sábado, 24 de mayo de 2008
martes, 20 de mayo de 2008
una serie sobre el poder del arte
http://www.bbc.co.uk/arts/powerofart/
y aqui pueden oir la entrevista con el historiador.
http://www.npr.org/templates/story/story.php?storyId=6653433
y aqui pueden oir la entrevista con el historiador.
http://www.npr.org/templates/story/story.php?storyId=6653433
domingo, 18 de mayo de 2008
para que vean el arte de Allan kaprow...
http://www.artnet.com/magazineus/reviews/drohojowska-philp/
drohojowska-philp5-14-08.asp
Lawrence Weiner
ONE QUART EXTERIOR GREEN ENAMEL THROWN ON A BRICK WAL
1968
HAPPENING NOW
by Hunter Drohojowska-Philp
By 10 a.m. on the blistering morning of Apr. 25, 2008, dozens of people on the plaza of the Los Angeles County Museum of Art were stacking big blocks of ice to build the walls of what would become a structure 30 feet long and eight feet high. A cross section of students from UCLA, random volunteers and museum staff, including LACMA president Melody Kanshat, heaved and hauled the blocks from a Union Ice truck.
Over the course of the weekend, this reborn version of Allan Kaprow’s 1967-era "Happening" Fluids was recreated at nine other sites across the city, including at the Getty Center, where the job was done by the L.A. Art Girls group. Forty-one years have passed since Fluids was first staged. The vacant lots where these defiantly avant-garde "pieces" found their original stages are not so vacant these days. Thus, their recreation is being sponsored by several city art institutions, all in collaboration with and celebration of "Allan Kaprow -- Art as Life," the retrospective devoted to the late performance-art pioneer Allan Kaprow (1927-2006).
The ice structure came together before our eyes and just as quickly began to melt away. I imagine it felt a little less miraculous than it must have appeared to participants back in the day when there were more drugs and fewer curators on the scene. Nonetheless, the restaged Happenings extend the impact and intention of the artist, an aspect of the exhibition dubbed "Agency for Action."
The Getty Research Institute, to which Kaprow left his papers, helped fund the catalogue and retrospective, which was conceived by Eva Meyer-Hermann and Stephanie Rosenthal and originally appeared at the Haus der Kunst, Munich, and the Van Abbemuseum, Rotterdam, the co-organizing institutions. The Getty Institute, led by Andrew Perchuk, also helped underwrite the diverse array of Happenings.
Today, when the nihilistic adolescent gesture looms large in the world of young artists, Kaprow’s strangely affecting yet random art performances seem peculiarly restrained and even intellectual. Yet, to participate in the placement of 200 one-dollar bills in trees in a scruffy downtown area or see the staff of the Hammer Museum sitting in their office chairs on the sidewalk for an hour is to appreciate the absurdist humor inherent in a Kaprow Happening (see www.MoCA.org/kaprow for info on these events as well as details of upcoming Happenings).
The Geffen Contemporary warehouse in downtown L.A. presents another side of Kaprow in "Museum as Mediation." Kaprow’s artistic evolution is on view, including the paintings, assemblages and other works that he made before devoting himself to the temporal activities he called "un-art." Having studied painting with Hans Hofmann in the late 1940s and completing a master’s degree in art history from Columbia University in 1952, Kaprow sought to reconcile the achievements of Jackson Pollock and John Cage, according to MoCA curator Paul Schimmel’s catalogue.
Kaprow’s painted assemblages evolved as entire environments influenced by his studies with the experimental composer. Push/Pull features pieces of furniture, old shoes and other objects, all painted blue. Viewers are invited to move the stuff around. By the late ‘50s, Kaprow began writing what he called "scores" for Happenings, theatrical events where the audience participated -- collective activities reflecting the artist’s early interest in absurdist theater, poetry, experimental music and Zen Buddhism.
Glass-topped cases contain documentation of his many Happenings, but his typewritten instructions and photographs of past events are merely the armature for his principal idea of elevating everyday life to the status of art, which is visible in the Happenings.
Kaprow was a co-founder of Hansa Gallery in 1952 and many of his seminal works took place in New York. But his first retrospective was held at the Pasadena Art Museum in 1967, which helped stage Fluids across the greater Los Angeles area. Two years later, he was hired by a nascent upstart art school, California Institute of Arts, and then migrated to U.C. San Diego. He remained in the area until he passed away in 2006.
Kaprow was a great influence on the lively performance art community of Southern California. Paul McCarthy was both student and friend, and has advised the museum as well as conceiving his own recreation of a Kaprow Happening for the present tribute. Using spit and a q-tip, he will clean every inch of a car belonging to MoCA director Jeremy Strick. Kaprow originally cleaned a floor, a gesture which has less political and social weight than McCarthy’s version.
Indeed, MoCA curator Philipp Kaiser invited a number of artists to reinterpret Kaprow’s environments: John Baldessari and Skylar Hasard; Allen Ruppersberg and Barbara T. Smith; and Suzanne Lacy, one of Kaprow’s students, with architect Michael Rotondi and Peter Kirby. Some evidence of these events remains on view at MoCA. The place is a mess. Viewers type remarks on Xeroxes of old 45 rpms, which are playing, and shred them so the floor of the gallery is covered in bits of paper. The museum appears to have solicited Saran Wrap for sponsorship -- miles of the stuff is wrapped around temporary chain link walls.
