MICKALENE THOMAS Polaroid Series #4, 2012 Courtesy of Mickalene Thomas, Lehmann Maupin, New York and Hong Kong, and Artists Rights Society (ARS), New York © Mickalene Thomas
Front Cover ROBERT WILSON Video Portrait Brad Pitt, 2004 Photograph Pavel Antonov Courtesy of Paula Cooper Gallery, New York © Robert Wilson
L A U R I E A N D E RS O N
M A R I LY N M I N T E R
ULLA VON BRANDENBURG OLAF BREUNING
WA N G E C H I M U T U
D AV I D N O O N A N A N E T TA M O N A C H I S¸ A
H E AT H E R C O O K
UGO RONDINONE
MAI-THU PERRET
JOHN GIORNO
JOSH SMITH W I L L I AM H U N T
MICKALENE THOMAS
NICK MAUSS J O S E PH I N E M E C K S E P E R
R I R K R I T T I R AVA N I J A L U C I A T K Á Cˇ OVÁ
DIETER MEIER
R O B ER T W IL S O N
C U R AT E D BY DA NI EL M A S ON max A rt
| Woodstock Byrdcliffe Guild
CONTENTS WORKS IN TH E E XH IB ITIO N
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April 26 - May 26 THANX 4 NOTH ING
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John Giorno WORKS IN TH E E XH IB ITIO N
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July 19 - September 1 C ONT R IB UTO R S
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AC KNOWLE D GME NTS
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WILLIAM HUNT Don’t give me money, It’s not what I want, From you. July 7th, 2005, 2005/2014 Courtesy of the artist and Rotwand Gallery, Zürich © William Hunt
LENDE R S T O T H E E X H I B I T I O N Fernando Alvarez-Perez, Miami Art : Concept, Paris Gavin Brown’s enterprise, New York Paula Cooper Gallery, New York Pilar Corrias, London John Giorno, New York Gladstone Gallery, New York and Brussels Christine König Galerie, Vienna David Kordansky Gallery, Los Angeles Lehmann Maupin Gallery, New York and Hong Kong Luhring Augustine Gallery, New York Dieter Meier Collection, Zürich Galerie Francesca Pia, Zürich Galerie Eva Presenhuber, Zürich Deborah Raymond, New York Rosenblum Collection, Paris Rotwand Gallery, Zürich Salon 94, New York
APRIL 26-MAY 26 W O R K S I N T H E E X HIBITION All dimensions h x w x d in inches
ULLA VON BRANDENBURG Curtain II, 2008 Fabric paint on fabric 144 x 264 Courtesy of the artist and Pilar Corrias, London
Fahne (Flag), 2008 Two vests, two shirts, two found trousers, two ties, flagpole 133 x 23 5/8 Courtesy of the artist and Art : Concept, Paris
JOSEPHINE MECKSEPER (HEAD) LAURIE ANDERSON (UPPER TORSO) OLAF BREUNING (LOWER TORSO)
HEATHER COOK Untitled, 2010 Bleach on pinstriped cotton jersey, push pins 72 x 66 x 6 Courtesy of the Rosenblum Collection, Paris
JOHN GIORNO Welcoming The Flowers – Honeysuckle, 2014 Wall painting 72 x 72 Courtesy of the artist
WILLIAM HUNT Don’t give me money, It’s not what I want, From you. July 7th, 2005, 2005/2014 Inkjet print 80 x 82 Courtesy of the artist and Rotwand Gallery, Zürich
NICK MAUSS (LEGS) Exquisite Corpse #56, 2011 Color photograph, pastel, India ink, cotton underwear, pencil 35 x 21 1/4 Courtesy of the Armitage Gone! Dance Exquisite Corpse Project, New York, and Fernando Alvarez-Perez, Miami
DIETER MEIER Louis Smith, World Champion Confetti Eater “I can’t take this shit no more!” from the Accidental Birth series, 2013 Photograph 27 x 20 Courtesy of the Dieter Meier Collection, Zürich
Claire Saymour-Wang “What else could I expect?” from the Accidental Birth series, 2013 Photograph 27 x 20 Courtesy of the Dieter Meier Collection, Zürich
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MICKALENE THOMAS Polaroid Series #5, 2012 C-print 17 1/2 x 14 1/2 Courtesy of the artist and Lehmann Maupin Gallery, New York and Hong Kong
Polaroid Series #7, 2012 MARILYN MINTER Green Pink Caviar, 2009 HD digital video 7:45 minutes Courtesy of the artist and Salon 94, New York
WANGECHI MUTU Girl Specimen, 2013 Ink, latex paint, glitter, pearls, collage, and contact paper on linoleum 23 3/4 x 16 7/8 x 2 7/8 Courtesy of the artist and Gladstone Gallery, New York and Brussels
DAVID NOONAN Untitled, 2009 Paper collage 15 1/8 x 11 1/2 x 1 1/2 Courtesy of the artist and David Kordansky Gallery, Los Angeles
JOSH SMITH Stage Painting 1, 2011 Wood, paint, fabric, lights, and hardware 96 x 68 x 54 Courtesy of the artist and Luhring Augustine Gallery, New York
C-print 22 x 15 Courtesy of the artist and Lehmann Maupin Gallery, New York and Hong Kong
ROBERT WILSON Video Portrait Brad Pitt, 2004 Continuous loop HD digital video 66 x 36 inch plasma display panel, single-unit stereo speaker, HD media player Music by Michael Glasso Voice and text by Christopher Knowles Arranged by Peter Cerone and Jason Loeffler Courtesy of the artist and Paula Cooper Gallery, New York
WANGECHI MUTU Girl Specimen, 2013 Courtesy of the artist and Gladstone Gallery, New York and Brussels Š Wangechi Mutu
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THANX 4 NOTHING on my 70th birthday in 2006
I want to give my thanks to ever yone for ever ything, and as a token of my appreciation, I want to offer back to you all my good and bad habits as magnificent priceless jewels, wish-fulfilling gem s satisfying ever ything you need and want, than k you, thank you, thank you, than ks. May ever y drug I ever took come back and get you high, may ever y glass of vodka and wine I’ve ever drank come back and make you feel really good, numbing your ner ve ends allowing the natural clarity of your mind to flow free, may all the suicides be songs of aspiration, than ks that bad news is always true, may all the chocolate I’ve ever eaten come back rushing through your bloodstream and make you feel happy, than ks for allowing me to be a poet a no ble effort, doomed, but the only choice. I want to thank you for your kindness and praise, than ks for celebrating me, than ks for the resounding applause, I want to thank you for taking ever ything for yo urself and giving nothing back, you were always only self-ser ving, than ks for exploiting my big ego and making me a star for your own benefit, than ks that you never paid me,
than ks for all the sleaze, than ks for being mean and rude and smiling at my face, I am happy that you robbed me, I am happy that you lied I am happy that you helped me, than ks, grazie, merci beaucoup. May you smoke a joint with William, and spend intimate time with his mind, more profound than any book he wrote, I give enormous thanks to all my lovers, beautiful men with brilliant minds, great artists, Bob, Jasper, Ugo, may they come here now and make love to you, and may my many other lovers of totally great sex, countless lovers of boundless fabu lous sex countless lovers of boundless fabulous sex countless lovers of boundless fabu lous sex in the golden age of promiscuity, may they all come here now, and make love to you, if yo u want, may they hold you in their arms balling to your hearts
delight. balling to your hearts delight balling to your hearts delight balling to your hearts delight. May all the people who are dead Allen, Brion, Lita, Jack, and I do not miss any of you I don’t miss any of them, no nostalgia, it was wonderful that we loved each other but I don’t want any of them back, now, if any of you are attracted to any of them, may they come back from the dead, and do whatever is your pleasure, may they multiply, and be the slaves of whomever wants them, fulfilling your ever y wish and desire, (but you won’t want them as masters, as they’re demons), may Andy come here fall in love with you and make each of you a superstar, ever yone can have Andy. ever yone can have Andy. ever yone can have Andy, ever yone can have an Andy.
