The Renaissance Society at the University of Chicago
5811 South Ellis Avenue
Cobb Hall, 4th Floor
Chicago, Illinois 60637
September 9 – November 5, 2017
For her first solo institutional exhibition, New York-based artist Jennifer Packer presents new and recent paintings. Tenderheaded brings together multiple strands in the artist’s practice, ranging from portraiture to funerary bouquets.
Based in observation, improvisation, and memory, Packer’s canvases are intimate and contemplative, rendered in loose strokes and strong color. Like the exhibition title, the juxtaposition of these various modes of representation and production point to possibilities both bodily and emotional, fragile and strong. Her works exhibit a rigorous engagement with art history as well as a highly personal response to how black bodies navigate within the present political landscape. For more information, click here.
Image: installation view of Tenderheaded
ankaylli: spatial and ideological terrain
100 East San Antonio St.
Marfa, TX 79843
October 6 - December 22, 2017
In “ankaylli: spatial and ideological terrain,” opening at Marfa Contemporary on October 6, 2017 and on view through December 22, 2017, artist William Cordova exposes relationships between Pre-Columbian traditions, modern architecture, and spiritualism as inflected through Marfa, a town where the three intersect. The installation involves sculptures, collages, photographs, a film, and a constellation of objects placed at sites of significance around Marfa. For more information, click here.
Image: William Cordova, axiom (or the transphysics we knew about. after Rufus Nims 4 M.Essex), 2014-17, gold leaf, graphite, collage on reclaimed architecture printing paper, 50.5 x 105 inches (128.3 x 266.7 cm).
MOMENTA | Biennale de l’image
745 Rue Ottawa
Montréal, Québec H3C 1R8
September 8 - November 19, 2017
Erin Shirreff generates visual displays that probe the distance between the object and its photographic representation. In the double projection Concrete Buildings (2013–16), the artist focuses on two prototype buildings that the American artist Donald Judd designed and built in Marfa, Texas. The video installation presents long-duration montages composed from photographs and short videos. With this piece Shirreff turns Judd’s minimalist structures into emblematic monuments through a persistent gaze inflected with tenderness. She challenges our relationship with the image by foregrounding the ways in which images enlighten us and instil doubt in our minds. For more information, click here.
Image: Still from Concrete Buildings, 2013-16, color video, silent, two channels, loops: 73 minutes and 46 minutes, edition of 3.
W.E.B. Du Bois Medal
Awarded since 2000, the Du Bois Medal is Harvard's highest honor in the field of African and African American Studies. It is awarded to individuals in the U.S. and across the globe in recognition of their contributions to African American culture and the life of the mind. Recipients have included scholars, artists, writers, journalists, philanthropists, and administrators whose work has bolstered the field of African and African American Studies.
In addition to Walker, this year’s medalists include: Donna Brazile, Democratic Political Strategist; Ava DuVernay, Filmmaker; Carla Hayden, Librarian of Congress; LL COOL J, Actor/Recording Artist; John W. Thompson, Chairman of the Board, Microsoft; Darren Walker, President, Ford Foundation; and Jennifer Ward Oppenheimer, Philanthropist (Posthumous). For more information, click here.
Photo by Ari Marcopoulos
Officine Grandi Riparazioni
Corso Castelfidardo, 22
10138 Torino, Italy
October 1, 2017 - January 1, 2020
Track is a site-specific monumental mural by Arturo Herrera, for the entrance hall of OGR Torino’s North Workshops. The Officine Grandi Riparazioni (OGR) Torino is a majestic 19th century industrial complex in Torino, Italy that will now be a center for art, music, food, and cultural programming. The mural's intricate pattern references the building's use as the site of repair for railroad engines - a series of paths that meet spanning in various directions, suggesting also a twisting of branches and trees that stretch upwards. The artwork puts forth the idea of intense movement, suggesting some of the cardinal values of the OGR: interconnection, fluidity and energy. For more information, click here.
Image: © Daniele Ratti
Gallery Talk: Josephine Halvorson on Dana Schutz
The Institute of Contemporary Art / Boston
25 Harbor Shore Drive
Boston, MA 02210
Sun, Oct 8, 2017, 2 PM
Free with museum admission
Join artist Josephine Halvorson as she shares her insights on Dana Schutz’s monumental painting Big Wave. Halvorson, whose own artistic practice emphasizes attention to detail and experience, will shed light on Schutz’s painting, which reflects the moods and anxieties of everyday contemporary life. Halvorson is Professor of Art and Chair of Graduate Studies in Painting at Boston University. She was previously Senior Critic in the MFA Painting and Printmaking program at Yale University. For more information, click here.
2017 Florida Prize In Contemporary Art
The three jurors of the exhibition were Dan L. Hess, a visual artist based in Central Florida; Katherine Navarro, Associate Curator of Education at The Mennello Museum of American Art; and Joanna Robotham, Curator of Contemporary Art at the Tampa Museum of Art.
Robotham said “It was a pleasure to serve as a juror for the 2017 Florida Prize. Hansen Mulford selected an extraordinary group of artists for the exhibition, each remarkable in their own right. It was challenging to select one winner, as there are many strong, smart works on view. Congratulations to William Cordova. I look forward to seeing more from this outstanding artist.” For more information, click here.
Image: William Cordova, courtesy of Nicholas Travaglini.
DESTE Foundation Project Space
Slaughterhouse, Hydra Island
June 20 - September 30, 2017
Every summer since 2009, DESTE has invited an artist or group of artists to develop an exhibition in the Foundation’s Project Space, a former slaughterhouse on the island of Hydra. This year, DESTE’s Project Space will feature a site-specific exhibition by Kara Walker, conceived in a dialogic relationship with both the original elements of this unique exhibition space and with the landscape which surrounds it.
