Tag Archives: Lawrence Weiner

DO YOU KNOW WHERE THE CHILDREN ARE?

As a native Texan, I have witnessed firsthand the discrimination that immigrants face in the United States. I have heard from friends who visited detention centers, and from lawyers representing those detained. I have heard the stories of those who are separated from their families, and read transcripts from underfunded courtrooms operating far beyond capacity. It is devastating. That all of this occurs in the name of “security” and “safety” is the greatest farce of all. Molly Gochman

DO YOU KNOW WHERE THE CHILDREN ARE (DYKWTCA) is a call to action and exhibition of over 100 unique works of art by 100+ leading visual artists that is organized by the artists and activists Mary Ellen Carroll and Lucas Michael. Each work incorporates, or represents an actual account (in whole or in part) from a child who was separated from their family and detained by the U.S. government. This text may be in the native language of the child or a translation into English. The accounts are taken from the interviews that were conducted by the Flores investigators that included legal, medical and mental health experts who visited the detention facilities six months ago in June of 2019. Upon witnessing the deplorable, inhumane, and illegal conditions they found the children in, they decided it was necessary to act upon their findings. They went public.*

The exhibition—WHEN WE FIRST ARRIVED…,curated by Ruth Noack—will open this weekend in Washington, D.C., and proceeds from artwork sales will benefit and support the Safe Passage Project, Terra Firma, Team Brownsville, and the Innovation Law Lab.

WHEN WE FIRST ARRIVED…*

Through March 29.

Opening night: Saturday, January 25, from 6 pm to 8 pm.

The Corner at Whitman-Walker

1701 14th St. NW, Washington, D.C.

When We First Arrived…, artwork, from top: Spencer Ostrander, Ricci Albenda, Mary Lum, Molly Gochman, Rob Pruitt, Terence Gower, Jesse Presley Jones, When We First Arrived invitation card, Amy Sillman, Beto De Volder and Leon Villagran, Kay Rosen, and Carlos Motta. Artwork courtesy and © the artists, the photographers, DYKWTCA, Mary Ellen Carroll, and Lucas Michael.

ART-RITE LAUNCH

Join ART-RITE founding co-editor Walter Robinson, Pat Steir, Robin Winters, moderator Carlo McCormick, and host Jeffrey Deitch for a panel discussion and launch of the facsimile reprint of ART-RITE.

Collected in a 600-plus-page volume, this co-publication of Primary Information and Printed Matter contains all twenty issues of the newsprint magazine edited by Robinson, Edit DeAk, and Joshua Cohn—who would leave after issue 7—between 1973 and 1978.

(DeAk, Robinson, Sol LeWitt, and Lucy Lippard were among Printed Matter’s 1976 co-founders.)

Contributors to ART-RITE included Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, David Antin, John Baldessari, Jennifer Bartlett, Gregory Battcock, Lynda Benglis, Mel Bochner, Christian Boltanski, AA Bronson, Marcel Broodthaers, Trisha Brown, Chris Burden, Daniel Buren, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert and George, John Giorno, Philip Glass, Leon Golub, Guerrilla Art Action Group, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Julian Schnabel, Carolee Schneemann, Richard Serra, Sylvia Sleigh, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, David Tremlett, Richard Tuttle, Alan Vega, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, and Irene von Zahn.

ART-RITE PANEL and LAUNCH

Tuesday, December 10, at 7 pm.

Jeffrey Deitch

18 Wooster Street, New York City.

From top: Art-Rite (2); Edit DeAk, photograph by Timothy Greenfield-Sanders; Walter Robinson, photograph by Greenfield-Sanders; Art-Rite facsimile reprint cover; Art-Rite cover by Christo; Art-Rite launch card. Images courtesy and © the photographer, Walter Robinson, Primary Information, and Printed Matter.

HARALD SZEEMANN — SELECTED WRITINGS

Harald Szeemann (1933–2005)—curator, artist, art historian, and “secretary general” of the legendary documenta 5—was an exhibition maker nonpareil. HARALD SZEEMANN: SELECTED WRITINGS—published in conjunction with last year’s exhibition Harald Szeemann: Museum of Obsessions at the Getty Research Institute (home of the Harald Szeemann Papers)—brings together over seventy essays and interviews, many published in English for the first time.

