即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Teresita Fernández, Fire (United States of the Americas) (2017) (detail). Charcoal, 57 parts. Approximately 401.3 x 446.4 x 3.2 cm. Courtesy Hyperallergic. Photo: Seph Rodney.
A nation is a strange, abstracted construction: an aggregate of people, most of whom will never meet each other, who are nevertheless understood to be fellow citizens — that is, collaborators in some shared political project. American Landscape, on view at Lehmann Maupin gallery until May 5, presents two contradictory visions of the United States — one of the most hopeful, and one of the least — in the work of Teresita Fernandez and Nari Ward.
Tim Rollins (b. 1955, Pittsfield, ME; d. 2017, New York, NY) began his career teaching art for special education middle school students in a South Bronx public school. In 1984, he launched the Art and Knowledge Workshop, an after school program for his most dedicated students, who named themselves Kids of Survival (K.O.S.). While many of the original K.O.S. members are actively involved in the collaboration today, Rollins intended for flexibility within the group to allow for new generations of members. Rollins’ pedagogical technique of reading and discussing literary texts as the inspiration for his students’ artwork continues to be the basis on which the group makes their collaborative work. Rollins and K.O.S. often paint and draw directly on the pages of books or sheet music that they adhere in a grid to the surface of the canvas. They have used numerous works as source materials, including literary classics by William Shakespeare, Dr. Martin Luther King Jr., Mark Twain, and musical compositions by Felix Mendelssohn and Richard Strauss. For their 2013 show with Lehmann Maupin, the group exhibited Darkwater, using the pages of a 1920 first-edition copy of W.E.B. Dubois’ eponymous autobiographical collection of essays and short stories that confronted issues of race, class, and gender. Rollins and K.O.S. dipped 24 pages from the book in a solution of black watercolour paint, rendering the bottom half of every page illegible. The Darkwater series was made in collaboration with junior high school students in Savannah, Georgia, during a week-long workshop. Just as he had done with the original Kids of Survival, Rollins encouraged the students to engage with some of the very complex issues discussed in Dubois’ book through the process of art making, demonstrating the collective’s continued dedication to collaboration, social engagement, and education.
Rollins studied fine art at the University of Maine and earned a BFA from the School of Visual Arts in New York. Solo exhibitions of the group’s work have been organised at the Portland Museum of Art, ME (2016); SCAD Museum of Art, Savannah, GA (2014); Museum für Gegenwartskunst, Basel (2012); Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy (2011); the Frye Art Museum, Seattle, WA (2010); Institute of Contemporary Art, Philadelphia, PA (2010); Museum of Contemporary Art, Atlanta, GA (2006); The Virginia Museum of Contemporary Art, Virginia Beach, VA (2005); the Santa Monica Museum of Art, Los Angeles (2002); and the Des Moines Art Center, Des Moines, IA (2001). Select group exhibitions featuring the work of Rollins and K.O.S. include Black and Blue, Pulitzer Foundation, St. Louis, MO (2017); Fast Forward: Painting from the 1980s, Whitney Museum of American Art, New York (2017); Nightfall, Musée d’Art et d’Histoire, Geneva, Switzerland (2016–2017); Beyond the Veil: Works from the Permanent Collection, Bronx Museum, New York (2016); An Inclusive World, Queens Museum, New York (2015); Drawing Biennial 2015, Drawing Room, London (2015); Body Language, The Studio Museum in Harlem, New York (2013); This Will Have Been: Art, Love & Politics in the 1980s, Museum of Contemporary Art Chicago, IL (2012); Wide Open School, Hayward Gallery, London (2012); and the Whitney Biennial, New York (2006). The group’s work is in numerous international public and private collections, including the Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; the Hirshhorn Museum and Sculpture Garden, Washington, DC; Tate Modern, London; Smithsonian Museum of American Art, Washington, DC; Art Institute of Chicago; Aspen Art Museum, CO; Berkeley Art Museum, University of California Berkeley; The Bronx Museum of the Arts, New York; Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh, PA; Dia Art Foundation, New York; The Fabric Workshop and Museum, Philadelphia; and Dallas Museum of Art, TX.
In 1997, the documentary, Kids of Survival: The Art and Life of Tim Rollins and K.O.S. was widely received at the London Film Festival; Cinéma du Réel, France; and the Hamptons International Film Festival, New York.