Huge hugs to the friends who betrayed me, ever y friend became an enemy, sooner or later, big kisses to my loves that failed, I am delighted you are vacuum cleaners sucking ever ything into your dirt bags, you are none other than a reflection of my mind. Thanks for the depression problem and feeling like suicide ever yday of my life, and now that I’m seventy, I am happily almost there. Twenty billion years ago, in the primordial wisdom soup beyond comprehension and indescribable, something without substance moved slightly, and became somet hing imperceptible, moved again and became something invisible, moved again and produced a particle and particles, moved again and became a quark, again and became quarks, moved again and again and became protons an d neutrons, and the twelve dimensions of space, tiny fire balls of primordial energy bits tossed back and forth in a game of catch between particles, transmitting electromagnetic light and going fast, 40 million times a second, where the pebble hits the water, that is where the t rouble began, something without substance became something with substance, why did it happen? because something substanceless had a feeling of missing out on something,
not getting it was not getting it not getting it, not getting it, imperceptibly not having something when there was nothing to have, clinging to a notion of reality; from the primordially endless potential, to modern day reality, twenty billion years later, has produced me, and my stupid grasping mind, has made me and you and my grasping mind. May Rinpoche and all the great Tibetan teachers who loved me, come back and love you more, may they hold you in their wisdom hearts, bath e you in all-per vasive compassion, give you pith instructions, and may you with the diligence of Olympic athletes do meditation practice, and may you with direct confidence realize the true nature of mind. Ame rica, thanks for the neglect, I did it without you, let us celebrate poetic justice, you and I never were, never tried to do anything, and never succeeded, than ks for introducing me to the face of the naked mind, than x 4 nothing.
JOHN GIORNO
2007
JULY 19-SEPTEMBER 1 W O R K S I N T H E EX HIBITION All dimensions h x w x d in inches
ULLA VON BRANDENBURG
ANETTA MONA CHISA ¸
Krawatten, abgeschnitten (Cut-Up Ties), 2010
ˇ LUCIA TKÁCOVÁ
Ties 18 x 37 Courtesy of the artist and Art : Concept, Paris
The Trivial Few (80:20), 2007 Series of twenty works Pen on paper 11 x 8 1/2 each Courtesy of the artists, Christine König Galerie, Vienna, and Rotwand Gallery, Zürich
JOHN GIORNO Welcoming The Flowers – Bougainvillea, 2014
ULLA VON BRANDENBURG Detail from Krawatten, abgeschnitten (Cut-Up Ties), 2010 Courtesy of the artist and Art : Concept, Paris © Ulla von Brandenburg
Wall painting 72 x 72 Courtesy of the artist
DIETER MEIER Todd Spencer from the As Time Goes By series, 1974/2005
RIRKRIT TIRAVANIJA Untitled 2008 (JG Reads), 2008 Courtesy of the artist and Gavin Brown’s enterprise © Rirkrit Tiravanija
Inkjet print 27 1/2 x 39 Courtesy of the Dieter Meier Collection, Zürich
Tangier Blue, 2009 HD digital video 2:42 minutes Co-directed by Kevin Blanc and Boris Blank Courtesy of the Dieter Meier Collection, Zürich
Mean Monday, 2011 HD digital video 3:48 minutes Courtesy of the Dieter Meier Collection, Zürich
WANGECHI MUTU Bust.id, 2012 Mixed-media collage on Mylar 39 x 30 1/2 Courtesy of Deborah Raymond, New York
Girl Specimen, 2013 Ink, latex paint, glitter, pearls, collage, and contact paper on linoleum 18 1/4 x 20 7/8 x 2 7/8 Courtesy of the artist and Gladstone Gallery, New York and Brussels
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ROBERT WILSON I Have The Feeling, 2012 Acrylic on canvas 107 x 33 1/2 Courtesy of RW Work, Ltd, Change Performing Arts, and Paula Cooper Gallery, New York
MAI-THU PERRET Untitled, 2007 Appliqué on cotton 118 x 118 Courtesy of the artist and Galerie Francesca Pia, Zürich
UGO RONDINONE twelve sunsets, twenty nine dawns, all in one, 2008 Acrylic plaster 12 x 13 x 1/2 Courtesy of the artist and Galerie Eva Presenhuber, Zürich
More, 2012 Acrylic on canvas 118 1/2 x 47 Courtesy of RW Work, Ltd, Change Performing Arts, and Paula Cooper Gallery, New York
Pleasure, 2012 Acrylic on canvas 118 1/2 x 53 1/2 Courtesy of RW Work, Ltd, Change Performing Arts, and Paula Cooper Gallery, New York
There Is, 2012
MICKALENE THOMAS
Acrylic on canvas 118 x 52 Courtesy of RW Work, Ltd, Change Performing Arts, and Paula Cooper Gallery, New York
Polaroid Series #4, 2012
This Is, 2012
C-print 13 x 14 3/4 Courtesy of the artist and Lehmann Maupin Gallery, New York and Hong Kong
Acrylic on canvas 107 x 33 1/2 Courtesy of RW Work, Ltd, Change Performing Arts, and Paula Cooper Gallery, New York
Polaroid Series #6, 2012 C-print 17 1/2 x 20 Courtesy of the artist and Lehmann Maupin Gallery, New York and Hong Kong
RIRKRIT TIRAVANIJA Untitled 2008 (JG Reads), 2008 Black-and-white 16 mm film with sound, 11 reels transferred to video 10:06 hours Courtesy of the artist and Gavin Brown’s enterprise
JOSH SMITH Stage Painting 1, 2011 Courtesy of the artist and Luhring Augustine Gallery, New York © Josh Smith
ARTI ST S LAURIE ANDERSON (b. 1947, Chicago) lives and works in New York Laurie Anderson is a musician, composer, visual artist, filmmaker, and performance artist. She earned her BA in art history at Barnard College in 1969 and an MFA in sculpture from Columbia University in 1972. One of Anderson’s early performance-art pieces was Automotive (1972), for which she orchestrated car horns at the Town Green in Rochester, Vermont. In Duets on Ice, another early piece, Anderson wore ice skates frozen in blocks of ice as she played a duet with herself using a violin on which she had replaced the bow hair with prerecorded audiotape and the strings with a tape head. The piece ended when the ice melted. Over the course of her career, Anderson has collaborated with a number of internationally acclaimed artists, writers, and musicians, including William S. Burroughs, John Giorno, Philip Glass, Lou Reed, and Robert Wilson. In 1978, Anderson released the album Big Ego through Giorno Poetry Systems Records, and in 1981 she collaborated with William S. Burroughs and John Giorno on the album You’re the Guy I Want to Share My Money With. Anderson gained an international audience in 1981 when she released Big Science, an album that included the single “O Superman.” Since that time Anderson has gone on to create large-scale multimedia theatrical works that combine storytelling with music, projected imagery, and sculpture. In 1983, she created the four-part multimedia piece United States: Parts I-IV, which consisted of seventy-eight segments organized into four sections: Transportation, Politics, Money, and Love. First performed at the Brooklyn Academy of Music, the piece ran for more than six hours and included over 1,200 photos, cartoons, and film segments. Her other major works include Empty Places (1989), The Nerve Bible (1995), and Songs and Stories from Moby Dick (1999). Anderson’s films and visual art have been exhibited at institutions around the world, including the Guggenheim Museum in New York and the Centre Georges Pompidou in Paris. In 2003, the Museum of Contemporary Art in Lyon produced a retrospective exhibition of her visual work that traveled to Milan, Düsseldorf, Dublin, and Tokyo. Anderson served as the first artist-in-residence at NASA from 2002 to 2004, and the experience inspired her solo performance The End of the Moon, which debuted in 2004. Her other projects include the albums Mister Heartbreak (1984), Strange Angels (1989), Bright Red (1994), The Ugly One with the Jewels and Other Stories (1995), Life on a String (2001), and Homeland (2010).