Richly illustrated throughout, the book contains a 20-page section of plates, including Szeemann’s artwork, exhibition diagrams, installation views, archival photographs, and other ephemera.

“I’m an existentialist. You are thrown in the universe from somewhere and are, once here, responsible for your acts. But it’s always a privilege to fall into a well-made bed. In this case, the Kunsthalle Bern in 1961…

“The historical moment, when the image of the creator/curator became conscious and evident, happened in 1969, when I organized When Attitudes Become Form and the artists arrived and installed their works and the TV reports publicized it. Beuys put his grease on the walls, Heizer made a hole in the public sidewalk, Artschwager distributed his blps in the city, Barry put the building under radiation, Weiner removed a square meter of wall, Ruthenbeck ruined the wooden floor with his wet ashes, Serra threw melted lead against the wall, etc., etc. This was no longer perceived as an art exhibition but as an archaic provocation—not by the artists, but by the curator who allowed it.” — Harald Szeemann*

HARALD SZEEMANN: SELECTED WRITINGS. Edited by Doris Chon, Glenn Phillips, and Pietro Rigolo. Translated by Jonathan Blower and Elizabeth Tucker. Los Angeles: Getty Publications, 2018.

In New York, the Swiss Institute has restaged GRANDFATHER: A PIONEER LIKE USthe 1974 exhibition Szeemann organized in his Bern apartment two years after documenta 5.

HARALD SZEEMANN—GRANDFATHER: A PIONEER LIKE US

Through August 18.

Swiss Institute

38 St. Marks Place, New York City.

*”Making Things Possible: A Conversation with Harald Szeemann.” Interview by Beti Žerovc. In Harald Szeemann—Selected Writings, 383–393.

From top, left to right: Harald Szeemann, in the 1990s in the Fabbrica Rosa, his office and archive in Maggia, Switzerland, photograph Fredo Meyer-Henn, State Archive of Canton Bern; Szeemann’s address list for his 1968 research trip to New York—for the Kunsthalle Bern exhibition Live in Your Head: When Attitudes Become Form (1969)—includes contact info for Eva Hesse, Hans Haacke, Sol LeWitt, Lucy Lippard, Robert Morris, Bruce Nauman, Richard Serra, and Lucas Samaras; Szeemann (seated) on the last night of documenta 5, 1972, photograph by Balthasar Burkhard; Getty Publications book cover; Lidija Delić, poster art commissioned by the Swiss Institute for the Grandfather: A Pioneer Like Us exhibition; Oasis No. 7, Haus-Rucker-Co (Laurids Ortner, Manfred Ortner, Klaus Pinter, Günter Zamp Kelp), 1972, documenta 5: Questioning Reality—Image Worlds Today, Kassel, 1972; part of Szeemann’s rubber stamp collection; Szeemann. Images courtesy the Harald Szeeman Papers at the Getty Research Institute, © J. Paul Getty Trust.

PARKETT — PHOTO

Parkett presents PHOTO, “the first survey exhibition of all photographic works made by artists for the journal over the last three decades. On view at Parkett’s Zurich space, the show includes some ninety works spanning a rarely seen, vast, and diverse range of photographic positions and ideas.”*

“The exhibition follows the evolution of photographic methods in the past three decades, with many of the earlier photographs making use of analog techniques, while digital editing informs the more recent works. Common threads including people and portraiture, landscapes both urban and natural, everyday objects, and abstraction, connect an otherwise expansive range of visual topics.”*

“Many of the works on view combine photographic elements with other media, such as gouache, collage, textiles, installation, or printmaking. Also on view are works, which while similar in terms of media and format, are unique and contain distinct differences within each project. Further exhibition displays include five video works, as well as a selection of artists’ inserts—the specially commissioned 10–12 book page projects published in each issue of Parkett.”*

“You can grab an issue from thirty years ago and see the context. You can grab that context and time. The internet has no historical orientation. You click on an article and you don’t know what context [it was published in]. I think this loss of memory is deplorable.” — Jacqueline Burckhardt, Parkett co-founding editor**

PHOTO

THE FIRST SURVEY OF ALL PHOTOGRAPHIC WORKS MADE BY ARTISTS FOR PARKETT SINCE 1984*

Through September 28.

Parkett Space Zürich

Limmatstrasse 268, Zürich.

