Archive for the 'museums' Category

Sep 04 2012

Hannah Wilke and John Coplans @ The Albertina

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The exhibition “The Body as Protest” highlights the photographic representation of the human body - a motif that has provided a wide variety of photographers with an often radical means of expression for their visual protest against social, political, but also aesthetic norms.

The show centers on an outstanding group of works by the artist John Coplans from the holdings of the Albertina. In his serially conceived large-format pictures, the photographer focused on the rendering of his own nude body, which he defamiliarized through fragmentation far from current forms of idealization. Relying on extremely sophisticated lighting, he presented himself in a monumental and sculptural manner over many years. His photographs can be understood as amalgamations of theoretical and artistic ideas, which in the show are accentuated through selective juxtapositions with works by other important exponents of body-related art.

The body also features prominently in the work of other artists such as Hannah Wilke, Ketty La Rocca, Hannah Villiger, Vito Acconci, Bruce Nauman, Robert Mapplethorpe, and Miyako Ishiuchi. By means of these positions, such diverse themes as self-dramatization, conceptual photography, feminism, body language, and even transience are analyzed within an expanded artistic range. Moreover, the exhibition offers a differentiated view of the critical depiction of the human body as it has been practiced since 1970.

The Body as Protest at The Albertina, Vienna




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Sep 06 2010

Hannah Wilke @ The Jewish Museum

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Shifting the Gaze: Painting and Feminism

September 12, 2010 – January 30, 2011


Venus Pareve, 1982-84, painted plaster of Paris, each: 9 7/8 x 5 3/16 x 3 5/16 in. (25.1 x 13.2 x 8.4 cm), The Jewish Museum, New York. Copyright © Hannah Wilke Collection and Archive © Marsie, Emanuelle, Damon and Andrew Scharlatt

Over the past fifty years, feminists have defied an art world dominated by men, deploying direct action and theory while making fundamental changes in their everyday lives. Shifting the Gaze: Painting and Feminism explores the widespread influence of feminist practice on the styles and methods of painting from the 1960s to the present. The provocative paintings on view here embody the tension between individual expression and collective politics, between a traditional medium and radical action.

While not a survey of Jewish feminist art, Shifting the Gaze is drawn primarily from the collection of The Jewish Museum, and features seven new acquisitions from the past three years. Some art historians have argued that Jewish
feminists are particularly attuned to sexuality, radical politics, and injustice because of Jewish involvement in modernism and leftist politics. Indeed, Jewish painters have played decisive roles in founding and sustaining major feminist theories and art collectives. This exhibition explores how social revolutions take place not only in the realm of ideas and politics, but in style and form.

Shifting the Gaze is organized into six sections: self-expression, the body, decoration, politics, writing, and satire. These topics reflect the variety of styles and forms that individual painters, often working within activist groups, created to challenge viewers to rethink memory, home, art history, and ritual, and to confront
anti-Semitism. Some of the paintings address issues specific to women artists, such as the representation of the body or the legitimacy of craft and decorative arts, while others address social issues that galvanized radical protest. As seen in these works, feminist painting generated new ideas and challenged old ones, shifting the gaze to encompass women’s history, experience, and material culture.

Since the 1980s, The Jewish Museum has supported the work of feminist artists through acquisitions and exhibitions in all media. To offer a historical framework for Shifting the Gaze, the curatorial staff is creating a list of over 550 women artists, from Renaissance Italian weavers to contemporary video artists, who have been represented in special exhibitions at the museum since 1947.

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Sep 04 2010

Tom Marioni @ The Hammer

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August 28 – October 3, 2010


Installation view. Collection of San Francisco Museum of Modern Art.