THE ARMITAGE GONE! DANCE EXQUISITE CORPSE PROJECT (founded 2010, New York) More than 200 visual artists, architects, designers, and photographers have participated in the Armitage Gone! Dance Exquisite Corpse Project since it began in 2010. As of 2014, the invited artists have created 139 artworks to benefit Armitage Gone! Dance, a dance company under the direction of choreographer Karole Armitage. Using the 1920s surrealist parlor game cadavre exquis—a drawing by multiple artists that combines words, images, or both on one sheet of paper—the project celebrates the themes
of chance encounters, surprise, and radical juxtaposition. Each artist adds to the composition, in sequence, without seeing the contribution of the previous person. The chance juxtaposition of images and styles results in a work that is both unexpected and amusing. The Exquisite Corpse project is a way for a wide range of artists to express their support for Armitage’s work and also allows the choreographer to acknowledge artists who have played a large role in her career. The project highlights the “performative” aspect of art-making by demonstrating that visual art, performance art, and dance share a common spontaneity and unpredictable nature.
ULLA VON BRANDENBURG (b. 1974, Karlsruhe, Germany) lives and works in Hamburg and Paris Ulla von Brandenburg makes drawings, photographs, videos, installations, and performances that focus on the theme of theater as a fictional construct. Von Brandenburg’s complex, eclectic practice reveals her formal training in set design and her interest in the history of film, photography, theater, and psychology. In her installations, von Brandenburg often projects her video works within constructed architectural environments that reference the dramatic arts, such as Harlequinpatterned tents or cascading red curtains. Among the artist’s favored mediums is the tableau vivant, or “living picture,” a popular nineteenth-century combination of art and theater wherein live models are arranged in painterly scenes. By employing the theatrical vocabulary of fin-de-siècle Europe, von Brandenburg uses the lens of history to offer a critical commentary on the anxieties and uncertainties of contemporary society. Von Brandenburg earned her MA at the Academy of Fine Arts, Hamburg, in 2004. Her work has been the subject of solo exhibitions at institutions including Secession, Vienna; Kunsthaus Hamburg; Kiosk, Ghent; Pilar Corrias, London; the Common Guild, Glasgow; Art : Concept, Paris; Chisenhale Gallery, London; the Irish Museum of Modern Art, Dublin; Stedelijk Museum, Amsterdam; Kunstverein, Düsseldorf; Palais de Tokyo, Paris; and Kunsthalle Zürich. Von Brandenburg’s work has also been included in numerous group exhibitions, including the 19th Biennale of Sydney; The Crime Was Almost Perfect, Witte de With, Rotterdam; Film as Sculpture, WIELS, Contemporary Art Centre, Brussels; 1966–1979, Institut d’art contemporain, Villeurbanne; Tools for Conviviality, the Power Plant, Toronto; Made in Germany Zwei: International Art in Germany, Kunstverein Hannover; Secret Societies: To Know, To Dare, To Will, To Keep Silence, CAPC, Museum of Contemporary Art, Bordeaux; A Geographical Expression, Fondazione Sandretto Re Rebaudengo, Turin; the Biennale de Lyon; Tableaux, Principe d’Incertitude, Magasin Centre National d’Art Contemporain de Grenoble; the Yokohama Triennale; Biennale Jerusalem; Performa 07, New York; The World as a Stage, Tate Modern, London; and Against Time, Bonniers Konsthall, Stockholm.
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OLAF BREUNING (b. 1970, Schaffhausen, Switzerland) lives and works in New York and Zürich Olaf Breuning’s satirical drawings, rambunctious videos, staged photographs, and lighthearted installations underscore the humor of everyday life through the juxtaposition of the fantastic and the mundane, the absurd and the romantic, and the beautiful and the grotesque. His fanciful work embraces contradiction as it reveals the uncertainties of cultural mores. Breuning’s work has been the subject of solo exhibitions at institutions including the Zentrum Paul Klee, Bern; Palais de Tokyo, Paris; Kunstmuseum Luzern; Migros Musuem für Gegenwartskunst, Zürich; Museo de Arte Carrillo Gil, Mexico City; Chisenhale Gallery, London; Institute of Modern Art, Brisbane; Stedelijk Museum, Amsterdam; and Musée d’Art Moderne et Contemporain de Strasbourg, France. His work has also been included in numerous group exhibitions, including The Circus as a Parallel Universe, Kunsthalle Wien, Vienna; the Liverpool Biennial; Adaptation: Between Species, the Power Plant, Toronto; the 54th Venice Biennale; the 2008 Whitney Biennial; Looking At Music, Museum of Modern Art, New York; Destroy Athens, 1st Athens Biennale; All About Laughter, Mori Art Museum, Tokyo; and Let’s Entertain, Walker Art Center, Minneapolis. Breuning’s work is part of several permanent collections, including those of the Collezione La Gaia, Brusca, Italy; Kunsthalle Hamburg, Germany; Kunsthaus Glarus, Switzerland; Louisiana Museum, Copenhagen; and Museum zu Allerheiligen, Schaffhausen, Switzerland.
ANETTA MONA CHISA ¸ (b. 1975, Nadlac, Romania) lives and works in Berlin and Prague ˇ LUCIA TKÁCOVÁ (b. 1977, Banská Štiavnica, Slovakia) lives and works in Berlin and Prague Anetta Mona Chişa and Lucia Tkáčová have been collaborating since 2000. They work across a variety of media including video, drawing, and sculpture, often employing performance, intervention, language, and game tactics in their works. Their work has been the subject of solo exhibitions at institutions including the Hit Gallery, Bratislava; Waterside Contemporary, London; Rotwand Gallery, Zürich; and Art in General, New York. Their work has also been included in numerous group exhibitions, including the 54th Venice Biennale; Good Girls: Memory, Desire, Power, National Museum of Contemporary Art (MNAC), Bucharest; What Does a Drawing Want?, Beirut, Cairo; 3rd Moscow International Biennale for Young Art, Moscow; The Global Contemporary, ZKM | Museum für Neue Kunst, Karlsruhe; and Rearview Mirror, the Power Plant, Toronto.