**See “Time, Context, Object—The Parkett Story,” PARIS LA 16 (2018).

PHOTO artists include: Tomma Abts, Franz Ackermann, Doug Aitken, Allora/Calzadilla, Francis Alys, Ed Atkins, John Baldessari, Yto Barrada, Vanessa Beecroft, Alighiero e Boetti, Christian Boltanski, Glenn Brown, Angela Bulloch, Maurizio Cattelan, Chuck Close, Tacita Dean, Jeremy Deller, Thomas Demand, Trisha Donnelly, Tracey Emin, Omer Fast, Robert Frank, Katharina Fritsch, Cyprien Gaillard, Ellen Gallagher, Adrian Ghenie, Gilbert & George, Robert Gober, Nan Goldin, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Dan Graham, Andreas Gursky, David Hammons, Rachel Harrison, Christian Jankowski, Annette Kelm, Martin Kippenberger, Jeff Koons, Jannis Kounellis, Lee Kit, Zoe Leonard, Liu Xiaodong, Paul McCarthy, Marilyn Minter, Tracey Moffatt, Jean-Luc Mylayne, Bruce Nauman, Gabriel Orozco, Richard Phillips, Sigmar Polke, Richard Prince, RH Quaytman, Charles Ray, Jason Rhoades, Pipilotti Rist, Ugo Rondinone, Mika Rottenberg, Thomas Ruff, Anri Sala, Wilhelm Sasnal, Gregor Schneider, Shirana Shahbazi, Cindy Sherman, Roman Signer, Dayanita Singh, Hito Steyerl, Beat Streuli, Thomas Struth, Sturtevant, Hiroshi Sugimoto, Sam Taylor-Wood, Diana Thater, Rosemarie Trockel, Wolfgang Tillmans, Danh Vo, Charline von Heyl, Jeff Wall, Andy Warhol, Lawrence Weiner, Christopher Wool, and Yang Fudong.

Parkett editions, from top: Doug Aitken, Decrease the Mass and Run like Hell, 1999, for Parkett 57; Vanessa Beecroft, untitled, 1999, for Parkett 56; Andy Warhol, untitled, 1987, for Parkett 12, 1987; David Hammons, Money Tree, 1992, for Parkett 31; Wolfgang Tillmans, Parkett edition 1992–1998, for Parkett 53; Trisha Donnelly, The Dashiell Delay, 2006 (2), for Parkett 77; Shirana Shahbazi, Composition with Mountain, 2014, for Parkett 94; Sigmar Polke, Desastres und andere bare Wunder, 1982–1984, for Parkett 2; Cindy Sherman, untitled, 1991, for Parkett 29; Jannis Kounellis, untitled, 1985, for Parkett 6; Tracey Emin, Self-Portrait, 12.11.01, for Parkett 63; Franz Ackermann, Peak Season, 2003, for Parkett 68. Images courtesy and © the artists and Parkett.


SARAH CHARLESWORTH

In the late 1960s, Sarah Charlesworth (1947–2013) studied with Douglas Huebler at Barnard, “just at the moment when he was abandoning the production of sculptural objects for a ‘dematerialized’ structure of photographic images and textural documentation.” Charlesworth saw the work of Lawrence Weiner and Joseph Kosuth in a legendary 1968 conceptual art show in Manhattan. She and Kosuth became partners, and she joined the staff of The Fox—“a seminal journal of art and critical theory with ties to the British collective Art & Language”—as an editor.

SARAH CHARLESWORTH: DOUBLEWORLD, the 2015 New Museum exhibition of this leading neo-conceptualist who “made subversive use of photography in order to show how images shape our perception of the world,” is on view at LACMA through the beginning of 2018.

The LACMA presentation was organized by Rebecca Morse.

SARAH CHARLESWORTH: DOUBLEWORLD, through February 4, 2018.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

lacma.org/art/exhibition/sarah-charlesworth-doubleworld

sarahcharlesworth.net/

All quoted material above: Douglas Eklund, “The Jump: Appropriation and its Discontents,” in The Pictures Generation, 1974–1984, exh. cat. (New York: Metropolitan Museum of Art/New Haven, CT: Yale University Press, 2009), 144–145.

For info on The Fox and Art & Language, see:

specificobject.com/objects/info.cfm?object_id=3136#.WYuS29UrKUk

lissongallery.com/artists/art-language

Artwork: Sarah Charlesworth.

SarahCharlesworth