Visitors to the show can see documents of some of the original Happenings by sifting through boxes of black-and-white film sheets and placing them in overhead projectors. The obsolete technology is touching and a reminder of Kaprow’s era, with its ideas about nonconformity and the breakdown of social constraints. This adds weight to a show that is less of a formal museum exhibition and more of an experimental exposition of a singular artist’s oeuvre.
The curators acknowledge the difficulties of shaping a successful museum exhibition from the output of an artist who spent most of his career evading such institutions. As the catalogue introduction notes, "in the midst of one of the longest of the periodic booms in the postwar art market, a state in which commerce makes the values of scholarship, context, and criticality often seem irrelevant, Kaprow’s work offers a strong counterpractice, coming from an artist who more resolutely resisted the strictures of the art world than perhaps any other artist of his era."
* * *
Another artist who confronted the relationship of artist to museum is Lawrence Weiner. A retrospective of his texts, "As Far As They Eye Can See," fills the rest of the MoCA warehouse through July 14. Weiner says that he approached the expansive galleries of the warehouse as a "fairground," and a charming irreverence enlivens what might seem like a dire proposition.
Frankly, the artist’s texts are considerably less dry than much of the writing about his work. Weiner’s texts dance across the industrial strength space incorporating colored paint and off-color innuendo. The works progress from early formal concerns whereby words are the medium and describe sculptural actions to later texts that come off as effortlessly droll and evocative.
Some resonate with poetic innuendo, like "Stretched as tightly as is possible (satin) & (petroleum jelly)" of 1994. Or "Illuminated by the Lights of Two Ships Passing in the Night," from 1998. As with Kaprow, there is an elegance of thought and presentation that might startle nay-sayers still challenged by notions of Conceptual Art.
"Allan Kaprow: Art as Life," Mar. 23-June 30, 2008, and "Lawrence Weiner: As Far as the Eye Can See," Apr. 13-July 14, 2008, at the Geffen Contemporary at MOCA, 152 North Central Avenue, Los Angeles, Ca. 90013
HUNTER DROHOJOWSKA-PHILP is author of Full Bloom: The Art and Life of Georgia O’Keeffe, published by W.W. Norton.
Print article
drohojowska-philp5-14-08.asp
Lawrence Weiner
ONE QUART EXTERIOR GREEN ENAMEL THROWN ON A BRICK WAL
1968
HAPPENING NOW
by Hunter Drohojowska-Philp
By 10 a.m. on the blistering morning of Apr. 25, 2008, dozens of people on the plaza of the Los Angeles County Museum of Art were stacking big blocks of ice to build the walls of what would become a structure 30 feet long and eight feet high. A cross section of students from UCLA, random volunteers and museum staff, including LACMA president Melody Kanshat, heaved and hauled the blocks from a Union Ice truck.
Over the course of the weekend, this reborn version of Allan Kaprow’s 1967-era "Happening" Fluids was recreated at nine other sites across the city, including at the Getty Center, where the job was done by the L.A. Art Girls group. Forty-one years have passed since Fluids was first staged. The vacant lots where these defiantly avant-garde "pieces" found their original stages are not so vacant these days. Thus, their recreation is being sponsored by several city art institutions, all in collaboration with and celebration of "Allan Kaprow -- Art as Life," the retrospective devoted to the late performance-art pioneer Allan Kaprow (1927-2006).
The ice structure came together before our eyes and just as quickly began to melt away. I imagine it felt a little less miraculous than it must have appeared to participants back in the day when there were more drugs and fewer curators on the scene. Nonetheless, the restaged Happenings extend the impact and intention of the artist, an aspect of the exhibition dubbed "Agency for Action."
The Getty Research Institute, to which Kaprow left his papers, helped fund the catalogue and retrospective, which was conceived by Eva Meyer-Hermann and Stephanie Rosenthal and originally appeared at the Haus der Kunst, Munich, and the Van Abbemuseum, Rotterdam, the co-organizing institutions. The Getty Institute, led by Andrew Perchuk, also helped underwrite the diverse array of Happenings.
Today, when the nihilistic adolescent gesture looms large in the world of young artists, Kaprow’s strangely affecting yet random art performances seem peculiarly restrained and even intellectual. Yet, to participate in the placement of 200 one-dollar bills in trees in a scruffy downtown area or see the staff of the Hammer Museum sitting in their office chairs on the sidewalk for an hour is to appreciate the absurdist humor inherent in a Kaprow Happening (see www.MoCA.org/kaprow for info on these events as well as details of upcoming Happenings).
The Geffen Contemporary warehouse in downtown L.A. presents another side of Kaprow in "Museum as Mediation." Kaprow’s artistic evolution is on view, including the paintings, assemblages and other works that he made before devoting himself to the temporal activities he called "un-art." Having studied painting with Hans Hofmann in the late 1940s and completing a master’s degree in art history from Columbia University in 1952, Kaprow sought to reconcile the achievements of Jackson Pollock and John Cage, according to MoCA curator Paul Schimmel’s catalogue.
Kaprow’s painted assemblages evolved as entire environments influenced by his studies with the experimental composer. Push/Pull features pieces of furniture, old shoes and other objects, all painted blue. Viewers are invited to move the stuff around. By the late ‘50s, Kaprow began writing what he called "scores" for Happenings, theatrical events where the audience participated -- collective activities reflecting the artist’s early interest in absurdist theater, poetry, experimental music and Zen Buddhism.
Glass-topped cases contain documentation of his many Happenings, but his typewritten instructions and photographs of past events are merely the armature for his principal idea of elevating everyday life to the status of art, which is visible in the Happenings.