HEATHER COOK (b. 1980, Dallas) lives and works in Los Angeles Heather Cook transforms simple materials like denim and cotton jersey into illusionistic, topographic surfaces that occupy a space between painting and sculpture. Cook’s subtle manipulations of fabric, using bleach, creases, and silkscreen, yield compelling objects that flow over wall and floor, evoking both classical drapery and couture fashion.
Cook earned her BFA at the University of Texas at Austin in 2002 and an MFA at the Art Center College of Design in Pasadena in 2007. Cook was the subject of a twoperson exhibition with Nathan Hylden in 2011 at Volker Bradtke, Düsseldorf. Her work has been included in numerous group exhibitions, including Crossing Mirrors, Rosenblum Collection, Paris; American Exuberance, Rubell Family Collection, Miami; Gruppenausstellung 2, Max Hans Daniel Gallery, Berlin; Heather Cook, Alex Olson, R.H. Quaytman, Ry Rocklen, Gedi Sibony, Rental, New York; Abstract Abstract, Foxy Production, New York; and Samedi/Samedi, Art : Concept, Paris. In 2011, Cook had her first solo exhibition at David Kordansky Gallery in Los Angeles.
JOHN GIORNO (b. 1936, Brooklyn) lives and works in New York John Giorno has been a prolific poet, artist, and performer since the 1960s, and as the founder of Giorno Poetry Systems he released more than fifty albums of music and poetry. He famously was the protagonist of Andy Warhol’s first film, Sleep (1963), which depicts Giorno sleeping for five hours, and he is the author of several poetry collections, including Subduing Demons in America: Selected Poems, 1962–2007. Giorno’s work frequently explores alternative ways of presenting poetry, inviting viewers to reflect on the transgressive power of poetry as an artistic medium. In his Poem Paintings, Giorno takes stanzas from his poems and recasts them in bold white capital letters in a typeface he developed with a graphic designer and has been using since 1984. Phrases like “you got to burn to shine,” “we gave a party for the gods and the gods all came,” and “it’s not what happens, it’s how you handle it,” are staged against black, gray, or pastel-toned colors. This search for new venues for poetry’s distribution led Giorno to integrate technology into his work, creating Dial-a-Poem, the influential telephonic artwork that was presented at the Museum of Modern Art in New York in 1970, and again in 2012. By calling a local telephone number, participants could hear a poem, selected at random by a primitive answering-machine system, recited by a well-known poet like John Ashbery or Allen Ginsberg. Dial-a-Poem provided access to an archive of recordings of work by contemporary poets, musicians, artists, and writers who were friends and colleagues of Giorno—including William S. Burroughs, John Cage, Brion Gysin, and Michael McClure. Giorno extended Dial-a-Poem into the 1980s, producing five LP records that included works by established poets including Amiri Baraka, Charles Bukowski, and Gregory Corso, and works by younger artists and musicians such as Laurie Anderson, David Byrne, Philip Glass, Deborah Harry, Patti Smith, and Tom Waits. Giorno’s work has been the subject of solo exhibitions at institutions including the Max Wigram Gallery, London; Socrates Sculpture Park, Long Island; Centre d’art contemporain, Metz; Galerie Almine Rech, Paris; Galerie Almine Rech, Brussels; Nicole Klagsbrun Gallery, New York; and La Galerie du Jour Agnès B, Paris. His work has also been included in numerous group exhibitions, including Imagine the Imaginary, Palais de Tokyo, Paris; Ecstatic Alphabets/Heaps of Language, the Museum of Modern Art, New York; Traces du sacré, Centre Georges Pompidou, Paris; and Martian Museum of Terrestrial Art, Barbican Centre, London. His work is part of several
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permanent collections, including those of the Centre Georges Pompidou, Paris; Musée National d’Art Moderne, Paris; MUDAM, Musée d’Art Moderne Grand-Duc Jean, Luxembourg; and Museum of Modern Art, New York. Giorno will be the subject of a major retrospective exhibition at Palais de Tokyo, Paris, in 2015.
WILLIAM HUNT (b. 1977, London) lives and works in London Since his graduation in 2005 from the Goldsmiths College in London, William Hunt has garnered critical attention with performances that combine music with acts of physical duress. Invested with wry poetic humor, his works explore the transformative power of the surreal and the absurd. Hunt sings and plays acoustic music while placing himself in strenuous, even dangerous situations: for instance, hanging upside down by his feet or submerging himself in a bin full of water. His live performances establish a relation of simultaneous proximity and distance with the viewer, who is made acutely aware of the physical strain involved in delivering such singular acts. Hunt’s work can be located within the art-historical traditions of sculpture and performance art, but it equally draws inspiration from popular culture and the entertainment industry. Hunt’s work has been the subject of solo exhibitions at institutions including Rotwand, Zürich; Art Basel 38, Basel; Ibid Projects, London; Witte de With, Rotterdam; Camden Arts Centre, London; and Galerie Jan Wentrup, Berlin. Hunt’s work has also been included in numerous group exhibitions, including Don Quijote, Witte de With, Rotterdam; Mind The Gap, Kunsthaus Glarus; Been Up So Long It Looks Like Down to Me, Presentation House, Vancouver; Silence: Listen to the Show, Fondazione Sandretto Re Rebaudengo, Turin; KölnShow 2, Cologne; Music and Visual Arts. Les Grands Spectacles III, Museum der Moderne Salzburg; and Long Shore Drift, the Whitstable Biennale, Canterbury. Hunt is a part-time lecturer in creative practice and design at Leeds Metropolitan University, United Kingdom.
NICK MAUSS (b. 1980, New York) lives and works in New York and Berlin Nick Mauss considers his works on paper and his “amplified drawings” (which are sculptures, paintings, videos, and installations) as parts of a developing vocabulary. Traversing figuration and abstraction, Mauss’s work also suggests a visual poetics in which these categories become untenable. Mauss earned his BFA at Cooper Union in 2003 and during the past ten years his work has been the subject of solo exhibitions at institutions including the Indipendenza Studio, Rome; 303 Gallery, New York; Midway Contemporary Art, Minneapolis; FRAC Champagne-Ardenne, Reims; Hiromi Yoshii Gallery, Tokyo; Galerie Neu, Berlin; Galleria Il Capricorno, Venice; Künstlerhaus Stuttgart, (with Ken Okiishi); and Gavin Brown’s enterprise, New York (with Ken Okiishi). Mauss’s work has also been included in numerous group exhibitions, including the 2012 Whitney Biennial; The Midnight Party, Walker Art Center, Minneapolis; A Different Person, Badischer Kunstverein, Karlsruhe; One is the Loneliest Number (with Ken Okiishi), Institute of Contemporary Art, Philadelphia; Adequate, Sommer Gallery, Tel Aviv; and At Home / Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, Hessel Museum of Art, CCS Bard,
Annandale-on-Hudson. His work is part of several permanent collections, including those of the Museum of Modern Art, New York; the Walker Art Center, Minneapolis; and the Museum of Contemporary Art, Los Angeles.
