanian New Wave as well as the films of Hong Sang-soo; author Lynne Tillman introduces pages from Stephen Shore’s road-trip journal; Artforum contributing editor Daniel Birnbaum studies the art of education; Artforum editor-at-large Jack Bankowsky considers the intersection of mink and the market at David Hammons’s recent Upper East Side excursion; poet Tan Lin records Seth Price and Kelley Walker’s Freelance Stenographer; Richard Meyer covers the “WACK!” catalogue dust-jacket dust-up; T. J. Demos investigates the art of Gerard Byrne, who will represent Ireland at the Venice Biennale; Michael Ned Holte looks at the work of Los Angeles artist Aaron Cur
ry; Claire Moulène explores Lothar Hempel’s retrospective in Grenoble; Ann Reynolds surveys “Hélio Oiticica: The Body of Color” in Houston; Eda Cufer critiques a new collection of essays on collectives, Collectivism After Modernism; Diedrich Diederichsen muses on the documentary Scott Walker: 30 Century Man; Paulina Olowska counts off her Top Ten; Mel Bochner and John Baldessari reflect on the life and art of Sol LeWitt; and Sylvère Lotringer remembers Jean Baudrillard.

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Visit artguide—Artforum’s free directory of the international art world, listing art fairs, auctions, and current gallery and museum shows in more than four hundred cities—at http://www.artforum.com/guide

For more information go to: http://www.artforum.com