Tag Archives: Sturtevant

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.


AT THIS STAGE AT CHÂTEAU SHATTO

This is the closing weekend for AT THIS STAGE at Chateau Shatto, an exhibition that considers the violent and contaminating “intrusion of images and the assault of narrative structures on consciousness.”*

The show includes paintings and sculptures by Body by Body, Aria Dean, Gardar Eide Einarsson, Hamishi Farah, Parker Ito, and Martine Syms, as well as videos by Chris Kraus (Terrorists in Love, and How to Shoot a Crime, with Sylvère Lotringer), Bunny Rogers (Mandy Piano Solo in Columbine Cafeteria), Sturtevant (Warhol Empire State), and Jordan Wolfson (Con leche).

AT THIS STAGE, through August 12.

CHÂTEAU SHATTO, 406 West Pico (at Grand), downtown Los Angeles.

*  chateaushatto.com/exhibition/at-this-stage/

Top: Body by BodyCafe U.S.A., 2015. High density polyethylene, powder-coated steel, aluminum frame. 48 x 36 x 4.75 in / 121.95 x 91.45 x 12.1 cm. Image courtesy Body by Body and Chateau Shatto.

Bottom: Gardar Eide Einarsson, Flagwaste (Stars and Stripes), 2016. Refuse collected from American flag manufacturers. Dimensions variable. Image courtesy Gardar Eide Einarsson and Team Gallery.

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WEEKLY WRAP UP | JUNE 16 – 24, 2014

1950s SKYWAYS HOTEL Los Angeles Vintage Postcard

1950s SKYWAYS HOTEL Los Angeles Vintage Postcard

MONDAY: Elaine Stocki‘s bizarre and wonderful photographs at Thomas Erben Gallery in New York

TUESDAY: A review in pictures of the “Made in L.A.” exhibition at The Hammer AND Anna Linzer‘s beautiful new book Home Waters

WEDNESDAY: DoPe Press at “I NEVER READArt Book Fair Basel with Oscar Tuazon‘s new book & a new edition by jewelry maker Ligia Dias AND Ann Veronica Janssens at Micheline Szwajcer‘s new gallery in Brussels

THURSDAY: Decorum,” a new exhibition of carpets and tapestries in Shanghai AND Sturtevant at Julia Stoschek’s collection in Düsseldorf

FRIDAY: A new summer group exhibition at Francois Ghebaly Gallery, Square(s)

SATURDAY: A sneak preview of collector Herman Daled‘s home in Brussels

NUMBER EIGHT: STURTEVANT AT JULIA STOSCHEK COLLECTION IN DÜSSELDORF

Last week, I met the collector Herman Daled in his house, Hotel Wolfers, built by Henry Van de Velde. He told me he was really impressed by Julia Stoschek’s collection based in Düsseldorf. I have never been to Düsseldorf, but now I would like to go.

The current show presents the work of the American artist Sturtevant (born in 1930 in Lakewood, Ohio; died in 2014 in Paris). The exhibition was conceived in close collaboration with the artist. It focuses in detail on the artists’ media-based output for the first time.

Until August 10th !

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Sturtevant, Kill, 2003, Wallpaper, dimension variable (photo: Simon Vogel)

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Sturtevant, Be Stupid, 2003, singel-channel / video, 1’57’ (photo: Simon Vogel)

STURTEVANT’s radical, conceptually rigorous approach was often misconstrued. Her work did not center on the pure emulation or imitation of an artwork, rather she was using the power and heightened awareness that ensues from this differentiated “repetition”. STURTEVANT is interested in the thought process, in making the step from the representation in the image to the concept in the mind – she doesn’t simply depict things, but she gets to the bottom of them.

The artist was no stranger to controversy as early as the 1960s and 1970s. The works she recreated, including pieces by Marcel Duchamp, Andy Warhol, Jasper Johns and Joseph Beuys were later often considered iconic masterpieces.

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(photo: Simon Vogel)

In the age of the digital revolution, she first of all noticeably acts at one remove from the original. She feels the idea of handmade repetition is outdated. The inclusion of images from the mass media and her own filmed material have given rise to an increasing number of time-based works since 2000. With the aesthetic and formal possibilities offered by the World Wide Web she analyzes the origins of knowledge, art and culture, and addresses the question how they can be produced and shared. Presently the work is considered crucial and dynamic towards our present cybernetics world with its digital implications and the question of what constitutes the original in a cyber-reality characterized by simulacra.

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Sturtevant, Duchamp Fresh Widow, 1992-2012, Enamel painted on wood, leather, glass (photo: Simon Vogel)

For decades, she has commented on the art currents of that particular time, demonstrating to this day extraordinary farsightedness in both art-historical and philosophical terms. Her distinct contemporary approach represents the focal point of the JULIA STOSCHEK COLLECTION.