Kaprow was a co-founder of Hansa Gallery in 1952 and many of his seminal works took place in New York. But his first retrospective was held at the Pasadena Art Museum in 1967, which helped stage Fluids across the greater Los Angeles area. Two years later, he was hired by a nascent upstart art school, California Institute of Arts, and then migrated to U.C. San Diego. He remained in the area until he passed away in 2006.
Kaprow was a great influence on the lively performance art community of Southern California. Paul McCarthy was both student and friend, and has advised the museum as well as conceiving his own recreation of a Kaprow Happening for the present tribute. Using spit and a q-tip, he will clean every inch of a car belonging to MoCA director Jeremy Strick. Kaprow originally cleaned a floor, a gesture which has less political and social weight than McCarthy’s version.
Indeed, MoCA curator Philipp Kaiser invited a number of artists to reinterpret Kaprow’s environments: John Baldessari and Skylar Hasard; Allen Ruppersberg and Barbara T. Smith; and Suzanne Lacy, one of Kaprow’s students, with architect Michael Rotondi and Peter Kirby. Some evidence of these events remains on view at MoCA. The place is a mess. Viewers type remarks on Xeroxes of old 45 rpms, which are playing, and shred them so the floor of the gallery is covered in bits of paper. The museum appears to have solicited Saran Wrap for sponsorship -- miles of the stuff is wrapped around temporary chain link walls.
Visitors to the show can see documents of some of the original Happenings by sifting through boxes of black-and-white film sheets and placing them in overhead projectors. The obsolete technology is touching and a reminder of Kaprow’s era, with its ideas about nonconformity and the breakdown of social constraints. This adds weight to a show that is less of a formal museum exhibition and more of an experimental exposition of a singular artist’s oeuvre.
The curators acknowledge the difficulties of shaping a successful museum exhibition from the output of an artist who spent most of his career evading such institutions. As the catalogue introduction notes, "in the midst of one of the longest of the periodic booms in the postwar art market, a state in which commerce makes the values of scholarship, context, and criticality often seem irrelevant, Kaprow’s work offers a strong counterpractice, coming from an artist who more resolutely resisted the strictures of the art world than perhaps any other artist of his era."
* * *
Another artist who confronted the relationship of artist to museum is Lawrence Weiner. A retrospective of his texts, "As Far As They Eye Can See," fills the rest of the MoCA warehouse through July 14. Weiner says that he approached the expansive galleries of the warehouse as a "fairground," and a charming irreverence enlivens what might seem like a dire proposition.
Frankly, the artist’s texts are considerably less dry than much of the writing about his work. Weiner’s texts dance across the industrial strength space incorporating colored paint and off-color innuendo. The works progress from early formal concerns whereby words are the medium and describe sculptural actions to later texts that come off as effortlessly droll and evocative.
Some resonate with poetic innuendo, like "Stretched as tightly as is possible (satin) & (petroleum jelly)" of 1994. Or "Illuminated by the Lights of Two Ships Passing in the Night," from 1998. As with Kaprow, there is an elegance of thought and presentation that might startle nay-sayers still challenged by notions of Conceptual Art.
"Allan Kaprow: Art as Life," Mar. 23-June 30, 2008, and "Lawrence Weiner: As Far as the Eye Can See," Apr. 13-July 14, 2008, at the Geffen Contemporary at MOCA, 152 North Central Avenue, Los Angeles, Ca. 90013
HUNTER DROHOJOWSKA-PHILP is author of Full Bloom: The Art and Life of Georgia O’Keeffe, published by W.W. Norton.
Print article
Felicitaciones a Calin y a Lucy
por haber ganado premios en la expo de la galeria en Ponce. Hablaremos en clase de
cómo ha sido este proceso.
cómo ha sido este proceso.
Joannette????
Joannette, no encuentro tu blog. Necesito ver lo que has hecho.
Por favor responde aquí y dime donde lo encuentro.
Por favor responde aquí y dime donde lo encuentro.
miércoles, 7 de mayo de 2008
Ida Applebroog award
Fwd: Ida Applebroog Award at Exit Art announces first winner Rafael Sanchez Inbox X
In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance.
Begin forwarded message:
From: Exit Art
Subject: Ida Applebroog Award at Exit Art announces first winner Rafael Sanchez
Reply-To: jeanette@exitart.org
For more information please contact: Lauren Rosati
212-966-7745 x 15 / lauren@exitart.org
Exit Art announces the
IDA APPLEBROOG AWARD AT EXIT ART
First recipient Rafael Sanchez to receive $10,000
Exit Art is pleased to announce the first biennial Ida Applebroog Award at Exit Art, established by Richard Massey, art collector and Exit Art board member, and Ida Applebroog, artist and Exit Art board member, to nurture outstanding artists at critical points in their careers. This award was named after Ida Applebroog to convey both the spirit of her work and Exit Art’s mission and to honor her for her accomplishments. For more than 25 years, Exit Art’s mission has been to support under recognized artists that consistently challenge cultural and artistic conventions. By establishing this award at Exit Art, Ida Applebroog wishes to further that mission by providing a substantial monetary award to support such artists.
The first 2008 Ida Applebroog Award at Exit Art has been awarded to performance artist Rafael Sanchez. The award includes a $10,000 unrestricted grant and a solo exhibition in Exit Art’s project room.
To see a video compilation of Rafael Sanchez's work, please click here.
