Philadelphia— Barbara Kasten’s most recent work is some of her most stunning and complex to date, and it has positioned her alongside a new group of contemporary artists exploring the tension between the object and the image in our digital age. Even as Kasten’s earliest work would seem to prefigure and anticipate these contemporary modes of seeing, her practice has consistently engaged a core set of material, physical, and theatrical concerns. Join Barbara Kasten in person for a discussion about process, precedents, and peers with artists David Hartt, Takeshi Murata, and Sara VanDerBeek.
at Cannonball, 1035 North Miami Avenue, Miami, FL
Wednesday, February 18th, 7:00pm
free and open to the public
Anne Carson wrote, in the fourth part of a three part essay called Decreation: How Women Like Sappho, Marguerite Porete and Simone Weil Tell God:
“It is no accident that Marguerite Porete calls her book a Mirror. To be a writer is to construct a big, loud, shiny centre of self from which the writing is given voice and any claim to be intent on annihilating this self while still continuing to write and give voice to writing must involve the writer in some important acts of subterfuge or contradiction.”
Elizabeth Bishop wrote of the Baroque writers, that their purpose was to portray, not a thought, but a mind thinking. They knew that an idea separated from the act of experiencing it is not the idea that was experienced.
TJ Clark wrote this about Edouard Manet’s 1873 painting Chemin de Fer: “The governess is reading and dreaming. For a moment she may be all outwardness and facingness, but she still has two fingers keeping her place in her book.”
And Lionel Trilling’s definition of a literary idea: When two conflicting feelings are placed together and find a relationship to one another, this relationship can properly be called an idea.
An idea or two will be encouraged to emerge in this talk.
Houston— Please join us to celebrate the publication of Reading Revolutionaries, a collaboration between Reto Geiser and John Sparagana. The book, published in January 2015, proposes an alternative reading of John Sparagana’s work, Crowds & Powder: The Revolutionaries, by translating it into the format of a mass-market paperback. Arranged over eighty double-page spreads, each individual page frames a full-scale fragment of this work.
This small volume perpetuates Sparagana’s manipulation of printed media and contributes to the ongoing study of the relationship between media and the arts. Not only does it allude to a growing discourse on the control and manipulation of visual narrative, as increasingly witnessed from political imagery to popular culture, but it also investigates the way we read and process (visual) language.
Geiser and Sparagana will be at the gallery to discuss the collaboration and to sign copies of the book, available for sale at the event.
Discussion and Book Signing with Reto Geiser & John Sparagana
Thursday, February 5, 12:30-1:30
RSVP to firstname.lastname@example.org
John Sparaganais the Grace Christian Vietti Chair in Visual Arts, and Chair of the Department of Visual and Dramatic Arts at Rice University. His work has been shown internationally, most recently with exhibitions in Berlin, Chicago, Houston, New York, and Zürich, and is included in the collections of the The Art Institute of Chicago; The Museum of Fine Arts, Houston; The Museum of Contemporary Photography, Chicago; and The Nelson-Atkins Museum of Art, Kansas City, among others.
Reto Geiser is a designer and scholar of modern architecture with a focus on the intersections between architecture, pedagogy, and media. He is the Gus Wortham Assistant Professor at the Rice University School of Architecture. A founding principal of the collaborative design practice MG&Co., Reto is developing spatial strategies in a range of scales from the book to the house, exploring the boundaries of design and research with a special focus on the intersections and overlaps between architecture, installation, textiles and typography.
NEW YORK – ARTnews has announced the International Association of Art Critics (AICA) nominees for its 2014 awards. Margot Bergman’s exhibition, Greetings, is one of eight exhibitions nominated in the “Best Show in a Commercial Space Nationally” category.
LOS ANGELES – Situated in a street level suite of the Bonaventure Hotel, Interval contains a two-channel film work on LCD monitors, including original music by Mitchell Akiyama accompanied by seven photographs laminated as decals on the storefront of the space. A final element on the checklist is the building itself, which the artist sought out and made clear was the preferred installation site.