AiC visits MIT LIST’s exhibit Akram Zaatari
April 3rd, 2012 Comments Off
Akram Zaatari Tomorrow Everything Will Be Alright
MIT LIST Visual Art Center | 20 Ames Street | Cambridge, MA
Until April 8, 2012
Tomorrow Everything Will Be Alright, 2010, Lebanon/UK, HD Digital, Color, 12 minutes, Commissioned by LUX and the Independent Cinema Office, UK.
[Press release] The work of Akram Zaatari (b. 1966, Saida, Lebanon) explores the role of images, memory, and desire in situations of war. Describing his artistic practice as “field work,” the artist addresses the cultural and political conditions of postwar Lebanon and the Middle East. Along with the events of the Lebanese Civil War (1975–1990) and the history of conflict and resistance in the region, Zaatari’s work also focuses on representations of sexuality and intimacy. Read more.
AiC in New York City
March 21st, 2012 Comments Off
FIELD TRIP HIGHLIGHTS
Elizabeth Legere and Arista Slater-Sandoval at Yossi Milo Gallery – Mark Ruwedel’s exhibit Records until April 7, 2012
Sarah Willis, Amber Hakim and friends at Yossi Milo Gallery’s viewing room with work by Matthew Brandt
AIB alumna Brianna Calello speaking to AiC at Hasted | Kraeutler Gallery in front of Pierre Gonnord’s exhibit Relatos, 2012 (image from left: Sarah Cooper, Bonnell Robinson, Brianna and Lee Kennedy)
Brianna Calello at Hasted | Kraeutler Gallery, 2012
Gallery owner Daniel Cooney spoke to our class at his gallery in Chelsea (image from Shen Wei’s exhibit Chinese Sentiment, 2011)
Aperture Gallery, Shared Vision: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography, until April 21, 2012
Aperture Gallery, Nikki Segarra at Shared Vision: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography, until April 21, 2012
MOVING IMAGE | CONTEMPORARY VIDEO ART FAIR 2012
Moving Image New York 2012, Josh Azzarella‘s installation view
Moving Image New York 2012, Janet Biggs’s Predator and Prey installation view
Moving Image New York 2012, Kelly Kleinschrodt’s Smooth Waves (2011) video still
Whitney Biennial 2012, entrance 2nd floor installation view until May 27, 2012
Whitney Biennial 2012, Matt Hoyt’s installation view until May 27, 2012
Whitney Biennial 2012, Tom Thayer‘s installation view until May 27, 2012
Francesca Woodman, Blueprint for a Temple, 1980, part of Spies in the House of Art Photography, Film and Video, until August 26, 2012
Sophie Calle, Blind #14, 1986, part of Spies in the House of Art Photography, Film and Video, until August 26, 2012
David Lynch’s Boy Lights Fire at Tilton Gallery, until April 14, 2012
David Lynch exhibition installation view at Tilton Gallery, until April 14, 2012
David Lynch exhibition installation view at Tilton Gallery, until April 14, 2012
David Lynch exhibition installation view at Tilton Gallery, until April 14, 2012
David Lynch’s Man Eating at Tilton Gallery, until April 14, 2012
David Lynch video still at Tilton Gallery, until April 14, 2012
AiC meeting at Cafe Grumpy, Chelsea on March 9th…
March 8th, 2012 Comments Off
Here is the cafe I mentioned. Come by for coffee before Yossi Milo! We will be here around 10:15 and leave around 10:45 to walk to the gallery.
Café Grumpy Chelsea
224 West 20th Street
(between 7th and 8th Ave)
New York, NY 10011
AiC at MassArt’s Verdant + Edifice Amiss
February 21st, 2012 Comments Off
Isaac Julien films @ ICA
January 25th, 2012 Comments Off
| Films by Isaac Julien | ICA, Boston
Sunday, January 29, 2012
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| Still from Baltimore (2003) © Isaac Julien |
Presented in conjunction with the exhibition, Isaac Julien: Ten Thousand Waves, this selection of Julien’s earlier films includes 2001 Turner Prize–winners The Long Road to Mazatlán (1999) and Vagabondia (2000), as well as the acclaimed poetic documentary, Looking for Langston (1989). Julien’s films relate experiences of black and gay identity by uniting elements of visual and performing arts to create powerful narratives. Screening times.
