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Alphabetical Index of Artists

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NALINI MALANI

"Malani's work is not about trauma and its effects per se. Rather it seeks a visual language capable of encompassing eruptions of the irrational and the repressed, and the ways they made the world and processes of history…"

--Whitney Chadwick, excerpted from "Splitting the Other.

 

GARY HUME

"In this era, as consciousness dissolves rapidly into a hazy, global network of jiggling pictures, Hume's paintings, in their wry idiosyncrasy, stand for the vestigial physical residue of personal privacy. Their wiped-clean surfaces place them in a private space with us and insist that there is nothing inside them or behind them. I would like this sort of privacy to be the next big thing. I would like a future in which we clamor once again for objects with mysteries but no secrets, with no words attached and no atmosphere of names swirling like gnats around them. Under these conditions we could shrink our global selves down into our own domestic boundaries and admit that, however metaphysical and expensive that thing on our wall might be, it bears a similarly intimate relationship with our paperweights, crystal turtles, wallpaper, curtains, books, furniture, and carpets. In that mirror we might actually see ourselves in the landscape of our choices."

--Dave Hickey, excerpted from Will Heather Be There? in "Yardwork.

 

OLAFUR ELIASSON

Olafur Eliasson was born in Copenhagen in 1967 to Icelandic parents. He studied at the Royal Danish Academy of Art, and now lives and works in Berlin. He says of his site-specific work that “installing it elsewhere is possible but then it is another piece for me.” Nevertheless, his work is represented in public and private collections including those of the Solomon R. Guggenheim Museum; the Museum of Contemporary Art, Los Angeles; and the Deste Foundation, Athens. Venues for his solo shows have included the Menil Collection; the Danish Pavilion at the 2003 Venice Biennale; The Museum of Modern Art, New York; and the Tate Gallery.

 

LEE LOZANO

"Lee Lozano was an important, inventive and eccentric artist, and as one reviewer put it, a self-consciously 'bad-ass girl.' Her production truly deserved the title 'experimental'--daring, gutsy, precarious. Simultaneously driven by the art world and y a need to reject it, she produced a compelling range of work between 1962 and 1972. She made it her mission to be more radical than anyone else, and the dead end to which this led was self-inflicted. Although her motives elude and fascinate her admirers, perhaps above all she was 'avoid[ing] boredom,' as she once noted. Lozano's mind was always racing. Her attraction to esoteric mathematics and her attempts to translate its discipline into art reflected a need for order in a life that denied all other order--a life committed to juggling contradictions. Had she had succeeded in resolving them, she would've been bored."

Lucy R. Lippard, excerpted from Cerebellion and Cosmic Storms in Lee Lozano.

 

GIOVANNI IUDICE

"Perhaps this is exactly what Iudice wants to say. That mystery has to be sought in what is exotic and mysterious. Mystery finds refuge in things that are most familiar: nothing is more unknown than the friend we think we know as well as we know ourselves. By the way, what’s so strange? Is it that we really do know ourselves?"

Elena Pontiggia, excerpted from Iudice: The Persistence of Drawing in Giovanni Iudice.

 

ED TEMPLETON

"The main focus was initially documenting these people around me, skateboarders. But then right away you realize that you have this camera with you all the time, so everything becomes a story, every image is a clue to what it's like to be alive. The camera becomes your eyes. It quickly went from one subject to many. Everything becomes an ongoing series with no end. The end is when you die. So on one level, all these pictures become photographs in the normal sense, or maybe become a series of photographs. Some pictures are a reference toll for me. I can look back and remember. I have had so many concussions I need help remembering what happened in my own life!"
Ed Templeton, excerpted from his interview with Thomas Caron in The Cemetery of Reason.

 

CHAZ BOJORQUEZ

"Sometimes I have described Chaz Bojorquez as the West Coast version of Keith Haring or Jean-Michel Basquiat to give someone a general idea, but really think Chaz will bear out as ultimately more influential. The chapter on Chaz is not closed and he is working hard every day on his art, or his mission to promote his art and movement, in commercial and non-commercial ways. I believe that, when the chapter will be finally written in its entirety, Chaz will be seen as a worldwide seminal figure in the art world, whose love for and choice of graffiti will have a profound and lasting effect on our culture."

Greg Escalante, excerpted from his preface to The Art and Life of Chaz Bojorquez.