JOSEPHINE MECKSEPER (b. 1964, Lilienthal, Germany) lives and works in New York Josephine Meckseper studied at Hochschule der Künste in Berlin and the California Institute of the Arts, Los Angeles, where she received her MFA in 1992. In her work, which encompasses film, photography, collage, painting, and installation, Meckseper conflates the aesthetic language of modernism with the commercial idioms of massmedia consumerism. Through an incisive appropriation of media-culture tactics and the skillful juxtaposition of disparate forms of cultural production and commercial display, Meckseper’s work challenges conventional significations of familiar imagery and questions the often arbitrary way in which its value is created. Meckseper was the subject of a retrospective at the Kunstmuseum Stuttgart in 2007, and her work has been the subject of solo exhibitions at institutions including the Neuer Aachener Kunstverein, Aachen, Germany; Parrish Art Museum, Water Mill, New York; Ausstellungshalle zeitgenössische Kunst, Münster; Indianapolis Museum of Art; Blaffer Art Museum, University of Houston; and Migros Museum für Gegenwartskunst, Zürich. Meckseper’s work has also been included in numerous group exhibitions, including Singular Visions, Whitney Museum, New York; Sharjah Biennial 10: Plot for a Biennial, Sharjah Art Museum, United Arab Emirates; Contemplating the Void, Guggenheim Museum, New York; the Whitney Biennial (2006 and 2010), New York; Morality: Beautiful from Every Point of View, Witte de With, Rotterdam; Prospect.1 New Orleans; Second Moscow Biennale of Contemporary Art; and Media Burn, Tate Modern, London. Her work is part of several permanent collections, including those of the Guggenheim Museum; Museum of Modern Art; Whitney Museum; and Kunstmuseum Stuttgart.
DIETER MEIER (b. 1945, Zürich) lives and works in California, Argentina, and Zürich Dieter Meier is an influential but frequently overlooked figure within the history of performance art, video art, and conceptual portraiture. From 1969 to 1972, Meier performed and documented several public-art pieces in the streets of Zürich, New York, and Kassel that would later be regarded as notable precedents in the field of time-based, relational performance art. For Two Words, performed on February 25, 1971, at 57th Street and 8th Avenue in New York, Meier paid people a dollar for selecting and saying aloud the word yes or no, took their photo, and documented the transaction with a certificate that included the name, portrait, and signature of the participant; for This Man Will Not Shoot (February 23, 1971, at the New York Cultural Center) Meier stood at the entrance of the museum holding a revolver in his hand and a sign at his feet that stated “This man will not shoot.” For the 1972/1994 Date I / Date II, performed at the Bahnhofsplatz in Kassel, Germany, Meier placed on the ground a cast-iron plate inscribed with the message “On March 23, 1994 from 15:00
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until 16:00, Dieter Meier will stand on this plate. Kassel, June 27, 1972.” Twenty-two years later, he completed the piece by standing for one hour on the plate that marked the site of his earlier performance. In the 1970s, Meier expanded his use of photography from being a medium for documenting his public-art pieces to being a medium for camera-based performances that explore themes of identity and temporality. In 1974, he created the photo series 48 Personalities for an exhibition at the Museum Strauhof in Zürich. These fictional self-portraits feature the artist performing forty-eight different personality types. In 2005, Meier returned to the series in his piece As Time Goes By, which re-presents the characters from the 1974 series as diptychs, with updated self-portraits and fictional biographies. In 1979 Meier cofounded with Boris Blank the pioneering electro-pop duo Yello, whose innovative music videos were regularly seen on MTV in the 1980s and helped to define the music-video genre. Yello’s hit single “Oh Yeah” was included on the soundtrack of the film Ferris Bueller’s Day Off, and their music continues to be internationally successful today. In the recent photo series Accidental Birth, Meier sculpts abstract portrait busts out of Plasticine clay, stages them in dramatically lit, colorful environments, and presents the photographs with descriptions or humorous quotations that lend the portraits distinct personalities. Meier’s work has been the subject of solo exhibitions at institutions including the Watermill Center, Water Mill, New York; Aargauer Kunsthaus, Aarau, Switzerland; Galerie Thomas Zander, Cologne, Germany; ZKM Center for Art and Media, Karlsruhe, Germany; and Sammlung Falckenberg /Deichtorhallen, Hamburg, Germany. His work has also been included in numerous group exhibitions, including Role Models – Role Playing, Museum der Moderne, Salzburg, Austria; Music Videos: The Industry and Its Fringes, Museum of Modern Art, New York; Documenta 5, Kassel, Germany; The Swiss Avantgarde, New York Cultural Center; the Tokyo Film Festival; and the Festival d’Avignon. Meier has published several literary works, including Hermes Baby, a collection of stories and essays (2006); Out of Chaos, an autobiographical picture book (2011); the monograph Dieter Meier : Works 1968–2012 and the Yello Years (2012); and Dieter Meier : Selected Works 1969–2013 (2013).
MARILYN MINTER (b. 1948, Shreveport, Louisiana) lives and works in New York Marilyn Minter earned her BA at the University of Florida at Gainesville in 1970 and an MFA at Syracuse University in 1972. In the 1970s she employed a photorealistic style to capture mundane aspects of domestic life such as dirty floors, crinkled aluminum foil, and frozen peas defrosting in a kitchen sink. In the 1980s and early 1990s, she turned her exacting style to sensual subjects such as the female body and pornography. A critical backlash against her explicitly sexual work caused the artist to question the origin of the public’s discomfort with the body and sexuality, which drew her toward ubiquitous imagery of women in popular media, especially in the fashion world. In her work, Minter appropriates the vocabulary of fashion and beauty advertising, and then mars its artificial perfection with the inclusion of sweat, spit, hair, and dirt.
MARILYN MINTER Green Pink Caviar, 2009 Courtesy of the artist and Salon 94, New York © Marilyn Minter
Minter’s work has been the subject of solo exhibitions at institutions including White Columns, New York; the San Francisco Museum of Modern Art; Salon 94, New York; Regen Projects, Los Angeles; the Museum of Contemporary Art, San Diego; and the Museum of Contemporary Art, Cleveland. Her film Green Pink Caviar debuted at Salon 94 in 2009, was displayed in Times Square that spring, and in 2010 was screened at the Museum of Modern Art, New York. Minter’s work has also been included in numerous group exhibitions, most notably the 2006 Whitney Biennial.
WANGECHI MUTU (b. 1972, Nairobi, Kenya) lives and works in New York Wangechi Mutu earned her BFA at Cooper Union in 1996 and an MFA at the Yale School of Art in 2000. In her collages and sculpture Mutu addresses conflicting cultural projections of race and gender as they play out on the female body. Incorporating a wide range of media, including paint, ink, glitter, and pearls, Mutu’s collages portray hybrid beings composed of fragments of plants, animals, machines, pornography, and medical illustrations. Mutu’s work has been the subject of solo exhibitions at institutions including the Museum of Contemporary Art, Sydney; Brooklyn Museum of Art; Nasher Museum of Art, Durham, North Carolina; Museum of Contemporary Art North Miami; Musée d’Art Contemporain de Montréal; Staatliche Kunsthalle, Baden-Baden; Deutsche Guggenheim, Berlin; Wiels Center for Contemporary Art, Brussels; Museum of Contemporary Art, San Diego; and San Francisco Museum of Modern Art. Her work has also been included in numerous group exhibitions, including The Shadows Took Shape, Studio Museum, New York; the 5th Moscow Biennial of Contemporary Art;
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A Different Kind of Order, International Center of Photography, New York; Earth Matters: Land as Material and Metaphor in the Arts of Africa, National Museum of African Art, Washington, D.C.; Migrating Identities, Yerba Buena Center for the Arts, San Francisco; Intense Proximity, Palais de Tokyo, Paris; The Luminous Interval, Guggenheim Bilbao, Spain; The Modern Myth: Drawing Mythologies in Modern Times, Museum of Modern Art, New York; and Prospect.1 New Orleans. Mutu’s work is part of several permanent collections, including those of the New Museum of Contemporary Art, New York; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Studio Museum in Harlem, New York; Whitney Museum of American Art, New York; and Museum of Contemporary Art, Chicago.