Rafael Sanchez, Urban Renewal (2007) CONSTRUCT, Exit Art
Five artists were nominated by five distinguished curators and artists to be shortlisted for panel consideration. The shortlisted candidates were: Boyce Cummings, New York; Jessica Lagunas, New York; Lauren Woods, San Francisco; Regina José Galindo, Guatemala; and Rafael Sanchez, New York. Artists of all disciplines, nationalities, sexes, and ages, and working in any medium were eligible for nomination.
Five panelists convened to choose the 2008 award recipient: Rocio Aranda-Alvarado, Curator at the Jersey City Musuem, Jersey City, New Jersey; Dean Daderko, Independent Curator, New York; Jeanette Ingberman, Co-Founder and Director of Exit Art, New York; Eungie Joo, Director and Curator of Education and Public Programs at the New Museum, New York; and Sara Reisman, Associate Dean of Cooper Union, School of Art, New York, and Independent Curator.
Rafael Sanchez(b.Newark, New Jersey, 1978) is a performance artist who often takes his work to the streets and other unconventional spaces. In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance. In an early work titled Back to Africa (2000), Sanchez wandered around New Jersey in white face, carrying a suitcase and waiting for a bus that never arrived. In a more recent work, Calienté/Frio (2007) the artist traced the migration process of two women from Cuba to America during the 1960s. The artist, dressed in a light colored suit and hat and carrying a packed suitcase, submerged himself in a tub of water that alternated between near boiling and below freezing as interviews with the two Cuban women played in the background.
Rafael Sanchez, Calienté/Frio (2007), Tropical Area, Exit Art
The Ida Applebroog Award was presented to Rafael Sanchez at Exit Art’s EXPOSE 2008 Benefit Auction on May 1, 2008.
Exit Art is an independent vision of contemporary culture prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 25-year-old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo. It has grown from a pioneering alternative art space into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.
In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance.
Begin forwarded message:
From: Exit Art
Subject: Ida Applebroog Award at Exit Art announces first winner Rafael Sanchez
Reply-To: jeanette@exitart.org
For more information please contact: Lauren Rosati
212-966-7745 x 15 / lauren@exitart.org
Exit Art announces the
IDA APPLEBROOG AWARD AT EXIT ART
First recipient Rafael Sanchez to receive $10,000
Exit Art is pleased to announce the first biennial Ida Applebroog Award at Exit Art, established by Richard Massey, art collector and Exit Art board member, and Ida Applebroog, artist and Exit Art board member, to nurture outstanding artists at critical points in their careers. This award was named after Ida Applebroog to convey both the spirit of her work and Exit Art’s mission and to honor her for her accomplishments. For more than 25 years, Exit Art’s mission has been to support under recognized artists that consistently challenge cultural and artistic conventions. By establishing this award at Exit Art, Ida Applebroog wishes to further that mission by providing a substantial monetary award to support such artists.
The first 2008 Ida Applebroog Award at Exit Art has been awarded to performance artist Rafael Sanchez. The award includes a $10,000 unrestricted grant and a solo exhibition in Exit Art’s project room.
To see a video compilation of Rafael Sanchez's work, please click here.
Rafael Sanchez, Urban Renewal (2007) CONSTRUCT, Exit Art
Five artists were nominated by five distinguished curators and artists to be shortlisted for panel consideration. The shortlisted candidates were: Boyce Cummings, New York; Jessica Lagunas, New York; Lauren Woods, San Francisco; Regina José Galindo, Guatemala; and Rafael Sanchez, New York. Artists of all disciplines, nationalities, sexes, and ages, and working in any medium were eligible for nomination.
Five panelists convened to choose the 2008 award recipient: Rocio Aranda-Alvarado, Curator at the Jersey City Musuem, Jersey City, New Jersey; Dean Daderko, Independent Curator, New York; Jeanette Ingberman, Co-Founder and Director of Exit Art, New York; Eungie Joo, Director and Curator of Education and Public Programs at the New Museum, New York; and Sara Reisman, Associate Dean of Cooper Union, School of Art, New York, and Independent Curator.
Rafael Sanchez(b.Newark, New Jersey, 1978) is a performance artist who often takes his work to the streets and other unconventional spaces. In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance. In an early work titled Back to Africa (2000), Sanchez wandered around New Jersey in white face, carrying a suitcase and waiting for a bus that never arrived. In a more recent work, Calienté/Frio (2007) the artist traced the migration process of two women from Cuba to America during the 1960s. The artist, dressed in a light colored suit and hat and carrying a packed suitcase, submerged himself in a tub of water that alternated between near boiling and below freezing as interviews with the two Cuban women played in the background.
Rafael Sanchez, Calienté/Frio (2007), Tropical Area, Exit Art
The Ida Applebroog Award was presented to Rafael Sanchez at Exit Art’s EXPOSE 2008 Benefit Auction on May 1, 2008.
Exit Art is an independent vision of contemporary culture prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 25-year-old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo. It has grown from a pioneering alternative art space into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.
Fwd: Ida Applebroog Award at Exit Art announces first winner Rafael Sanchez Inbox X
In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance.
