Artipedia - Arts News

Christina DePaul, President and CEO of National Foundation for Advancement in the Arts (NFAA)

NATIONAL FOUNDATION FOR ADVANCEMENT IN THE ARTS APPOINTS NEW PRESIDENT AND CEO

Christina DePaul Brings Strong Combination of Arts Management Experience, Artistic Achievement and Deep Understanding of Arts Students

MIAMI (April 9, 2008) – The National Foundation for Advancement in the Arts (NFAA) has named Christina DePaul as the organization’s new President and Chief Executive Officer, James Dubin, Chairman of the NFAA Search Committee announced today. As NFAA’s top executive, DePaul will be responsible for all programming, development, communications and financial issues in running the foundation.

An accomplished and award-winning artist, DePaul most recently served as Senior Vice President of the Corcoran Gallery of Art and Dean of the Corcoran College of Art + Design in Washington, DC, where she managed all educational and academic programs and activities, including the graduate and undergraduate degree programs, continuing education programs, research, galleries, and community programs, among other endeavors.

Much like the young students who are the soul of youngARTS™, the core program of NFAA, DePaul’s artistic journey began as a high school student in Pennsylvania, where she attended the Governor’s School for the Arts, an intensive program in visual and performing arts. She majored in art as an undergraduate at Carnegie Mellon University and continued her training at Tyler School of Art in Philadelphia, where she earned a master’s degree in fine arts. DePaul returned to Carnegie Mellon as an artist-in-residence and instructor for undergraduate and graduate programs and then accepted a tenure-track position at the University of Akron/Myers School of the Art. While there, she became Chair of Metalsmithing, and in 1994 assumed the title of Director of the School of Art. Throughout these years in academia, DePaul continued her career as a successful working artist, exhibiting in national and international shows, and winning awards and commissions. She was selected as a “Y!
oung
American” by the American Crafts Council and received the Cleveland Arts Prize. Her work is displayed at the White House, the Cleveland Museum and numerous museums and galleries throughout the nation.

Established in 1981 by Ted and Lin Arison, NFAA identifies emerging artists and assists them at critical junctures in their educational and professional development, in nine artistic fields: cinematic arts, dance, music, jazz, photography, theater, visual arts, voice and writing. Each year, talented students receive up to $10,000 and the chance to be named a U.S. Presidential Scholar in the Arts. Alumni include actress and recording artist Vanessa Williams, dancer/choreographer Desmond Richardson, recording artist Josh Groban, New York Philharmonic guest solo violinist Jennifer Koh, jazz trumpet player Roy Hargrove, Broadway actors Ron Eldard and Raul Esparza, writer Allegra Goodman and visual artists Doug Aitken and John Currin.

For more information, call (305) 377-1140 or visit www.youngARTS.org.

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MEDIA CONTACTS:
Lisa Treister/Emily Treister

THE TREISTER MURRY AGENCY
(305) 531-5720
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Martha Rosler Library

Martha Rosler Library, Unitednationsplaza, Berlin, July 2007
A public conversation with Martha Rosler and Stephen Wright.

Martha Rosler Library
April 12 - June 14, 2008
Site
Liverpool John Moores University
School of Art and Design
68 Hope Street
Liverpool L19EB
http://www.ljmu.ac.uk/site

Opening hours: Mon - Sat 11-6 pm

Site is pleased to announce the opening of Martha Rosler Library on Friday, April 11, 2008 at 6pm. Comprised of approximately 7,700 titles from the artist’s personal collection, the Library was opened to the public by Anton Vidokle in November 2005 as a storefront reading room at e-flux, on Ludlow street in New York City. It has since traveled to Frankfurter Kunstverein, MuHKA, Antwerp, unitednationsplaza, Berlin and Institut national d’histoire de l’art, Paris. The library will remain on view in Liverpool through 14 June and will travel to Stills in Edinburgh in the Fall.

“In an act of incredible generosity, one of Americas most important living artists temporarily dispossessed herself of the vast majority of her personal library so that it could be made available for consultation. No borrowing was possible, but the eclectic ensemble of books on economics, political theory, war, colonialism, poetry, feminism, science fiction, art history, mystery novels, childrens books, dictionaries, maps and travel books, as well as photo albums, posters, postcards and newspaper clippings could be studied at will. Smart, decidedly political in orientation, often funny, and all over the place (in that way a perfect mirror of its owner), the library is packed with essential reading and titles that even your better bookstores would love to get their hands on. As the product of decades of avid reading, the contents of the library are both the source of Roslers work and an installation/artwork that continues many of the concerns with public space, access to infor
mation and engaged citizenship that traverse her entire oeuvre.”