DAVID NOONAN (b. 1969, Ballarat, Australia) lives and works in London David Noonan transforms black-and-white or sepia found imagery into striking collages and large-scale silk-screened tableaux on linen. He collects photographs, archival documents, magazines, and books relating to utopian collectives in the 1960s and ’70s, theatre and dance performances, and art education, and layers select images with others of plants, animals, and buildings. Histories fuse. Any sense of time and place is blurred or displaced. The multiple appropriations blend realism, mystery, and myth. The fabrics Noonan uses as the ground for the silk screens are rough in texture and often patched or folded. Many contain printed patterns inspired by Japanese textiles. Noonan also produces paneled, figurative sculptures in which cut-out silhouettes of performers act out grand gestures. Noonan’s work has been the subject of solo exhibitions at institutions including the Contemporary Art Museum, St. Louis; Mitchell Library, Glasgow; Australian Centre for Contemporary Art, Melbourne; Chisenhale Gallery, London; Palais de Tokyo, Paris; Monash University Museum of Art, Melbourne; and Three Walls, Chicago. His work has also been included in numerous group exhibitions, including Theatre of the World, Museum of Old and New Art in collaboration with the Tasmanian Museum of Art Gallery, Tasmania; Tableaux, Magasin, Centre National d’Art Contemporain, Grenoble; Secret Societies. To Know, To Dare, To Will, To Keep Silence, Schirn Kunsthalle Frankfurt; The Beauty of Distance: Songs of Survival, the 17th Biennale of Sydney; No Sound, Aspen Art Museum; Altermodern, Tate Triennial, Tate Britain, London; The Rings of Saturn, Tate Modern, London; Supernatural Artificial, Museum of Contemporary Photography, Tokyo; Listening to New Voices, PS1 Museum of Contemporary Art, New York; Egofugal, 7th Istanbul Biennale; Signs of Life, Melbourne International Biennial; and Photography is Dead! Long Live Photography!, Museum of Contemporary Art, Sydney. JRP/Ringier published Scenes, a survey of Noonan’s work, in 2009.
MAI-THU PERRET (b. 1976, Geneva) lives and works in Geneva and New York Mai-Thu Perret earned her BA at Cambridge University in 1997 and completed the Whitney Independent Study Program in 2003. Perret is known in both Europe and the United States for her ambitious multidisciplinary practice encompassing sculpture, painting, video, and installation. The artist’s complex oeuvre combines radical feminist politics with literary texts, homemade crafts, and twentieth-century avant-garde
aesthetics. Her ongoing project The Crystal Frontier, a fictional narrative chronicling the lives of a group of radically minded women who turn their backs on the city and move to New Mexico to establish a feminist commune, has anchored much of Perret’s practice since 1999. Mirroring the idealism of the myriad utopian communities that emerged throughout the last century—and reflecting upon their failures—Perret’s community highlights the strained relationship between art and social revolution. The diverse artwork inspired by this narrative—from glazed ceramics to wallpaper— masquerades as the “hypothetical production” of the community. This fictional narrative brings to the fore questions concerning the status of the art object—the difference between what it is and what one wants it to be. Perret’s work has been the subject of solo exhibitions at institutions including Francesca Pia, Zürich; Magasin, Centre National d’Art Contemporain, Grenoble; Barbara Weiss, Berlin; Chisenhale Gallery, London; Praz-Delavallade, Paris; Aargauer Kunsthaus, Aarau; Mamco, Geneva; Haus Konstruktiv, Zürich; Theatre de l’Usine, Geneva; the Swiss Institute, New York; the University of Michigan Museum of Art, Ann Arbor; the Aspen Art Museum; Timothy Taylor Gallery, London; Bonnefanten Museum, Maastricht; the San Francisco Museum of Modern Art; the Kitchen, New York; the Renaissance Society, Chicago; and Centre d’art contemporain, Geneva. In 2015 Perret will be the subject of a solo exhibition at the Nasher Sculpture Center, Dallas. Her work has also been included in numerous group exhibitions, including Decorum, Musée d’Art Moderne, Paris; Pattern: Follow the Rules, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing; The Old, the New, the Different, Kunsthalle Bern; ILLUMInations, 54th Venice Biennale; and Goldene Zeiten, Haus der Kunst, Munich. In 2011 Perret was awarded the Zürich Art Prize and the Prix Culturel Manor.
UGO RONDINONE (b. 1964, Brunnen, Switzerland) lives and works in New York Ugo Rondinone graduated from the Universität für angewandte Kunst in Vienna in 1990, and since that time he has produced a diverse body of work that includes circular mandala paintings, figurative sculptures, large-scale landscape drawings, and immersive multi-channel video installations. His poetic and soulful work is frequently produced in medium-specific series that explore a chosen motif through multiple variations. For his series I Don’t Live Here Anymore, Rondinone photographed himself performing a range of fashion-model expressions and inserted the self-portraits into appropriated fashion photographs of female models, thereby conflating the performed identities of the models with his own. His series of rainbow-shaped electric signs celebrate phrases from the poetry of John Giorno (such as “Everyone Gets Lighter”) and from popular culture (“Hell, Yes!”) while others reference poetic aphorisms (for instance, “Love Invents Us” and “We Are Poems”). His 2013 installation Human Nature at New York’s Rockefeller Center consisted of nine colossal stone sculptures that depict the human figure in its most elemental, archaic form. Rondinone’s work has been the subject of solo exhibitions at institutions including the Museum Anahuacalli, Mexico City; Art Institute of Chicago; Aargauer Kunsthaus, Aarau, Switzerland; Museo de Arte Contemporáneo de Castilla y León, Spain; Musée
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du Louvre, Paris; Institute of Contemporary Art, Boston; Sculpture Center, New York; Whitechapel Gallery, London; Museum of Contermporary Art, Sydney; Musée National d’Art Moderne, Centre Georges Pompidou, Paris; and Kunsthalle, Vienna. His work has also been included in numerous group exhibitions, including the 2007 Venice Biennale; Something about a Tree, Flag Art Foundation, New York; Lifelike, Walker Art Center, Minneapolis; and Harlem Postcards, Studio Museum in Harlem, New York.