Hammer Projects: Tom Marioni
By Corrina Peipon

In 1970 Tom Marioni was invited to make an exhibition at the Oakland Museum of California. He asked sixteen friends to come to the museum on a Monday evening, when it was closed. The curator brought enough beer to go around, and everyone “drank and had a good time.”  The empty beer bottles, tables, and chairs were left in situ for the run of the exhibition. Rather than a performance, The Act of Drinking Beer with Friends Is the Highest Form of Art (1970) consisted of an action and its evidence. “Since I didn’t want to subject my friends to being performers, the public was not invited. . . . It was an important work for me, because it defined Action rather than Object as art. And drinking beer was one of the things I learned in art school.”  At the start of the same year, Marioni had founded the Museum of Conceptual Art (MOCA) in San Francisco, where he presented work by artists—including himself, under the pseudonym Allan Fish—experimenting with new art forms, such as conceptual art, sound art, performance and action art, installation, and video. Open to the public as a nonprofit, membership-driven museum, MOCA presented pioneering exhibitions and projects until 1984. In 1976 Marioni started Café Society, a Wednesday afternoon social club that met at Breen’s Bar, down the street from MOCA, where invited guests assembled to drink beer and talk about art. Evolving out of The Act of Drinking Beer, Café Society was a social artwork that brought people together under contrived circumstances to interact freely. Café Society has continued over the years in various iterations, including video screenings with free beer at MOCA and Marioni’s ongoing weekly Wednesday salons at his studio.


Tom Marioni drawing the circle in the Guggenheim

Organized by Anne Ellegood, Hammer senior curator.

more links:


Los Angeles Times

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Aug 10 2010

Hannah Wilke @ MoMA – The Original Copy

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The Original Copy: Photography of Sculpture, 1839 to Today

August 1 – November 1, 2010

The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor


Hannah Wilke
S.O.S.- Starification Object Series
1974 – 82

Ten black and white photographs with fifteen chewing gum sculptures in plastic boxes mounted on board, 41 x 58 inches. Copyright © Marsie, Emanuelle, Damon and Andrew Scharlatt – Hannah Wilke Collection and Archive, Los Angeles

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The advent of photography in 1839, when aesthetic experience was firmly rooted in Romanticist tenets of originality, brought into focus the critical role that the copy plays in the perception of art. But if the photograph’s reproducibility challenged the aura attributed to the original, it also reflected a very personal form of perception and offered a model for dissemination that would transform the entire nature of art. The distinctive expression of the photograph, the archival value of a document bearing the trace of history, and the combinatory capacity of the image, open to be edited into sequences in which it mixes with others—all these contribute to the status of photography as both an art form and a medium of communication.

In his 1947 book Le Musée imaginaire (Museum without Walls), French novelist and politician André Malraux postulated that art history, and the history of sculpture in particular, had become “the history of that which can be photographed.” Sculpture was among the first subjects to be treated in photography. There were many reasons for this, including the immobility of sculpture, which suited the long exposure times needed with the early photographic processes, and the desire to document, collect, publicize, and circulate objects that were not always portable. Through crop, focus, angle of view, degree of close-up, and lighting, as well as techniques of darkroom manipulation, collage, montage, and assemblage, photographers have not only interpreted sculpture but created stunning reinventions of it.

The Original Copy presents a critical examination of the intersections between photography and sculpture, exploring how the one medium has been implicated in the analysis and creative redefinition of the other. Bringing together three hundred pictures, magazines, and journals by more than one hundred artists from the dawn of modernism to the present, the exhibition looks at the ways in which photography at once informs and challenges our understanding of what sculpture is.

The exhibition is organized by Roxana Marcoci, Curator, Department of Photography.

The exhibition is made possible by The William Randolph Hearst Endowment Fund.

Additional support is provided by David Teiger and The Robert Mapplethorpe Foundation.

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Jul 05 2010

Hannah Wilke @ MoMA

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Contemporary Art from the Collection

June 30, 2010–September 12, 2011


The works selected for this installation highlight the debates around economics, politics, gender, and ethnicity that have permeated artistic practices since the late 1960s. Including approximately 130 works drawn from all of the Museum’s curatorial departments, the installation features a variety of approaches to art-making and follows a chronological path. The exhibition begins with works such as a haunting “body print” by David Hammons (1969), which depicts the artist in an act of prayer, and Pino Pascali’s Machine Gun (1966), a sculpture he made out of parts from a Fiat 500 during a period of intense social unrest in Italy. Concluding the show are two projects that explore larger themes of humanity and loss through current events: Huma Bhabha’s expansive print series Reconstructions (2007), in which the artist memorializes lost civilizations in her native Pakistan, and Paul Chan’s Waiting for Godot (2007), a project based on the artist’s restaging of Samuel Beckett’s play in New Orleans after Hurricane Katrina.