2008 Taipei Biennial

Courtesy Taipei Fine Arts Museum

2008 Taipei Biennial
Sept. 13 2008 - Jan. 4 2009

Curators Manray Hsu, Vasif Kortun
Organizer Taipei Fine Arts Museum

Preview Sept.11-12 2008

Contact
info@taipeibiennial.org
http://www.taipeibiennial.org

2008 Taipei Biennial

The 6th Taipei Biennial, like our lives, is uncertain, fragmented and fragile. The project does not have a single theme, but a constellation of correlated themes, most of which address the chaotic states of things in this time of globalization. The exhibition engages with the city of Taipei in various ways. It does not only take place in the Taipei Fine Arts Museum, but also exists in a range of urban spaces. There will be performative works and interventions in the city, some of which will be documented and reconfigured in the exhibition venues. These venues will include the Beer Brewery, a site that has been through an extended process of transformation from its inauguration as Taiwan’s first beer factory (a production and distribution site built during the Japanese occupation), to a state monopoly that involved privatization and re-branding and finally to its relocation outside of the city center. While the factory’s history can be read as a classic example of shifting sta
tes of use in any post-industrialized city in the world, the exhibition is interested in seeking the nuances and specificities found within the general. The brewery’s daily operation will continue during the exhibition run, and its space will be utilized as a real place rather than an insular exhibition zone. In addition, the curators plan to employ a number of advertising boards in the city, spreading the biennial throughout different neighborhoods and bringing the project into view when least expected.

The biennial does not only refer to the physical site of the museum, where the art of the day turns to and reflects on, but also to other spaces, mental sites where discussions pertaining to globalization and its discontents, the states of things and the opportunities of change are at the core of daily life. It is here that the impacts and import of globalization in Taipei, the transformations that effect the mobility of people and the current conditions of labor are felt, and it is these spaces that artists learn from, feed-back into and to which their practice responds to. While art does not provide answers, it has the capacity to reflect on these issues from multiple angles, to work with different forms of enquiry and determine when to focus on individual moments. As with the approach of the biennial, no story is infinitely singular. A story in Taipei for example will link to many other places in Asia and the globe. Hence, the exhibition focuses on issues such as globaliza
tion and its resistances, the neo-liberal habitat, mobility, borders, divided states and micro-nations, urban transformations, informal economies, politics, and conditions of war. Each area of focus is associated with many other questions, for example, the mobility of a tourist, a temporary worker or a foreign bride are certainly not the same, not even similar. Towards this end, the biennial has been commissioning as many new works as possible, or asking the artists to rethink and adapt previous projects in the light of their presentation in Taipei. There will also be existing works juxtaposed against the new ones. The exhibition will have thematic compilations and farcical and biting videos. By means of these projects the curators and artists will explore the diverse opportunities that this biennial is capable of creating and responding to.

Participating artists [to be extended] (as of March 30, 2008)
Lara Almárcegui, Yochai Avrahami, Matei Bejenaru, Anetta Mona Chisa & Lucia Tkacova, Democracia, Didier Fiuza Faustino, Mieke Gerritzen, Shaun Gladwell, Nicoline van Harskamp Irwin, Oliver Ressler & Zanny Begg, Mario Rizzi, Katya Sander, Saso Sedlacek, Superflex, Bert Theis, Tsui Kuang Yu, Nasan Tur, Wong Hoy Cheong, Wu Mali

Contact
Taipei Fine Arts Museum
181, Zhong Shan N. Road, Sec. 3, Taipei 10461, Taiwan
tel +886 2 2595 7656 fax +886 2 2585 1886
info@taipeibiennial.org
http://www.taipeibiennial.org

Aaron Carpenter: The Art of Richard Tuttle (2008)

The Helen Pitt Gallery presents

Workaday01:
Aaron Carpenter: THE ART OF RICHARD TUTTLE

Friday, April 11 to Saturday, May 3, 2008
Reception: Friday, April 25 at 8:00 pm

Aaron Carpenter’s THE ART OF RICHARD TUTTLE is the first installment of the Helen Pitt Gallery’s three-exhibition Workaday series, addressing process, labour and the performative gesture. For each of these exhibitions, the artists will be spending three weeks working live within the gallery space to develop a new project.

Carpenter’s project is an exhibition of replicas, duplicates, imitations and likenesses of artworks by the American artist Richard Tuttle (b. 1941). Using the catalogue from Tuttle’s 2005 retrospective at SFMOMA as a working manual, Carpenter will be keeping regular office hours in the gallery in an attempt to reproduce, in some manner, all of the 317 works catalogued therein. Locating a specific intersection between ideas of artistic homage and durational performance, THE ART OF RICHARD TUTTLE investigates notions of appropriation and authorship while providing a context for re-imagining the assumed connection between labour, commodity and the finished product.