JOSH SMITH (b. 1976, Knoxville, Tennessee) lives and works in New York The work of Josh Smith is distinguished by his mastery of multiple mediums— including sculpture, painting, bookmaking, printmaking, collage, and ceramics—and his tendency to respond to trends in sculpture and painting by expressly upending them. His most iconic works are sculptures and paintings that boldly feature his name as their subject; in recent works, the name has given way to motifs such as leaves, fish, and palm trees. In selecting these rather arbitrary subjects and rendering them in a manner that is by turns theatrical, repetitive, and nonhierarchical, Smith questions the significance of the singular artistic gesture and compels us to focus instead on process and the ways in which painting can occasion meaning through other means. Smith’s work has been the subject of solo exhibitions at institutions including the Brant Foundation, Greenwich, Connecticut; Museum Dhondt Dhaenens, Deurle, Belgium; Centre d’Art Contemporain, Geneva; Museum Moderner Kunst, Vienna; and Sculpture Center, Long Island City, New York. Smith’s work has also been included in numerous group exhibitions, including The Painting Factory: Abstraction after Warhol, Museum of Contemporary Art, Los Angeles; Print/Out: 20 Years in Print, Museum of Modern Art, New York; ILLUMInations, 54th Venice Biennale; After Images, Musée Juif de Belgique, Brussels; and The Generational: Younger than Jesus, New Museum, New York. His work is part of several permanent collections, including those of the Centre Georges Pompidou, Paris; Museum Moderner Kunst, Vienna; Whitney Museum, New York; and Museum of Modern Art, New York.
MICKALENE THOMAS (b. 1971, Camden, New Jersey) lives and works in Brooklyn Mickalene Thomas earned her BFA at Pratt Institute in 2000 and an MFA at the Yale School of Art in 2002. Thomas is best known for her large-scale paintings of African-American women adorned with rhinestones and glitter. Less well known are her photographs—the reference material for those paintings—in which Thomas poses models within decorative interiors. Though her photographs and paintings frequently reference odalisque compositional arrangements, Thomas imbues her female subjects with agency and sophistication to create a contemporary vision of black female beauty, sexuality, and power. Her paintings are constructed through a three-part process. She begins by building a tableau, posing a model, and taking a photograph. Then she cuts up the photograph—fragmenting, deconstructing, and recontextualizing the scene— and reassembles the image as a collage. Finally, she reproduces the collage, on a greatly enlarged scale, in paint and Swarovski rhinestones.
Thomas participated in residencies at the Studio Museum in Harlem (2000–2003) and the Versailles Foundation Munn Artists Program in Giverny, France (2011). Her work has been the subject of solo exhibitions at institutions including the Brooklyn Museum; Santa Monica Museum of Art; Institute of Contemporary Art, Boston; and Hara Museum of Contemporary Art, Tokyo. Her work has also been included in numerous group exhibitions, including Lunch with Olympia, Yale University School of Art, New Haven; 30 Americans, Milwaukee Art Museum; Performa, New York; Exposing the Gaze: Gender and Sexuality in Art, Nasher Museum of Art, Durham; The Bearden Project, Studio Museum in Harlem; and Posing Beauty: African American Images from the 1890s to the Present, Newark Museum. Thomas’s work is part of several permanent collections, including those of the Museum of Modern Art; PS1; Brooklyn Museum of Art; Guggenheim Museum; Whitney Museum; Studio Museum in Harlem; San Francisco Museum of Modern Art; Yale University Art Gallery; Museum of Fine Arts, Boston; Art Institute of Chicago; and Hara Museum of Contemporary Art, Japan.
RIRKRIT TIRAVANIJA (b. 1961, Buenos Aires) lives and works in New York, Berlin, and Chiang Mai A Buenos Aires–born artist of Thai descent, Rirkrit Tiravanija studied at the Ontario College of Art in Toronto, the Banff Center School of Fine Arts, the School of the Art Institute of Chicago, and the Whitney Independent Study Program in New York. Since the 1990s, Tiravanija has aligned his artistic production with an ethic of social engagement, often inviting viewers to inhabit and activate his work. In one of his bestknown series, begun at the Paula Allen Gallery in New York in 1990, Tiravanija rejected traditional art objects altogether and instead cooked and served pad thai for exhibition visitors. Over the following years, the artist ignored the prescribed division between art and life, constructing communal environments that offered a playful alternative venue for quotidian activities. In 1997 Tiravanija began an engagement with the monoliths of modernist architecture when he installed in the Museum of Modern Art’s sculpture garden Untitled: 1997 (Glass House), a child-size version of Philip Johnson’s famed Glass House (1949). Similarly, untitled 2002 (he promised) offered an arena of activities ranging from DJ sessions to film screenings within a chrome-and-steel structure inspired by Rudolf M. Schindler’s iconic 1922 Kings Road House in West Hollywood. Tiravanija’s engagement with propaganda can be seen in his ongoing series of commissioned drawings derived from newspaper images, as well as in untitled 2006 (fear eats the soul/ November 1–8, 2004), in which Tiravanija painted the phrase “fear eats the soul” over the front page of the New York Times. For his ongoing project The Land (begun in 1998)—a collaborative artistic, architectural, and environmental recovery project in Sanpatong, Thailand—residents and artists are welcomed to use a plot of land as a laboratory for development‚ cultivating rice, building sustainable houses, or channeling solar power. Tiravanija’s work has been the subject of solo exhibitions at institutions including the Museum of Contemporary Art, Chicago; Reiña Sofia, Madrid; Museum of Modern Art, New York; Philadelphia Museum of Art; Los Angeles County Museum of Art; Chaing
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Mai University Art Museum; Museum Boijmans Van Beuningen, Rotterdam; and Musée d’Art Moderne de la Ville de Paris. His work has also been included in numerous group exhibitions, including the Sharjah Biennial; Venice Biennale; Whitney Biennial; Liverpool Biennial; São Paulo Bienal; The Shapes of Space, Guggenheim Museum, New York; Installations: Selection from the Guggenheim Collections, Guggenheim Bilbao; and theanyspacewhatever, Guggenheim Museum, New York.
ROBERT WILSON (b. 1941, Waco, Texas) lives and works in New York Robert Wilson was educated at the University of Texas and arrived in New York in 1963 to attend Pratt Institute. In 1968, he founded the Byrd Hoffman School of Byrds, an experimental performance company named after an influential teacher from Wilson’s youth, and with this company he developed his first signature works, including King of Spain (1969), Deafman Glance (1970), The Life and Times of Joseph Stalin (1973), and A Letter for Queen Victoria (1974). Regarded as a leader in New York’s burgeoning avant-garde community, Wilson turned his attention to large-scale opera and, with Philip Glass, created the monumental Einstein on the Beach (1976), which achieved worldwide acclaim. Following Einstein, Wilson worked increasingly with major European theaters and opera houses. At the Schaubühne in Berlin he created Death, Destruction & Detroit (1979) and Death, Destruction & Detroit II (1987); at the Thalia in Hamburg he presented the groundbreaking musical works The Black Rider (1991) and Alice (1992). He has also applied his striking formal language to the operatic repertoire, including Parsifal in Hamburg (1991), Houston (1992), and Los Angeles (2005); and The Magic Flute (1991), Madame Butterfly (1993), and Lohengrin (1998 and 2006) at the Metropolitan Opera in New York. More recently, Wilson completed I La Galigo, a production based on an epic poem from Indonesia, which toured extensively and appeared at the Lincoln Center Festival in the summer of 2005. Wilson continues to direct revivals of his most celebrated productions, including The Black Rider in London, San Francisco, Sydney, and Los Angeles; The Temptation of St. Anthony in New York and Barcelona; Erwartung in Berlin; Madama Butterfly at the Bolshoi Opera in Moscow; and Wagner’s Der Ring des Nibelungen at Le Châtelet in Paris. Wilson’s artistic practice is firmly rooted in the fine arts, and his drawings, furniture designs, and installations have been exhibited internationally in solo and group exhibitions at venues including the Boston Museum of Fine Arts; Centre Georges Pompidou in Paris; Stedelijk Museum in Amsterdam; Clink Street Vaults in London; and the Guggenheim Museum in New York. In 2004 he began making his Video Portraits, a series of HD video works that capture celebrities, ordinary people, and animals in continuously looping high-definition tableaux. Last fall, Wilson performed John Cage’s Lecture on Nothing at the Musée du Louvre, where his eclectic personal collection of artifacts, artworks, and found objects was on view in the exhibition Living Rooms. Each summer, Wilson retreats to the Watermill Center in eastern Long Island—a laboratory for the arts and humanities that brings together students and experienced professionals in a multidisciplinary environment dedicated to creative collaboration.