 

CHRISTO & JEANNE CLAUDE

Christo and Jeanne-Claude were both born in 1935, Christo as Christo Vladimirov Javacheff in Bulgaria and Jeanne-Claude as Jeanne-Claude Denat de Guillebon in Casablanca to a French military family. They met in Paris in 1958, had a baby boy in 1960, and collaborated until Jeanne-Claude's death in 2009. Their monumental projects include Wrapped Reichstag, Berlin, 1971-95, The Umbrellas, Japan-U.S.A., 1984-91, and The Gates, Project for Central Park, New York City, 1979--completed in 2005.

 

REBECCA HORN

"Rebecca Horn is a real pioneer in art by virtue of her multiformity, elasticity, and status as a technical polyglot. But also and above all by virtue of the manner in which she holds together the countless threads of her work, and the way in which she has always developed the theme of the exile from the fable, of that moment in which the fairy within us loses her magic before the onset of madness, becoming a mirage. And on careful thought, while this mirage and this delicate equilibrium do represent the relationship with ourselves and the world around us, they also reflect most of all the relationship dearest to us: that between two people."

--Angela Vettese, excerpted from her foreward to Fata Morgana.

 

UTA BARTH

Often blurred or with only one element rendered sharply, clinging to the margin of the composition, Uta Barth's deceptively simple photographs of ordinary, ambiguous places are both elegant and challenging. Walls, windows, patches of light on a rug, the glow of an out-of-focus glance toward the horizon: all these provoke phenomenological reflections on perception and subjectivity, often suspending a viewer in the midst of the customary attempt to make sense of what is being seen, to reduce it to an accessible package of associations and meaning.

 

JUSTINE KURLAND

 

RODNEY GRAHAM

Rodney Graham’s books, sculptures, photographs, films, objects, paintings and music; his artistic involvements with Sigmund Freud, Edgar Allen Poe, Herman Melville, Donald Judd, Richard Wagner, the Brothers Grimm and Pablo Picasso; his practice of borrowing from, referencing, turning upside down and adapting other works and authors; his constant oscillating between quotation and autobiography, between the discourse of the professional and the pose of the amateur, offer, when taken together, such a broad field for critical, interpretive and theoretical approaches that looking back on 30 years of his work, one sometimes has the impression the artist is merely a postmodern fiction, the protagonist of an art novel related to the late twentieth century’s ambitious zeitgeist by an endless series of references and allusions, a figure who, as it were, goes about in disguise behind his various possible interpretations. This is not to say, however, that the character R.G. in any way disappears; on the contrary, despite all his different disguises he remains palpably present in the work, so much so that one cannot get rid of the suspicion that this is a person trying to construct a kind of self-portrait, or rather, trying to sound out allusively and theatrically all the possibilities that remain open to art in his time.

--Julian Heynen, excerpted from the essay, “A Kind of Author,” published in Through the Forest.

 

MARILYN MINTER

I know people who are my age--or sometimes younger, even a lot younger--who have decided that they are not going to pay attention to what’s going on around them anymore. Their development as an artist stops. In a way they become a bit like Donald Judd. Almost everything he wrote toward the end of his life was bitter; according to him, the only good art was made by his generation and everything after that sucks. I just want someone to shoot me if I say I’m not going to pay attention anymore.

--Marilyn Minter, excerpted from "Twenty Questions," a project by Matthew Higgs, in Marilyn Minter.

 

VITO ACCONCI

Vito Acconci was born in the Bronx, New York, in 1940. Early performances like "Seedbed," in which he lay hidden under a gallery floor and masturbated audibly, changed the terms of performance and body art forever, and are still considered seminal. Among the many public institutions that have hosted solo exhibitions of his work in the United States are the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; the Museum of Contemporary Art, Chicago, and The Museum of Modern Art, New York. He has taught at Cooper Union, Parsons School of Design and Yale University. Acconci is also well known for his recent work as an architect and landscape designer, as well as his earliest work as a poet and publisher of experimental poetry of the 1960s. In 2007, Acconci designed an opaque suspended bookstore for Artbook @ The Armory.

 