Nari Ward (b. 1963, St. Andrew, Jamaica; lives and works in New York) is known for his sculptural installations composed of discarded material found and collected in his neighbourhood. He has repurposed objects such as baby strollers, shopping carts, bottles, doors, television sets, cash registers and shoelaces, among other materials. Ward re-contextualises these found objects in thought-provoking juxtapositions that create complex, metaphorical meanings to confront social and political issues surrounding race, poverty, and consumer culture. He intentionally leaves the meaning of his work open, allowing the viewer to provide his or her own interpretation.
One of his most iconic works, Amazing Grace, was produced as part of his 1993 residency at The Studio Museum in Harlem in response to the AIDS crisis and drug epidemic of the early 1990s. For this large-scale installation, Ward gathered more than 365 discarded baby strollers—commonly used by the homeless population in Harlem to transport their belongings—which he bound with twisted fire hoses in an abandoned fire station in Harlem. Echoing through the space was an audio recording of gospel singer Mahalia Jackson’s Amazing Grace on repeat. The lyrics speak about redemption and change, generating optimism and a sense of hope. As with most of his work, this installation explored themes informed by the materials, community, and location in which he was working. The work has since been recreated at the New Museum Studio 231 space in 2013, and in several locations across Europe. With each change of context, the significance of the work changes as each community differently associates with these found objects.
Nari Ward received a BA from City University of New York, Hunter College in 1989, and an MFA from City University of New York, Brooklyn College in 1992. Solo exhibitions of his work have been organised at the Institute of Contemporary Art, Boston (2017); Socrates Sculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art and Design Museum of Art, Savannah, GA (2015); Louisiana State University Museum of Art, Baton Rouge, LA (2014); The Fabric Workshop and Museum, Philadelphia (2011); Massachusetts Museum of Contemporary Art, North Adams, MA (2011); Isabella Stewart Gardner Museum, Boston (2002); and Walker Art Center, Minneapolis, MN (2001, 2000). Select group exhibitions featuring his work include Objects Like Us, The Aldrich Contemporary Art Museum, Ridgefield, CT (forthcoming, 2018–2019); UPTOWN: nastywomen/badhombres, El Museo del Barrio, New York (2017); Black: Color, Material, Concept, The Studio Museum in Harlem, New York (2015); The Great Mother, the Fondazione Nicola Trussardi, Palazzo Reale, Milan (2015); The Freedom Principle: Experiments in Art and Music, 1965 to Now, the Museum of Contemporary Art Chicago (2015); NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York (2013); Contemplating the Void: Interventions in the Guggenheim Rotunda, Solomon R. Guggenheim Museum, New York (2010); the Whitney Biennial, New York (2006); Landings, Documenta XI, Kassel, Germany (2002); Passages: Contemporary Art in Transition, The Studio Museum in Harlem, New York; Projects: How to Build and Maintain the Virgin Fertility of Our Soul, MoMA PS1, Long Island City; The Listening Sky, Studio Museum in Harlem, New York; 1995 Biennial Exhibition, Whitney Museum of Art, New York; and Cardinal Points of the Arts, 45th Venice Biennial, Venice, Italy.
Lehmann Maupin is pleased to present American Landscape, a group exhibition featuring work by Teresita Fernández, Catherine Opie, Tim Rollins & K.O.S., and Nari Ward. Using sculpture, photography, painting, and installation, the artists in this exhibition each uniquely engage the genre by expanding our perception of what a landscape is, and how the story of the United States is told through this representation. Nari Ward sources found material from Harlem, including shoes and a neon liquor store sign, to create a representation of urban American life through its physical ephemera, while Catherine Opie captures suburban America through her photographs of Los Angeles mini-malls, as well as stretches of landscape unchanged by time in her end-of-the-century photographs of rural America. Teresita Fernández responds to the fraught history of America by using charcoal to create a massive, charred map installation suggesting an American history left untold. Tim Rollins & K.O.S. further illustrate the origins of the American narrative through literature that recounts a complicated past. Together, these artists visualize the complex political and social reality of the American landscape that is marked by a long history of violence, discrimination, and urbanization. American Landscape offers an alternative perspective on the genre of landscape through examination of the histories and realities that often receive only peripheral glimpses.
When we think of the Hudson River School, we tend to picture majestic vistas, dramatic waterfalls and lush treetops. But a new installation by Teresita Fernández, due to open this spring at the former home of the Hudson River School painter Frederic Edwin Church, seeks to remind us that these vistas have always been home to real people—they...
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