The project will transport Figa, the left hand of the sphinx-like monument of the A Subtlety installation made with polystyrene and sugar, from its “new world” location at the Domino Sugar Factory in New York to Greece, the birthplace of Western civilization. For more information, click here.
Kara Walkers Next Act
For the full article, click here.
Photo: Ari Marcopoulos
Trisha Brown was born and raised in Aberdeen, Washington. She graduated from Mills College in 1958, studied with Anna Halprin and taught at Reed College in Portland before moving to New York City in 1961, where she became a founding member of the Judson Dance Theater. In 1970, she co-founded the dance collective Grand Union and formed the Trisha Brown Dance Company.
While best known for her career as an avant-garde dancer and choreographer with over 100 dance works to her credit, Brown consistently sought to integrate the visual arts with her performance practice. She collaborated with artists on set and costume designs for her performances, including the likes of Robert Rauschenberg, but for many years she produced her own body of work, primarily in the form of drawings, that meld the art of dance and the visual arts.
In 2008, the Walker Art Center organized a major survey exhibition of Brown’s drawings. Curated by Peter Eleey, Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing traveled to the Mills College Art Museum in Oakland and Musée d’art Contemporain de Lyon.
Brown is survived by her son, Adam Brown, his wife Erin, her four grandchildren – and by her brother Gordon Brown and sister Louisa Brown. Her husband, artist Burt Barr, died on November 7, 2016.
Image: © Marc Ginot
THE PERLMUTTER ARTIST-IN-RESIDENCE AWARD
For her Perlmutter residency, Jones will create new work in response to the rich cultural history of the Rose Art Museum and of Brandeis, engaging the university community in the creation of a score inspired by Louise Nevelson’s 1967 retrospective exhibition at the Rose. On April 29, this score will be interpreted and performed by Brandeis student and faculty musicians, who will present it in the Rose galleries during the campus-wide Leonard Bernstein Festival of the Creative Arts. Jones will give a talk about her work and her planned residency project at Brandeis University on March 22 at 5:30pm. For more information about the event, click here.
Image: Sheila Hicks, Mighty Mathilde and Her Consort, 2016
Installation view: Glasgow International, 2016
Photo: Muchael Brzezinski
Burt Barr (1938-2016) was known for his use of traditional cinematic techniques to create simple but humorous videos. Characterized by minimal processes and presentations, use of the single take, 4:3 aspect ratio, and slow fade-ins and fade-outs, Barr’s work was the antithesis of most other contemporary video art. His works often punned, both verbally and visually, on conventions of filmmaking with videos like Slo Mo (1996), featuring a turtle moving in slow motion, and The Long Dissolve (1998), which shows an ice cube slowly dissolving in a glass dish.
Burt Barr began making videos in the mid-1980s. These early works were shown at film festivals in Montreal, Berlin, Toronto, San Sebastian, Melbourne, and Rotterdam, as well as on PBS. In 1993 he made the transition to the installation works that have been exhibited in museums and galleries worldwide including solo presentations at the Whitney Museum of American Art, MoMA PS1, Museo Nacional Centro de Arte Reina Sofía, and Platform Garanti Contemporary Art Center in Istanbul.
From early in his career, Barr worked with personalities of the art-world, many of them actors in various roles. Included in this group are Clarissa Dalrymple, Klaus Kertess, Dorothy Lichtenstein, Trisha Brown (his wife), Robert Rauschenberg, Elizabeth Murray, Cecily Brown, Billy Sullivan, Jessica Craig-Martin, Nessia Pope, Stephen Mueller, Carroll Dunham, Teresita Fernandez, Tim Davis, Ester Partegas, and “downtown” performers such as Willem DaFoe, Diane Madden, Lance Gries, Stephen Petronio, Jodi Melnick, Stanford Makishi, Jimena Paz, Roz LeBlanc, Mindy Myers, and Judith Sanchez-Ruiz. Working with these artists formed yet another dimension to the work – that of documentation of the art community during a particular time in New York City.
Barr was the recipient of grants from The Andrea Frank Foundation (1999), John Simon Guggenheim Memorial Foundation (1998), The Foundation for Contemporary Arts (1996), The Massachusetts Council on the Arts and Humanities (1984), WGBH/WNET (1987), Brooklyn Arts Council (1989), the National Endowment for the Arts (1983,1985,1988,1989,1993), the New York State Council on the Arts (1986,1989,1996), and The American Film Institute (1992).
Barr served as an Instructor of Film and Video Projects at the Pratt Institute, an Instructor of Creative Projects at New York University, and was a Visiting Artist at Skowhegan School of Painting and Sculpture. He lectured at Cornell University, Ohio University, Emily Carr Institute in Vancouver, Rhode Island School of Design, Parsons School of Design, the Museum of Modern Art, Suzanne Dellal Center in Tel Aviv, CAPC Musée in Bordeaux, Anthology Film Archives, and Intermedia Arts in Minneapolis.
Barr was born in 1938 in Lewiston, Maine. He lived in New York and is survived by his wife, the dancer and choreographer Trisha Brown; his step-son, Adam Brown; and Adam's family.
Image: Copyright Timothy Greenfield-Sanders, courtesy Hiram Butler Gallery
For more information, click here.
Image: Arturo Herrera, Half-time, 2016. Courtesy of the artist. Joe Humphrys, Tate Photography © Tate 2016
The Artist Project
The Artist Project is an online series in which the Metropolitan Museum of Art give artists an opportunity to respond to their encyclopedic collection. In this episode, Arlene Shechet reflects on a bronze statuette of a veiled and masked dancer."When an artist is in love with the piece that communicates very well over time. So thousands of years later, we’re still feeling it."