Begin forwarded message:
From: Exit Art
Subject: Ida Applebroog Award at Exit Art announces first winner Rafael Sanchez
Reply-To: jeanette@exitart.org
For more information please contact: Lauren Rosati
212-966-7745 x 15 / lauren@exitart.org
Exit Art announces the
IDA APPLEBROOG AWARD AT EXIT ART
First recipient Rafael Sanchez to receive $10,000
Exit Art is pleased to announce the first biennial Ida Applebroog Award at Exit Art, established by Richard Massey, art collector and Exit Art board member, and Ida Applebroog, artist and Exit Art board member, to nurture outstanding artists at critical points in their careers. This award was named after Ida Applebroog to convey both the spirit of her work and Exit Art’s mission and to honor her for her accomplishments. For more than 25 years, Exit Art’s mission has been to support under recognized artists that consistently challenge cultural and artistic conventions. By establishing this award at Exit Art, Ida Applebroog wishes to further that mission by providing a substantial monetary award to support such artists.
The first 2008 Ida Applebroog Award at Exit Art has been awarded to performance artist Rafael Sanchez. The award includes a $10,000 unrestricted grant and a solo exhibition in Exit Art’s project room.
To see a video compilation of Rafael Sanchez's work, please click here.
Rafael Sanchez, Urban Renewal (2007) CONSTRUCT, Exit Art
Five artists were nominated by five distinguished curators and artists to be shortlisted for panel consideration. The shortlisted candidates were: Boyce Cummings, New York; Jessica Lagunas, New York; Lauren Woods, San Francisco; Regina José Galindo, Guatemala; and Rafael Sanchez, New York. Artists of all disciplines, nationalities, sexes, and ages, and working in any medium were eligible for nomination.
Five panelists convened to choose the 2008 award recipient: Rocio Aranda-Alvarado, Curator at the Jersey City Musuem, Jersey City, New Jersey; Dean Daderko, Independent Curator, New York; Jeanette Ingberman, Co-Founder and Director of Exit Art, New York; Eungie Joo, Director and Curator of Education and Public Programs at the New Museum, New York; and Sara Reisman, Associate Dean of Cooper Union, School of Art, New York, and Independent Curator.
Rafael Sanchez(b.Newark, New Jersey, 1978) is a performance artist who often takes his work to the streets and other unconventional spaces. In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance. In an early work titled Back to Africa (2000), Sanchez wandered around New Jersey in white face, carrying a suitcase and waiting for a bus that never arrived. In a more recent work, Calienté/Frio (2007) the artist traced the migration process of two women from Cuba to America during the 1960s. The artist, dressed in a light colored suit and hat and carrying a packed suitcase, submerged himself in a tub of water that alternated between near boiling and below freezing as interviews with the two Cuban women played in the background.
Rafael Sanchez, Calienté/Frio (2007), Tropical Area, Exit Art
The Ida Applebroog Award was presented to Rafael Sanchez at Exit Art’s EXPOSE 2008 Benefit Auction on May 1, 2008.
Exit Art is an independent vision of contemporary culture prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 25-year-old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo. It has grown from a pioneering alternative art space into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.
In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance.
Begin forwarded message:
From: Exit Art
Subject: Ida Applebroog Award at Exit Art announces first winner Rafael Sanchez
Reply-To: jeanette@exitart.org
For more information please contact: Lauren Rosati
212-966-7745 x 15 / lauren@exitart.org
Exit Art announces the
IDA APPLEBROOG AWARD AT EXIT ART
First recipient Rafael Sanchez to receive $10,000
Exit Art is pleased to announce the first biennial Ida Applebroog Award at Exit Art, established by Richard Massey, art collector and Exit Art board member, and Ida Applebroog, artist and Exit Art board member, to nurture outstanding artists at critical points in their careers. This award was named after Ida Applebroog to convey both the spirit of her work and Exit Art’s mission and to honor her for her accomplishments. For more than 25 years, Exit Art’s mission has been to support under recognized artists that consistently challenge cultural and artistic conventions. By establishing this award at Exit Art, Ida Applebroog wishes to further that mission by providing a substantial monetary award to support such artists.
The first 2008 Ida Applebroog Award at Exit Art has been awarded to performance artist Rafael Sanchez. The award includes a $10,000 unrestricted grant and a solo exhibition in Exit Art’s project room.
To see a video compilation of Rafael Sanchez's work, please click here.
Rafael Sanchez, Urban Renewal (2007) CONSTRUCT, Exit Art
Five artists were nominated by five distinguished curators and artists to be shortlisted for panel consideration. The shortlisted candidates were: Boyce Cummings, New York; Jessica Lagunas, New York; Lauren Woods, San Francisco; Regina José Galindo, Guatemala; and Rafael Sanchez, New York. Artists of all disciplines, nationalities, sexes, and ages, and working in any medium were eligible for nomination.
Five panelists convened to choose the 2008 award recipient: Rocio Aranda-Alvarado, Curator at the Jersey City Musuem, Jersey City, New Jersey; Dean Daderko, Independent Curator, New York; Jeanette Ingberman, Co-Founder and Director of Exit Art, New York; Eungie Joo, Director and Curator of Education and Public Programs at the New Museum, New York; and Sara Reisman, Associate Dean of Cooper Union, School of Art, New York, and Independent Curator.
Rafael Sanchez(b.Newark, New Jersey, 1978) is a performance artist who often takes his work to the streets and other unconventional spaces. In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance. In an early work titled Back to Africa (2000), Sanchez wandered around New Jersey in white face, carrying a suitcase and waiting for a bus that never arrived. In a more recent work, Calienté/Frio (2007) the artist traced the migration process of two women from Cuba to America during the 1960s. The artist, dressed in a light colored suit and hat and carrying a packed suitcase, submerged himself in a tub of water that alternated between near boiling and below freezing as interviews with the two Cuban women played in the background.