also…new publications, go get ‘em

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Hannah Wilke @ Neuberger Museum of Art (August 30, 2010)

Hannah Wilke / Prestel / Nancy Princenthal

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Jun 09 2009

Hannah Wilke @ MoMA and Centre Pompidou

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Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection

April 22, 2009–January 4, 2010


Hannah Wilke


1963-66. Pastel and charcoal on paper, 19-1/2 x 24 inches

The Judith Rothschild Foundation Contemporary Drawings Collection Gift. © 2009 Marsie, Emanuelle, Damon and Andrew Scharlatt – Hannah Wilke Collection and Archive, Los Angeles

Wilke’s experience of being a woman—bodily and socially—is at the heart of her work, from erotic sculptures made of latex and snaps to her works reflecting on illness, made while she was dying of cancer. This drawing from the 1960s includes imagery of genitals and upended backsides. Abstract but sexually suggestive shapes would become a hallmark of her later sculpture.




Women artists in the collections of the Centre Pompidou

May 27, 2009 – May 24, 2010


Hannah Wilke

S.O.S. Starification Object Series:
An Adult Game of Mastication
Mastication Box

Gift of the Centre Pompidou Foundation and Marsie, Emanuelle, Damon, Andrew Scharlatt, Hannah Wilke Collection & Archive, Los Angeles, 2007

© 2009 Marsie, Emanuelle, Damon and Andrew Scharlatt – Hannah Wilke Collection and Archive, Los Angeles

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Oct 23 2008

“Hannah Wilke: Gestures” at Neuberger Museum of Art in New York Times

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October 12, 2008 p. WE10


An Artist’s Roots in Sculpture, Reclaimed


By Benjamin Genocchio


 Wilke, Geo-Logic 4 to One, 1980-82

Hannah Wilke, Geo-Logic 4 to One from Generation Process Series, 1980-1982, acrylic on ceramic and wood, 48 x 48 x 3 inches


“Hannah Wilke: Gestures,” at the Neuberger Museum of Art, is a complex exhibition with a simple point: that Ms. Wilke’s roots and practice as a sculptor have been largely forgotten, replaced by a narrow view of her work as a photographer and performance artist.

 It is not entirely clear how this historical oversight happened, though Tracy Fitzpatrick, the exhibition curator, has a theory: the widespread display and dispersal of reproductions of Ms. Wilke’s photographs, stripped from their original context, perpetrated a condensed vision of her art.

 The exhibition puts sculpture back in the picture, beginning with a concentrated look at early, little-known clay pieces by Ms. Wilke (1940-1993).  Among the displays are several of her small, fragile clay forms in the shape of female genitalia.


 Wilke, Fork and Spoon, 1974

Hannah Wilke, Fork and Spoon, 1974, kneeded erasers, metal utensils, fork; 7-3/8 inches, spoon; 7-1/4 inches
Courtesy and Copyright © Marsie, Emanuelle, Damon and Andrew Scharlatt_Hannah Wilke Collection & Archive, Los Angeles


Produced in the early 1960s, these sculptures represent some of the first explicit vaginal imagery arising from the feminist art movement.  Ms. Wilke was not just an experimental artist, but a feminist pioneer.

 Further displays show that Ms. Wilke worked with clay throughout her career, but she also experimented with other sculptural materials.  There are sculptures made of latex, wax, cookie dough, erasers, chewing gum, Play-Doh — even laundry lint.


Wilke, Landry Lint, 1974

Hannah Wilke, Landry Lint, C.O.’s, 1974, set of 12 sculptures, Lint, various colors, 13-1/2 x 13-1/2 inches
Courtesy and Copyright © Marsie, Emanuelle, Damon and Andrew Scharlatt, Hannah Wilke Collection & Archive, Los Angeles


All the materials are malleable, and all her sculptures are based on a specific method of folding, through which she turns flat, surfaces into three-dimensional vessels.  The final shapes have vaginal connotations of varying degrees.  Sometimes the forms are laid out along the floor in a line or arranged in a grid, but beyond the momentary delight of discovering a work’s unexpected material, the shapes can all start to get monotonous.