OTTO DIX

"I am a realist. I must see everything. I must experience all of life's abysses for myself."
Otto Dix spoke these words toward the end of his life, six years before his death in 1969. This credo is testimony to the artist's uncompromising commitment to even the harshest realism and stood as a guiding principle throughout his life. Dix's artistic development was intrinsically tied to the historical events and political debacles surrounding the two World Wars in Germany. As a soldier in the killing fields of World War I, Dix witnessed the brutality of industrialized warfare, the killing, the rape and the destruction. Registering all he witnessed and experienced in arresting artworks alone had meaning to him: to depict reality just as it is perceived, no matter how terrible or hideous. To reach this goal, he employed his exceptional proficiency in diverse artistic techniques and painting styles to express what existed in the world in the most compelling way possible. Dix's lifelong and unrelenting quest for uncompromising realism remains impressive and relevant to this day. His art has been shown in numerous exhibitions around the globe and continually earns ever greater recognition. Still, the themes of Dix's paintings, their portrayal and the artist's biography have also caused controversy. Dix viewed his artistic production outside of any social or religious moral framework; one could say he was politically incorrect avant la letter. His radical stance resulted in several trials during his lifetime, and to repeated posthumous accusations of glorifying violence and misogyny. Yet because Dix refrained from formulating a theoretical explanation of his art, it is rather difficult to ascertain the motivation or intention behind his more explicit works. It is therefore essential to view the "original" paintings, works on paper and prints and follow his often expressed principle, the closest he came to formulating an artist's statement: "Trust your eyes."

Philipp Gutbrod, excerpted from the preface to Otto Dix: The Art of Life.

 

MARK BRADFORD

 

GROUP MATERIAL

"Here, in the heart of the up 'n' coming East Village, artists five years younger than the Colab crowd have opened a space that offers advice about lowering your rent--in Spanish. People from the block donated all the furniture; local children wander in, giggling at the walls. At the opening last month, 400 people gobbled fish fritters cooked by the woman upstairs. It was so successful, as art events go, that Group Material has already earned the enmity of New Wave artists far and wide. 'Real cute,' smirked one. 'Well read,' snarls another.
The members of Group Material return the compliment. 'We don't identify ourselves as New Wave artists,' says Beth Jaker. 'It seems to be a very reflective art,' her colleague Tim Rollins adds, 'a camp critique, the middle class making fun of itself. It's like the warning Walter Benjamin gave about the danger of aestheticizing politics. We're less interested in reflecting than projecting out onto the community.'"

Excerpt from "Enter the Anti-Space," Richard Goldstein's November 5, 1980 review in The Village Voice, reproduced in Show & Tell: A Chronicle of Group Material.

 

JOEP VAN LIESHOUT

When Joep van Lieshout (b. 1963) founded the art and architecture studio that bears his name, he set in motion what has been described as "a new Dutch architectural style… dirty, delicious and direct."

 

JOHN BALDESSARI

John Baldessari was born in National City, California in 1931, and lives and works in Santa Monica, California. His work has been exhibited in museums such as The Solomon R. Guggenheim Foundation, New York, and in art galleries worldwide. He has also recently curated exhibitions at The Hirshhorn Museum and Sculpture Garden, in Washington D.C., The Museum of Modern Art, New York and The Museum of Contemporary Art in Los Angeles. He is represented by Marian Goodman Gallery in New York.

 

KURT SCHWITTERS

Hero of Dada, Constructivist virtuoso, patron saint of collage, sound poetry and installation art, Schwitters made his greatest impact in the postwar era--while he himself was living in relative seclusion in the north of England--influencing American Pop art (especially Robert Rauschenberg's Combines), Fluxus and assemblage art throughout Europe and America; artists as different as Damien Hirst and Ed Ruscha cite him as an influence.

 

TRISHA BROWN

Trisha Brown, the most widely acclaimed choreographer to emerge from the postmodern era, first came to public notice when she began showing her work with the Judson Dance Theater in the 1960s. Along with like-minded artists including Yvonne Rainer, Steve Paxton, and Simone Forte, she pushed the limits of what could be considered appropriate movement for choreography thereby changing modern dance forever. This “hot-bed of dance revolution,” was imbued with a maverick spirit and blessed with total disrespect for assumption, qualities that Ms. Brown still exhibits even as she brings her work to the great opera houses of the world today.

 

PABLO PICASSO

"Picasso's life and art were inseparable from the beginning. As a young man, after mastering what hiss artist father, José Ruiz y Blasco, could teach him, he set about finding the people, art, ideas and practices that would continue to fuel his creativity. He was endlessly curious, always surrounding himself with a circle of engaging friends and lovers. Over the course of more than seven decades, he made use of his art to grapple with the joys and passions, tensions and fears of life. Often, his own psychological state provided the lens through which he saw the world around him, and that vision gave shape to his work.
Picasso also tirelessly investigated the terms and possibilities of artistic expression, his pictorial vocabulary extending from a vivid naturalism to a range of distorted and abstracted forms. He once said, 'If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them.'"

Deborah Wye, excerpted from her introduction to A Picasso Portfolio: Prints from The Museum of Modern Art.