Rafael Sanchez, Calienté/Frio (2007), Tropical Area, Exit Art
The Ida Applebroog Award was presented to Rafael Sanchez at Exit Art’s EXPOSE 2008 Benefit Auction on May 1, 2008.
Exit Art is an independent vision of contemporary culture prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 25-year-old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo. It has grown from a pioneering alternative art space into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.
comparen con el trabajo de Rafi trelles...
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2008/05/06/bafest106.xml
martes, 6 de mayo de 2008
Vean este documental en el web
http://best.online.docus.googlepages.com/
Escojan: What we still don't know. Vean parte #3
bajo el topico Technology/Future
Escojan: What we still don't know. Vean parte #3
bajo el topico Technology/Future
lunes, 5 de mayo de 2008
EL texto de los comentarios en Primera Hora
jueves, 24 de abril de 2008
Carlos Rubén Rivera / Para Primera Hora
GRAPHOLIS
Del 7 al 20 de julio del presente año, se estará celebrando Graphopoli, la primera Bienal de Arte Urbano de Puerto Rico, un proyecto desarrollado por el Museo de Arte de Puerto Rico (MAPR) en colaboración con UBS Financial Sevices y el empresario Miguel Antonio Ferrer. La bienal cuenta, además, con el apoyo de los municipios de San Juan, Ponce, Mayagüez, Caguas y Dorado, los cuales serán ciudades anfitrionas. Estos municipios designarán espacios y diferentes superficies para que sean intervenidos por artistas urbanos, con la intención de que el trabajo aporte al desarrollo de la estética urbana, a la vez que el público pueda disfrutar observando a los artistas realizar sus obras.
Los objetivos de la bienal
Las bienales de arte son encuentros internacionales de arte realizados en el intervalo de tiempo que su nombre indica, o sea, dos años. En esta ocasión, el hecho de que sea una bienal de arte urbano creará una variante tanto en el espacio a utilizarse como en el tipo de arte a observarse, que será, principalmente, grafiti.
Según Celina Nogueras, organizadora del evento y quien también estuvo a cargo de la organización de Circa 08, “a través de esta convocatoria, pretendemos reunir los mejores artistas urbanos del patio en una competencia donde se pintarán obras de arte de escala monumental. Graphopoli llevará una actividad de verano a cada uno de los municipios participantes, donde el público podrá darse cita para ver a los artistas pintar en vivo”.
Por su parte, la directora del MAPR, la Dra. Lourdes Ramos, expresó que “el movimiento de arte urbano tiene un gran sitial dentro de la cultura de nuestro país[...] También este proyecto expande las paredes del Museo alrededor de la Isla y nos ofrece la oportunidad de educar acerca del arte urbano como expresión artística”.
El evento cuenta, además, con el respaldo del alcalde de San Juan, Jorge Santini, quien se expresó a favor del movimiento del grafiti. Esto aun cuando en varias ocasiones Santini ha hecho pública su lucha contra dicho movimiento artístico en San Juan, en donde no han sido pocos los murales y grafitis que han sido borrados. “Desde un principio mi intención ha sido apoyar un evento como éste. Ahora San Juan está más preparado y más organizado para apoyar este tipo de arte, que es legal y reglamentado”.
Convocatorias
El MAPR ha hecho una convocatoria pública desde esta semana para que los artistas urbanos interesados presenten sus propuestas. Dichas propuestas pueden realizarse de forma individual o grupal (por crews) y pueden presentarse en el Museo hasta el 22 de mayo.
A partir de entonces, un jurado estará encargado de escoger a los artistas a participar y, eventualmente, escogerán a los artistas ganadores en la bienal. El trabajo ganador será premiado con $5 mil, y un segundo premio de $3 mil en la categoría grupal. En la categoría individual habrá un primer premio de $2,500 y un segundo de $1,500.
Los requisitos e instrucciones para el proceso de solicitud y la entrega de porfolios se encuentran detallados en la página web del Museo, www.mapr.org.
El MAPR está localizado en el 299 de la Ave. De Diego, Pda. 22, en Santurce.
Para más información, puedes llamar al 787-977-6277.
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Mostrando 1-4
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El MAPR, UBS y cualquier otra institución que quiera respaldar el trabajo graffitero tiene que hacerlo en los términos del graffitero, y no en los del mundo del arte académico/formal. Para no cambiar a los futuros Basquiats en travestís, (¡Quién sabe, podrían valer millones en un futuro!) el MAPR tendría que tirarse a ese mundo urbano, ilegal, de sombras, y premiar aquellos murales que se juzguen como meritorios de la atención del público en general (¿Eso es lo que hace la curaduría, no? ¡... hablarnos de la calidad de las obras?) El artista premiado quedará en el anonimato hasta que un Warhol lo descubra por allá por los nuevayores. Y nosotros seguiremos esperando que los de afuera nos digan que los nuestros son de oro.