CU RATO R DANIEL MASON (b. 1967, Washington, D.C.) lives and works in New York Daniel Mason is a New York–based curator, writer, and producer with over fifteen years of experience organizing exhibitions and events for museums, galleries, theaters, libraries, nonprofit organizations, and corporations in the United States and Europe. His recent exhibitions include Serious Laughs: Art Politics Humor for the Bardavon 1869 Opera House; History Contested: Books on Photography in the Middle East for the International Center of Photography Library; Chamber Piece for the Dutchess County Arts Council; The Sabbath of History: William Congdon for the William G. Congdon Foundation and the Knights of Columbus Museum; Arthur Ganson: Kinetic Mandala for the Kresge Gallery, Ramapo College; Broom: The Full Sweep for the Pennwick Foundation and Bard College; Art Beyond Sight for the Metropolitan Museum of Art and Art Education for the Blind; and, as co-curator, What is a Line? Drawings from the Collection for the Yale University Art Gallery. His recent publications include William Pachner : Imagined Fragments; The Sabbath of History: William Congdon; and Chica Tenney: Advent. Past projects include Making Touch Matter for the Metropolitan Museum of Art; William Congdon: Action Painter for the International Festival of Arts and Ideas; and Motor Vehicle Sundown (Event) with artist Xaviera Simmons and the Surrealist Training Circus for the CCS Bard Galleries. Mason has been a guest lecturer at Bard College, Ramapo College, and Yale University, where he developed the graduate seminar Art of the Senses with Frederick Lamp. He holds an MA in Curatorial Studies from the Center for Curatorial Studies at Bard College and a BA in History of Art from Yale University. Mason is the recipient of numerous awards for his writing and exhibitions, including the A. Conger Goodyear DAVID NOONAN Fine Arts Award and the Ramapo Untitled, 2009 Curatorial Prize. He is a member Courtesy of the artist and David Kordansky Gallery, Los Angeles © David Noonan of the Association of Art Museum Curators and the Catalogue Raisonné Scholars Association.
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This catalog is published on the occasion of the exhibition BASH: An Exhibition in Two Parts, curated by Daniel Mason and produced by maxArt in association with the Woodstock Byrdcliffe Guild at the Kleinert/James Center for the Arts, April 26 to May 26 and July 19 to September 1, 2014. Programming at the Woodstock Byrdcliffe Guild is funded in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Copyright © 2014 Daniel Mason All rights reserved.
ACKNOW L E D GM E N T S I am deeply grateful to the following artists, lenders, colleagues, friends, and family members, whose generosity made this exhibition possible: Jeremy Adams, Antoine Aguilar, Anthony Allen, Laurie Anderson, Nathalie Andrews, Olivier Antoine, Karole Armitage, Sophie Aschauer, Lara Asole, Roland Augustine, Alice Barrett, Simone Battisti, Sophie Braine, Ulla von Brandenburg, Olaf Breuning, Gavin Brown, Zach Bruder, Caroline Burghardt, Vanessa Caldas, Tina Carstens, Lee Cavaliere, Anetta Mona Chişa, Heather Cook, Paula Cooper, Pilar Corrias, Maisey Cox, Liz Dimmitt, Sasha Drosdick, Colleen Dunn, Alexandra Ferrari, Jeff Fontaine, Alissa Friedman, Alexandra Giniger, John Giorno, Barbara Gladstone, Julee Hager, Mattias Herold, William Hunt, Mark Jetton, Jodie Katzeff, Alexis Kerin, Noah Khoshbin, Bear Kirkpatrick, Sabina Kohler, Christine König, Kris Konyak, David Kordansky, Laura Leffler, Rachel Lehmann, Glorimarta Linares, Stefanie Little, Aaron Lockhart, Lawrence Luhring, Jan Mason, Mary Mason, William Mason, Michelle Matson, David Maupin, Nick Mauss, Josephine Meckseper, Emma Mee, Dieter Meier, Bettina Meier-Bickel, Mark Michaelson, Marilyn Minter, Laura Mitterrand, Wangechi Mutu, David Noonan, William Parks, Hilary Pecis, Mai-Thu Perret, Francesca Pia, Ariel Lauren Pittman, Eva Presenhuber, Deborah Raymond, Mary Rich, Jeanne Greenberg Rohatyn, Ugo Rondinone, Chiara Rosenblum, Steve Rosenblum, Alix Rozčs, Casey Ruble, Marie-Laure Simoens, Josh Smith, Stephanie Smith, Derin Tanyol, Lucia Tkáčová, Mickalene Thomas, Rirkrit Tiravanija, Emma Tramposch, Lisa Varghese, Ewout Vellekoop, Peter Vitzthum, Robert Wilson, and Alex Wixon. — Daniel Mason
DIETER MEIER Claire Saymour-Wang “What else could I expect?” from the Accidental Birth series, 2013 Courtesy of the Dieter Meier Collection, Zürich © Dieter Meier
L A U R I E A N D E RS O N
M A R I LY N M I N T E R
ULLA VON BRANDENBURG OLAF BREUNING
WA N G E C H I M U T U
D AV I D N O O N A N A N E T TA M O N A C H I S¸ A
H E AT H E R C O O K
UGO RONDINONE
MAI-THU PERRET
JOHN GIORNO
JOSH SMITH W I L L I AM H U N T
MICKALENE THOMAS
NICK MAUSS
R I R K R I T T I R AVA N I J A
J O S E PH I N E M E C K S E P E R
L U C I A T K Á Cˇ OVÁ
DIETER MEIER
R O B ER T W IL S O N
AP R I L 26 TO MAY 2 6 | JU LY 1 9 TO SEPT EMBER 1 OPENING RECEPTIONS Saturday, April 26, 4 to 6 pm | 3 pm Curator Talk Saturday, July 19, 4 to 6 pm | 3 pm Curator Talk G A L L ERY H O U R S Thursday through Sunday 12 to 6 pm Woodstock Byrdcliffe Guild 34 Tinker Street, Woodstock, New York max A rt |
Woodstock Byrdcliffe Guild