 

VITO ACCONCI

Vito Acconci was born in the Bronx, New York, in 1940. Early performances like "Seedbed," in which he lay hidden under a gallery floor and masturbated audibly, changed the terms of performance and body art forever, and are still considered seminal. Among the many public institutions that have hosted solo exhibitions of his work in the United States are the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; the Museum of Contemporary Art, Chicago, and The Museum of Modern Art, New York. He has taught at Cooper Union, Parsons School of Design and Yale University. Acconci is also well known for his recent work as an architect and landscape designer, as well as his earliest work as a poet and publisher of experimental poetry of the 1960s. In 2007, Acconci designed an opaque suspended bookstore for Artbook @ The Armory.

 

KARA WALKER

Kara Walker was born in Stockton, California in 1969. She received a BFA from the Atlanta College of Art in 1991 and an MFA from the Rhode Island School of Design in 1994. The artist is best known for exploring the raw intersection of race, gender, and sexuality through her iconic, silhouetted figures. Walker's work has been exhibited at the Museum of Modern Art, the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Whitney Museum of American Art. A 1997 recipient of the John D. and Catherine T. MacArthur Foundation Achievement Award, Walker was the United States representative to the 2002 Săo Paolo Bienal in Brazil. A full-scale museum survey opened at the Walker Art Center in February 2007.

 

JEFF KOONS

Jeff Koons was born in York, Pennsylvania, in 1955. The former Wall Street commodities broker rose to prominence in the mid-80s and has been the subject of numerous solo museum exhibitions, such as those seen at the San Francisco Museum of Modern Art, the Bilbao Guggenheim, and the Museum of Contemporary Art, Chicago. His 2009 solo exhibition at the Palace of Versailles and Skin Fruit, the exhibition he curated from the collection of Dakis Joannou for New York's New Museum, have both generated considerable recent attention in the art world and beyond. Koons lives in New York City.

 

LUC TUYMANS

Born in Mortsel, Belgium, in 1958, Luc Tuymans first exhibited his paintings in 1985, at Palais des Thermes in Ostend. His first U.S. exhibition came ten years later, at The Renaissance Society in Chicago. From 2009 through 2011, his major retrospective will travel from the Wexner Center in Columbus, Ohio to SFMOMA, the Dallas Museum of Art, the Museum of Contemporary Art, Chicago and the Bozar Center for Fine Arts in Brussels.

 

CHéRI SAMBA

 

JOSEPHINE MECKSEPER

Born in Germany in 1964, artist and Fat Magazine publisher Josephine Meckseper attended Berlin University of the Arts and the California Institute of the Arts. She is currently based in New York, where she is represented by Elizabeth Dee Gallery. In 2007 a major retrospective on her work was shown at the Museum of Arts in Stuttgart. Meckseper's work was featured in the 2010 Whitney Biennial.

 

KEHINDE WILEY

Kehinde Wiley was born in Los Angeles, CA in 1977, and received his MFA from the Yale University, School of Art in New Haven, CT in 2001. His work is included in the permanent collections of the Brooklyn Museum, Walker Art Center, and the Studio Museum in Harlem. The artist currently lives and works in New York City, and exhibits with Deitch Projects in New York, Rhona Hoffman Gallery in Chicago, and Roberts & Tilton in Los Angeles.

 

YOKO ONO

"Our emotional memory creates reality. And we are totally insecure now, because of the memory of our cruelty and atrocity we exercised on others. The sign is there already. The proof is what we create. We are creating smaller and smaller communication machinery--Blackberry for instance. It's hard for your fingers to work on it. A machinery of communication is one of the most important emotional properties, yet we are doing that. That's because we think we want to shrink--protect ourselves physically. Let's be tiny. Almost invisible. Wouldn't that be nice?!
They say, in the end it will only be cockroaches that survive. It's not that cockroaches will survive, it's us who become cockroaches and survive. That's what I think. We will be cockroaches for our emotional survival. That's what I think."

Excerpted from a conversation with Hans Ulrich Obrist in The Conversation Series.

 

ANNI ALBERS

 

WILLIAM KENTRIDGE

Born in Johannesburg, South Africa in 1955, William Kentridge is best known for his iconic animated films, which are made from his own charcoal drawings. Kentridge has had major exhibitions at the San Francisco Museum of Modern Art; Philadelphia Museum of Art; Moderna Museet, Stockholm; and Metropolitan Museum of Art, New York in recent years. In February of 2010, in conjunction with the San Francisco Museum of Modern Art and the Metropolitan Opera in New York, The Museum of Modern Art, New York, mounts a major exhibition of Kentridge's work from the past three decades. Kentridge continues to live and work in Johannesburg.

 

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