artsgreenhouse
04-Mayo-2008
*
De igual forma que una pintura desnuda la verdad, el graffiti desnuda el monstruo invisible que gobierna el muy controlado cuadriculado espacio urbano y no necesariamente para tener un diálogo sobre el contenido pictórico de la obra con el público (aunque ello no se excluye necesariamente). El diálogo graffitero, que a primera vista es con las autoridades, en realidad es un reto a las fuerzas cuadriculadoras del espacio público. La naturaleza de la práctica es anárquica y alérgica al control de las instituciones de high art. Lo que el MAPR producirá será un muralismo urbano con un estilo pictórico del graffiti, pero no arte de graffiti. En el momento en que se le crea un espacio oficial al graffiti, éste deja de ser y cancela su esencia. El genio del artista graffitero es no solamente los aspectos formales de su obra (diseño, color, formas, etc.) sino también la identificación y recuperación de los espacios urbanos ignorados por el ojo todo-sapiente (el Horus egipcio) de las autoridades urbanas impulsadas por el mercado de bienes raíces.
artsgreenhouse
04-Mayo-2008
*
Sin quitarle mérito a esta idea, la misma indica que el MAPR definió el problema del graffiti urbano como uno de falta espacio legítimo. Al ofrecer crear un espacio privado en un lugar de acceso público como lienzo para graffiteros, es decir, un tipo de billboard o cartelera del MAPR para los graffiteros, el MAPR cree que está apoyando a estos artistas. Sin embargo, pienso que el proceso artístico graffitero no podrá ocurrir dentro de este espacio privado porque la existencia natural del graffiti no se debe a una falta de espacio plástico, sino a la falta de espacio libre. El cometido del triunvirato artístico, (a saber: la academia —de la cual formo parte, las galerías y los museos) es el de absorber como propia la actividad artística autónoma que ocurre entre los resquicios del propio triunvirato. Por eso los coleccionistas y los curadores entornan los ojos al detectar cualquier actividad que les indique que “there’s a disturbance in the Force”.
artsgreenhouse
04-Mayo-2008
*
Un estudiante de mi taller en la Escuela de Artes Plásticas identificó como lienzo urbano una pared capitalina, repleta de pasquines del alcalde de la capital. Encubierto por la noche, comenzó su obra graffitera. Al poco rato las luces intermitentes de la policía le indicaron que había sido descubierto. El artista decidió conversar con la policía en vez de huir, para informarse sobre cómo había sido delatado. La policía le informó que “los vecinos” lo habían visto con las latas de aerosol y habían llamado de inmediato al cuartel. Cuando el artista indagó si esos vecinos se habían quejado sobre la misma actividad pasquinera anterior, es decir, la del alcalde, el policía le dijo que desconocía eso. De este evento surgió una propuesta artística, en la cual se imprimieron una serie de pasquines del color que utiliza el graffitero para “graffitear con pasquines” su próximo espacio urbano. Eso es una práctica artística urbana, contemporánea, e inmercadeable. Tal actividad graffitera sacó a la luz la rúbrica psicológica que está bajo el uso legítimo de los espacios urbanos.
artsgreenhouse
04-Mayo-2008
Carlos Rubén Rivera / Para Primera Hora
GRAPHOLIS
Del 7 al 20 de julio del presente año, se estará celebrando Graphopoli, la primera Bienal de Arte Urbano de Puerto Rico, un proyecto desarrollado por el Museo de Arte de Puerto Rico (MAPR) en colaboración con UBS Financial Sevices y el empresario Miguel Antonio Ferrer. La bienal cuenta, además, con el apoyo de los municipios de San Juan, Ponce, Mayagüez, Caguas y Dorado, los cuales serán ciudades anfitrionas. Estos municipios designarán espacios y diferentes superficies para que sean intervenidos por artistas urbanos, con la intención de que el trabajo aporte al desarrollo de la estética urbana, a la vez que el público pueda disfrutar observando a los artistas realizar sus obras.
Los objetivos de la bienal
Las bienales de arte son encuentros internacionales de arte realizados en el intervalo de tiempo que su nombre indica, o sea, dos años. En esta ocasión, el hecho de que sea una bienal de arte urbano creará una variante tanto en el espacio a utilizarse como en el tipo de arte a observarse, que será, principalmente, grafiti.
Según Celina Nogueras, organizadora del evento y quien también estuvo a cargo de la organización de Circa 08, “a través de esta convocatoria, pretendemos reunir los mejores artistas urbanos del patio en una competencia donde se pintarán obras de arte de escala monumental. Graphopoli llevará una actividad de verano a cada uno de los municipios participantes, donde el público podrá darse cita para ver a los artistas pintar en vivo”.
Por su parte, la directora del MAPR, la Dra. Lourdes Ramos, expresó que “el movimiento de arte urbano tiene un gran sitial dentro de la cultura de nuestro país[...] También este proyecto expande las paredes del Museo alrededor de la Isla y nos ofrece la oportunidad de educar acerca del arte urbano como expresión artística”.
El evento cuenta, además, con el respaldo del alcalde de San Juan, Jorge Santini, quien se expresó a favor del movimiento del grafiti. Esto aun cuando en varias ocasiones Santini ha hecho pública su lucha contra dicho movimiento artístico en San Juan, en donde no han sido pocos los murales y grafitis que han sido borrados. “Desde un principio mi intención ha sido apoyar un evento como éste. Ahora San Juan está más preparado y más organizado para apoyar este tipo de arte, que es legal y reglamentado”.
Convocatorias
El MAPR ha hecho una convocatoria pública desde esta semana para que los artistas urbanos interesados presenten sus propuestas. Dichas propuestas pueden realizarse de forma individual o grupal (por crews) y pueden presentarse en el Museo hasta el 22 de mayo.