AiC visits Davis Museum at Wellesley College
April 17th, 2011 Comments Off
Santos y Pecadores | Cinematic Drama in the Mexican Portfolios of Paul Strand and Leopoldo Méndez
Leopoldo Méndez, El Bruto (The Brute) from the series Rio Escondido (Hidden River), 1948
The linkages between cinema and the visual arts are extensive, ranging from movie posters and film stills to the role of artists as set designers and cameramen. This was particularly true in Mexico in the 1930s and 1940s. This exhibition features two important portfolios of work produced in Mexico with particular connections to contemporary film.
Paul Strand’s Mexican Portfolio (first published in 1940) consists of twenty photogravures showing individuals, buildings, and religious figures, based on photographs taken in 1932-33. These idealized images of rural Mexico both resemble and contrast with scenes in The Wave (1934), Strand’s radical film featuring oppressed fishermen in coastal Veracruz. Leopoldo Méndez’s Río Escondido portfolio (1948) includes ten linocuts made expressly for the title sequence of a film by Emilio Fernández. Working from the script, Méndez created powerful images that embody the political and moral messages of Fernández’s patriotic melodrama.
Paul Strand, Woman and boy, Tenancingo de Degollado, 1933
Francis Alÿs | The Moment Where Sculpture Happens
Francis Alys, detail from Ambulantes, 1992-2006. 160 35mm slides. Photograph courtesy of the artist.
Francis Alÿs: The Moment Where Sculpture Happens is presented in conjunction with the Davis’s recent acquisition of a major triptych by Alÿs entitled Cityscape (1996-97). The exhibition features the Belgian-born artist’s subtle performances and extended documentation of life in the congested colonial center of his adopted home of Mexico City. The multimedia installation, specifically designed for the Joan and RIchard Freedman Gallery by the artist, in collaboration with Art Department faculty and adjunct curator James Oles, includes 35mm slide projections, video projections, and a light-table with slides and studies on tracing paper, to demonstrate the diverse range of Alÿs’s artistic practice over the past twenty years.
El Anatsui | When I Last Wrote to You about Africa
El Anatsui, Plot A Plan III, 2007. Aluminum and copper wire, 73 x 97 in. Photo courtesy: Jack Shainman Gallery.
The Davis Museum and Cultural Center is pleased to present the U.S. debut of El Anatsui: When I Last Wrote to You about Africa, the artist’s first career retrospective. Surveying nearly five decades of the artist’s internationally renowned career, the exhibition features some sixty works in wood, metal, ceramic, painting, print and drawing.
Field trip will take place Tuesday, April 19 at 1:30pm.
Visiting guest artist REBECCA MEYERS
April 11th, 2011 Comments Off
AiC visits Emerson College | April 12th | 1:30pm
© Rebecca Meyers, Night Side, 2009
In Night Side she focuses on windows. and division. Windows allow us visual access to the world but protect us from it at the same time. In her film we see various animals outdoors– the squirrel is protected from the wind and cold behind its bushy tail like we are protected behind our windows. This thin buffer is challenged when she records the lights reflecting off of the window’s double pane. As the window creaks and flexes, the double reflection of household lights sway and move for the camera. The light’s dance goes in tune with the wind that cannot reach us.
© Rebecca Meyers, Blue Mantle, 2010
Rebecca Meyers was born in New York, spent several years in the Midwest, and has been living in Massachusetts since 2005. She has been making 16mm films since her graduate studies at the University of Iowa and has screened internationally at festivals and museums, most recently in the New York Film Festival’s Views from the Avant-Garde and Festival Les Inattendus in Lyon, France. Meyers has been involved with nonprofit arts organizations since her days in Iowa City, when she became active as a programmer, for both the THAW Festival of Film, Video, and Digital Media and the monthly screening series Light Reading, which she founded. She served three years as Co-Programmer of Chicago’s Onion City Experimental Film and Video Festival and has curated film programs for the Chicago Underground Film Festival, the Massachusetts College of Art Film Society, Brooklyn’s Light Industry and the Harvard Film Archive, where she acted as Archive Coordinator. She was awarded a Massachusetts Cultural Council Artist Fellowship in 2009 and is at work on a cinematic essay about the sea and our relationships to its ineffable power, a project begun while a Fellow at the Harvard Film Study Center.