Ms. Wilke was aware of this concern.  Her roots as a sculptor lie in minimalism, but she never wanted to be associated with the minimalists, who prized standardized geometric shapes and forms.  Her sculptures, she argued, were different insofar as each of them was unique.

She also employed color to dramatic effect.  Some of her folds are painted in bright primary and secondary colors, while others, like the “Generation Process” series from 1982, are spattered and flecked with paint.  The point was to make each one different, to give it a personality.  Among the hundreds of folds in this show, no two are the same.

Most probably, the choice of colors was also deeply personal.  Nine ceramic folds titled “Blue Skies,” begun in 1987 but completed shortly before her death six years later from lymphoma, are dark and bleak — a mess of swirls of blue and white on a black field.


Wilke, Blue Skies, 1987-92

Hannah Wilke, Blue Skies, 1987-92, 9 multi-colored painted ceramics on 9 black painted boards, 7 x 59 x 89 inches
Courtesy and Copyright © Marsie, Emanuelle, Damon and Andrew Scharlatt, Hannah Wilke Collection & Archive, Los Angeles


Given her work with body imagery, it was inevitable perhaps that Ms. Wilke should also begin to work with her own body.  In her 1974 video “Gestures,” shown here, we see her using her skin as a sculptural material as she slowly kneads and pulls at her face.

This led to other videos and photographs of herself, usually in the nude, the most important and best known of which are the photographic body-art pieces from the “S.O.S-Starification Object Series,” begun 1974, in which she merged sculpture and her body by creating little vulva-like sculptures out of chewing gum which she then stuck all over herself.

One image from the “S.O.S” series is here.  It shows the artist, naked to the waist, a veil wrapped about her head, her face and body covered in the chewing-gum sculptures, which look like hives or welts, or even some kind of painful tribal scarification.

The display could have included more than one of these works, along with other examples of the artist’s body-art photography and video.  (I am thinking of the photographs of Ms. Wilke in pin-up poses.)  However, given the show’s ambition to resurrect her sculpture, it is understandable that the curator has sought to minimize the inclusion of this line of work.

Over all, this show is not so much a retrospective as a kind of art history search-and-rescue project.  It is not easy to experience or even to like, given the confrontational, repetitive use of female sexuality.  But in earnestness and for art historical purpose, “Hannah Wilke: Gestures” sets a standard to which most museum shows don’t even bother to aspire.


“Hannah Wilke: Gestures,” Neuberger Museum of Art, 735 Anderson Hill Road, Purchase, through Jan. 25.  Information: or (914) 251-6100.


Copyright 2008 The New York Times Company

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May 24 2008

“California Video” reviewed in the Wall Street Journal

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They Were Just Playing Around But Experimental Videos
From ’60s and ’70s California Are Now Recognized as Art
May 17, 2008; Page W6

The archival material stands up better than many of the Getty’s recent purchases in the last rooms. Mr. Viola’s “Sleepers” from 2002 disappoints. A collection of six oil drums filled with water, each containing a sunken video monitor showing a person asleep, lacks his usual ability to enchant. Mike Kelley’s “Candy Cane Throne” from 2005 doesn’t prosper as a stand-alone work apart from the sprawling installation about high-school rituals in Detroit of which it’s only a small part.

One exception is Jim Campbell’s “Home Movies 920-1″ from 2006. A masterwork of technical ingenuity and beauty, it consists of light emitting diodes arranged in 40 columns that are spaced a few inches apart, each only an inch-wide. Each LED chip projects tiny pieces of a black-and-white image on the wall behind. Together, they make up a shifting image that seems always about to come into focus but never does.

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May 08 2008

Kolumba Museum – Köln

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icon for podpress  Vernissage TV – Kolumba Museum: Play Now | Play in Popup | Download

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Apr 19 2008

Jean (Hans) Arp and Szechuan Aubergines

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If you are going to be visiting the Cologne area, I highly recommend two things: The Arp Museum in Remagen and Great Wall Restaurant (probably the best Chinese food in Cologne), Komödien Str. 37, 50667 Köln.


Barbara Trautmann »Kaa«, 2007

Yvonne Fehling/Jennie Peiz »Stuhlhockerbank«, 2007


Eggplants in Soy and Sweet & Sour sauce at Great Wall

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