A partir de entonces, un jurado estará encargado de escoger a los artistas a participar y, eventualmente, escogerán a los artistas ganadores en la bienal. El trabajo ganador será premiado con $5 mil, y un segundo premio de $3 mil en la categoría grupal. En la categoría individual habrá un primer premio de $2,500 y un segundo de $1,500.
Los requisitos e instrucciones para el proceso de solicitud y la entrega de porfolios se encuentran detallados en la página web del Museo, www.mapr.org.
El MAPR está localizado en el 299 de la Ave. De Diego, Pda. 22, en Santurce.
Para más información, puedes llamar al 787-977-6277.
Haz que tu comentario
sea el primero
Haznos saber tu opinión respecto a este artículo, también puedes comentar a otros usuarios.
Es necesario registrarse y activar su cuenta para participar.
*
Correo electrónico:
*
Contraseña:
Para poder comentar...
Usted debe registrarse con su nombre verdadero e indicar un e-mail de contacto. Queda prohibido cualquier insulto o agravio, amenazas de cualquier índole o insinuaciones hacia o contra cualquier persona.
No se permite lenguaje libeloso, difamatorio, ilegal, obsceno u ofensivo, faltas de respeto y el uso de sobrenombres de mal gusto o mensajes que violen los derechos de intimidad de terceras personas.
Primerahora.com se reserva el derecho a decidir que mensajes incumplen estas normas, las Reglas para Comentar o los Términos y Condiciones de Uso de Primerahora.com, a eliminarlos sin previo aviso y a expulsar a un Usuario que, a su sólo juicio, incumpla las mismas. Usted es el único responsable por el contenido que usted aporte.
Comentarios
Mostrando 1-4
*
El MAPR, UBS y cualquier otra institución que quiera respaldar el trabajo graffitero tiene que hacerlo en los términos del graffitero, y no en los del mundo del arte académico/formal. Para no cambiar a los futuros Basquiats en travestís, (¡Quién sabe, podrían valer millones en un futuro!) el MAPR tendría que tirarse a ese mundo urbano, ilegal, de sombras, y premiar aquellos murales que se juzguen como meritorios de la atención del público en general (¿Eso es lo que hace la curaduría, no? ¡... hablarnos de la calidad de las obras?) El artista premiado quedará en el anonimato hasta que un Warhol lo descubra por allá por los nuevayores. Y nosotros seguiremos esperando que los de afuera nos digan que los nuestros son de oro.
artsgreenhouse
04-Mayo-2008
*
De igual forma que una pintura desnuda la verdad, el graffiti desnuda el monstruo invisible que gobierna el muy controlado cuadriculado espacio urbano y no necesariamente para tener un diálogo sobre el contenido pictórico de la obra con el público (aunque ello no se excluye necesariamente). El diálogo graffitero, que a primera vista es con las autoridades, en realidad es un reto a las fuerzas cuadriculadoras del espacio público. La naturaleza de la práctica es anárquica y alérgica al control de las instituciones de high art. Lo que el MAPR producirá será un muralismo urbano con un estilo pictórico del graffiti, pero no arte de graffiti. En el momento en que se le crea un espacio oficial al graffiti, éste deja de ser y cancela su esencia. El genio del artista graffitero es no solamente los aspectos formales de su obra (diseño, color, formas, etc.) sino también la identificación y recuperación de los espacios urbanos ignorados por el ojo todo-sapiente (el Horus egipcio) de las autoridades urbanas impulsadas por el mercado de bienes raíces.
artsgreenhouse
04-Mayo-2008
*
Sin quitarle mérito a esta idea, la misma indica que el MAPR definió el problema del graffiti urbano como uno de falta espacio legítimo. Al ofrecer crear un espacio privado en un lugar de acceso público como lienzo para graffiteros, es decir, un tipo de billboard o cartelera del MAPR para los graffiteros, el MAPR cree que está apoyando a estos artistas. Sin embargo, pienso que el proceso artístico graffitero no podrá ocurrir dentro de este espacio privado porque la existencia natural del graffiti no se debe a una falta de espacio plástico, sino a la falta de espacio libre. El cometido del triunvirato artístico, (a saber: la academia —de la cual formo parte, las galerías y los museos) es el de absorber como propia la actividad artística autónoma que ocurre entre los resquicios del propio triunvirato. Por eso los coleccionistas y los curadores entornan los ojos al detectar cualquier actividad que les indique que “there’s a disturbance in the Force”.
artsgreenhouse
04-Mayo-2008
*
Un estudiante de mi taller en la Escuela de Artes Plásticas identificó como lienzo urbano una pared capitalina, repleta de pasquines del alcalde de la capital. Encubierto por la noche, comenzó su obra graffitera. Al poco rato las luces intermitentes de la policía le indicaron que había sido descubierto. El artista decidió conversar con la policía en vez de huir, para informarse sobre cómo había sido delatado. La policía le informó que “los vecinos” lo habían visto con las latas de aerosol y habían llamado de inmediato al cuartel. Cuando el artista indagó si esos vecinos se habían quejado sobre la misma actividad pasquinera anterior, es decir, la del alcalde, el policía le dijo que desconocía eso. De este evento surgió una propuesta artística, en la cual se imprimieron una serie de pasquines del color que utiliza el graffitero para “graffitear con pasquines” su próximo espacio urbano. Eso es una práctica artística urbana, contemporánea, e inmercadeable. Tal actividad graffitera sacó a la luz la rúbrica psicológica que está bajo el uso legítimo de los espacios urbanos.
artsgreenhouse
04-Mayo-2008
domingo, 4 de mayo de 2008
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