Strange ways: Here we come : Felix Gonzalez Torres, Donald Moffett : Fine Arts Gallery, the University of British Columbia, November 16 through December 22, 1990

Gonzalez-Torres, Felix

The Gallery

During the late 1960s and 70s, a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices. In particular, these mediums were used to record ephemeral or performative events and to render visible conceptual systems or to question the supposed objectivity of representation itself. This volume focuses primarily on artworks from the last decade and proposes that the extensive use of reproducible mediums in today's art has its roots in an earlier formative period. By the end of the 70s, many artists turned to photography as a vehicle through which to critique photographic representation and to subvert an art system premised on the notion of the original. While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative. Artists working today freely manipulate their representations of the empirical world or invent entirely new cosmologies. They process their subject matter through conceptual systems or use digital processes to alter their images. Some directly intervene in the environment, subtly shifting components of the found world and establishing their quiet presence in it; others fabricate entire architectural environments for the camera lens. This current state of the arts and its recent history are represented via more than 150 works by 55 artists, including Nam June Paik, Kara Walker, Felix Gonzalez-Torres, Marina Abramovic, Vito Acconci, Ana Mendieta, Bruce Nauman, Robert Smithson, Christian Boltanski, Sophie Calle, Fischli &amp; Weiss, Ann Hamilton, Robert Mapplethorpe, Annette Messager, Cindy Sherman, Bernd and Hilla Becher, Elger Esser, Andreas Gursky, Candida H fer, Thomas Ruff, J rge Sasse, Thomas Struth, Olafur Eliasson, Roni Horn, Gabriel Orozco, Hiroshi Sugimoto, Matthew Barney, Gregory Crewdson, Anna Gaskell, Sam Taylor-Wood, Oliver Boberg, James Casebere, Thomas Demand, Vanessa Beecroft, Wolfgang Tillmans, Patty Chang, Trisha Donnelly, Stan Douglas, Pierre Huyghe, William Kentridge, Steve McQueen, Shirin Neshat, John Pilson and Gillian Wearing.

Moving Pictures: Contemporary Photography and Video from the Guggenheim Collection

Arts & Photography

Abramovic, Marina

Walker, Kara

Nauman, Bruce

Acconci, Vito

GURSKY, ANDREAS

Hanhardt, John G.

Smithson, Robert

BARNEY, Matthew

Paik, Nam June

Young, Joan

Villaseñor, Maria-Christina

History & Criticism

Guggenheim Museum

The Culture of Violence presents a broad interdisciplinary approach to the subject of violence as it arises in the media, the lives of children and their families, and in the work of artists such as Bruce Nauman, Ida Applebroog, Mel Chin, Kristin Oppenheim, Lucinda Devlin, Gregory Green, Leon Golub, Richard Misrach and Sue Williams. Organized around thematic categories that traverse class and gender, and that range from political to personal expressions of violence, including terrorism and hate crimes, government-sanctioned execution, youth and gang violence, street crime and domestic violence, The Culture of Violence includes a conversation on violence and culture in medieval epics and contemporary media, and a proscriptive essay on coping with family violence.

The Culture of Violence

Green, Gregory

Jenkins, Henry

Cohen, Elizabeth

Canada, Geoffrey

Kruger, Barbara

POSNER, Helaine

Golub, Leon

Diggs, Peggy

Coe, Sue

Applebroog, Ida

Wilson, Marion

CAIN, James

Harper, Sharon

Talley, Michael

Chin, Mel

Harkavy, Donna

Leininger, Michael

B, Beth

Cole, Willie

Davlin, Luninda

Kaplowitz, Jane

McCallum, Bradley

Oppenheim, Kristin

Tisdale, Daniel

University Gallery, University of Massachusetts, Amherst

su-per-no-va: n., pl. A rare celestial phenomenon involving the explosion of most of the material in a star, resulting in an extremely bright, short-lived object that emits vast amounts of energy. Given the massive shift in the West's cultural sensibility in the wake of the 9/11 attacks and the current global political situation, the 1990s and its over-the-top, anything-goes art scene suddenly appear much more historical than contemporary. If we really are at the turning point that we seem to be, then we've arrived at a particularly opportune moment for reconsideration, for assessing the legacy of the decade after the frenzy has subsided. Supernova brings together a number of curators and critics--each of whom was actively involved in constructing the 1990s art discourse--to step back and consider what trans-identity, broad-based thematic trends can now be identified as emblematic of, or seminal to, the decade. The Kent and Vicki Logan collection of contemporary art offers a compelling and visually alluring vehicle to consider such issues, as these ambitious collectors were firmly planted at the center of the scene--acquiring some of the most challenging and iconic art of the period, including works by Young British Artists (YBAs), Asian practitioners and a diverse array of influential women artmakers. In Supernova, reproductions of these artists' works are dispersed among contributors' essays, which explore such themes as beauty and the abject, iconoclasm and the role of social activism in art.

Supernova: Art of the 1990s From the Logan Collection

Benezra, Neal

HIRST, Damien

Gober, Robert

Murakami, Takashi

Siegel, Katy

Zhang, Huan

Antoni, Janine

Currin, John

Yuskavage, Lisa

Fritsch, Katharina

Grynzstejn, Madeleine

D.A.P./San Francisco Museum of Modern Art

One of the most significant artists to emerge in the late 1980s and early 1990s, Felix Gonzalez-Torres’s reduced formal vocabulary, conceptual rigor, and evocative use of everyday materials resonates with meaning that is at once specific and mutable, rigorous and generous, poetic and political. Featuring several key bodies of work from throughout the artist’s career, this publication showcases a series of distinct installations at David Zwirner in New York in 2017. The interplay with the specific architecture of the gallery and the way works are installed is highlighted throughout the catalogue, with images that explore the poetics of how space and work influence each other. Together, in their radical openness to interventions of site, audience, and context, the works on view challenge perceived notions of what constitutes an exhibition space, a public, an artwork itself. Despite the resolute abstraction of much of his work, Gonzalez-Torres worked with familiar materials, from his iconic candy spill works and his evocative light string pieces, but also including mirrors, clocks, and curtains. His work activates the architecture of the various spaces, the physicality of the viewer, the past and present, continuously maintaining its relevance. Opening with details of the exhibition and images of visitors in the spaces, the publication walks the reader through each piece. New text by David Breslin explores the variety of works included here while contextualizing Gonzalez-Torres’s contribution to art history.

Felix Gonzalez-Torres

Breslin, David

David Zwirner Books

Museum;et Al

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