For all three of the Workaday exhibitions, viewers are invited to drop in regularly to witness the development of these projects. The official reception for THE ART OF RICHARD TUTTLE will be two weeks into Carpenter’s Herculean effort.

AARON CARPENTER is an artist living in Vancouver.

Helen Pitt Gallery artist run centre
#102-148 Alexander Street
Vancouver, BC, Canada V6A 1B5
http://helenpittgallery.org
Contact: Lance Blomgren, Director/Curator

Ullens Center for
Contemporary Art

Spring 2008:
Retrospectives and Transformations
http://www.ucca.org.cn

House of Oracles: A Huang Yong Ping Retrospective
March 22 - June 1, 2008
Artist: Huang Yong Ping
Curator: Philippe Vergne, Walker Art Center
Beijing presentation organized by UCCA Curator David Spalding

Stray Alchemists
April 12 - July 13, 2008
Artists: Matt Bryans, Amy Granat (including collaborations with Emily Sundblad and C. Spencer Yeh), Lim Tzay Chuen, Takeshi Murata, Robin Rhode and Sterling Ruby
Initiated by UCCA International Curator Kate Fowle

Spring is a season of alchemy at Ullens Center for Contemporary Art (UCCA) in Beijing, with the presentation of two new shows: the first comprehensive retrospective of Huang Yong Ping to be presented in China, and UCCA’s first international group exhibition, comprised of six artists from around the world who are reshaping the landscape of contemporary art.

Long interested in the transformation of materials and concepts, Huang Yong Ping’s artistic processes always result in surprising metamorphoses. Throughout House of Oracles, Huang changes the nature of historical or contemporary objects in order to question generally accepted ideas. “This ambitious exhibition presents a retrospective of one of the most important Chinese contemporary artists on the international scene,” says UCCA Director Jérôme Sans. “It allows the visitor to embrace the entire extent of his exceptionally diverse formal vocabulary, with influences ranging from Dada to Chinese numerology.” At the same time, the six artists in Stray Alchemists are all scrutinizing their own artistic practices to wring gold out of everyday materials and chance associations. “Equally inspired by films, books, music and the media as by their personal interactions and environments, the artists work across art forms, adapting established production and presentation met
hods to experiment with materials and play with scale, dramatic narrative, and the formal languages of art and architecture,” Jérôme
Sans observes.

House of Oracles: A Huang Yong Ping Retrospective
The first retrospective of this Chinese-born, Paris-based artist originated at the Walker Art Center, and was shown at Mass MoCa and the Vancouver Art Gallery before traveling to its final venue at UCCA in Beijing. House of Oracles showcases the most representative works by Huang Yong Ping from 1985 to the present. Navigating the divide between East and West, tradition and the avant-garde, the exhibition’s presentation at UCCA–the only Asian stop on its tour–marks the first ever large-scale exhibition in China of this major figure in Chinese contemporary art. House of Oracles was conceived as a “comprehensive work of art,” a singular, immersive sculptural environment. The exhibition was designed by Huang as a metaphorical–and sometimes literal–journey through the “belly of the beast.”

Stray Alchemists
UCCA’s first international exhibition introduces six artists from Europe, North America, Africa, and Asia whose works–spanning from sculpture and installation, to performance, collage, drawing, photography and video–are breathing new life into the contemporary art world. As the show’s title suggests, the artists are in the process of transforming how the mediums in which they work are typically understood, letting material processes influence the outcomes of their experiments. Originated by UCCA, the exhibition marks the first comprehensive overview of each artist’s practice in China. Stray Alchemists will include several new works produced specifically for the exhibition, as well as one-off performances and musical events by the participating artists. While only in their 30’s, all six artists have an ever-growing presence in major venues and exhibitions around the world, including the current Whitney Biennial, the Los Angeles Museum of Contemporary Art, and the Hay
ward Gallery in London.

UCCA is a non-profit, comprehensive art center founded in Beijing by collectors Guy and Myriam Ullens in November 2007. UCCA presents exhibitions of established and emerging artists and develops a trusted platform to share knowledge through education
and research.

Ullens Center for Contemporary Art
798 Art District,No.4 Jiuxianqiao Lu,
P.O. Box 8503, Chaoyang District, Beijing
P.R.China 100015

Tel: +86 10 8459 9269
Fax: +86 10 6431 4867
Web: http://www.ucca.org.cn