AiC visits The Culture Intercom @ MIT’s List
February 20th, 2011 Comments Off
Stan VanDerBeek | The Culture Intercom
February 22, 2011 | 1:45pm
© Stan VanDerBeek
The MIT List Visual Arts Center and the Contemporary Arts Museum, Houston, present the first museum survey of the work of media art pioneer Stan VanDerBeek, exploring his investigation of art, technology, and communication. Surveying the artist’s remarkable body of work in collage, experimental film, performance, participatory and computer-generated art over several decades, Stan VanDerBeek: The Culture Intercom highlights the artist’s pivotal contribution to today’s media-based artistic practices. The exhibition features a selection of early paintings and collages, a selection of his pioneering animations, recreations of immersive projection and ‘expanded cinema’ environments, documentation of site-specific and telecommunications projects, and material related to his performance and durational work.
Describing himself as a “technological fruit picker,” VanDerBeek consistently turned to new technological means to expand the emotional and expressive content of emergent technology and media. Emerging from the performance and intermedia tradition of Black Mountain College, VanDerBeek created technologically hybrid and participatory artworks through the 1960s and 1970s aimed at demonstrating the social and aesthetic possibilities of emergent media. His early drawings and collages, heavily influenced by DADA and the expressionism of the Beat Generation, already hinted at the expressive vocabulary the artist could elicit from the technology or artistic media he encountered. VanDerBeek’s animations and short films, beginning in the late 1950s, made him a central figure in American avant-garde cinema. Combining stop-motion animation—drawn from collages of magazine illustrations and advertisements—with filmed sequences and found footage, films such as Achoo Mr. Kerrichev (1960) and Breathdeath (1963) fused avant-garde cinematic techniques with social critique and Cold War politics. Read more…
AiC visits MFA’s new Art of the Americas Wing
January 31st, 2011 Comments Off
Museum of Fine Arts Boston has opened its new Art of the Americas Wing to the public and AiC will take a critical look.
Tuesday, February 1, 2011 | 1pm
Also on view
FRESH INK TEN TAKES ON CHINESE TRADITION | GUND Gallery
MODERNIST PHOTOGRAPHY 1910-50 | Gallery 335
AiC GOES TO MassMOCA
April 17th, 2010 Comments Off
APRIL 20, 2010
InVisible: Art at the Edge of Perception
InVisible brings together a small selection of international artists working in a variety of mediums, and features Uta Barth, Christian Capurro, Joanne Lefrak, Janet Passehl, Jaime Pitarch, and Karin Sander. Curated by Katia Zavistovski, an intern from the Williams College Graduate Program in the History of Art.
Uta Barth, Sundial (07.14)
Gravity is a Force to be Reckoned With
Iñigo Manglano-Ovalle’s project Gravity Is a Force to be Reckoned With is based upon Mies van der Rohe’s uncompleted project, the House with Four Columns (1951), a square structure open to view on all four sides through glass walls. In Manglano-Ovalle’s work, the house will be constructed at approximately half scale and inverted, the ceiling of the original becoming the sculpture’s floor, the floor becoming the ceiling, and all interior elements such as Mies-designed furniture and partition walls installed upside down.
Manglano-Ovalle’s Gravity Is a Force to be Reckoned With at MassMOCA 2010
Guy Ben-Nur: Thursday the 12th
Over the past decade Guy Ben-Ner has become known for a series of playful videos which often star the artist and his young children. The humorous, home-made films have an authentic, do-it-yourself appeal, though their deceptive simplicity quickly reveals sophisticated cinematic and literary influences – ranging from the physical comedy of Buster Keaton and the humanist films of François Truffaut to literary classics such as Herman Melville’s Moby Dick and Daniel Dafoe’s Robinson Crusoe.
Guy Ben-Ner’s video installation Tursday the 12th at MassMOCA 2010
