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Chris Sullivan,
Spring 2015

Chris Sullivan is a Chicago-based animator, performance artist, and experimental filmmaker.  His film, Consuming Spirits, is a hand-made independent feature animation shot frame-by-frame on 16mm using paper cut outs, models, and tracing paper cell animation. It chronicles the lives of three characters who live in a rust belt town called Magguson, and work at its local newspaper The Daily Suggester. As the film unfolds, we find they have a long diabolical history, revolving around social service intervention, foster care, romance and hatred. Each character has family secrets to hide, and family secrets to discover. An auto accident one dark and inebriated night causes a crack in the memory vault of these intimate strangers. By film’s end all parties walk from the woods, both healed and wounded.

https://vimeo.com/sullivananimation,


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CHRISTOPHER SULLIVAN, “CONSUMING SPIRITS”, STILL IMAGE,
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CHRISTOPHER SULLIVAN, “CONSUMING SPIRITS”, STILL IMAGE,
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Adam Szymczyk,
Fall 2014

Adam Szymczyk is Artistic Director of documenta 14 and was the Director at Kunsthalle Basel, Switzerland.

Szymczyk was a co-founder of the Foksal Gallery Foundation in Warsaw, at which he worked as Curator from 1997 till 2003, when he assumed his new post in Basel. At Kunsthalle Basel, he organized exhibitions including Piotr Uklanski: Earth, Wind and Fire (2004); Tomma Abts (2005); Gustav Metzger: In Memoriam and Lee Lozano: Win First Don't Last Win Last Don't Care (both 2006); Micol Assaël: Chizhevsky Lessons (2007); Danh Vo: Where the Lions Are (2009); Moyra Davey: Speaker Receiver (2010); Sung Hwan Kim: Line Wall (2011); Paul Sietsema and Adriana Lara: S.S.O.R. (both 2012), as well as group shows including Strange Comfort (Afforded by the Profession) (with Salvatore Lacagnina, 2010), How to Work/How to Work (More for) Less (both in 2011).

In 2008, Szymczyk co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title When Things Cast No Shadow and in 2012, he curated Olinka, or Where Movement Is Created at Museo Tamayo in Mexico City. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he was recipient of the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.

documenta 14,


ADAM SZYMCZYK, PHOTO © NILS KLINGER,
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Marina Kassianidou,
Spring 2016

Marina Kassianidou is a visual artist whose work focuses on relationships between mark and surface. Her current practice combines painting, drawing, collage, installation, site-specific art, and found objects. Her theoretical interests include poststructuralist philosophy, psychoanalytic theory, feminist theory, and art history. She has recently completed a PhD in Fine Art at Chelsea College of Arts, University of the Arts London, UK.

http://www.marinakassianidou.com/,


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MARINA KASSIANIDOU, “FAULTY SAMPLES BACK TO FRONT”, 2013,
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MARINA KASSIANIDOU, “MARBLE OBSESSION”, 2013,
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Joan Jonas,
Fall 2015

Joan Jonas is a pioneer of video and performance art, and an acclaimed multimedia artist whose work typically encompasses video, performance, installation, sound, text, and drawing. Trained in art history and sculpture, Jonas was a central figure in the performance art movement of the late 1960s, and her experiments and productions in the late 1960s and early 1970s continue to be crucial to the development of many contemporary art genres, from performance and video to conceptual art and theater. Since 1968, her practice has explored ways of seeing, the rhythms of ritual, and the authority of objects and gestures.

Joan Jonas is a New York native and she continues to live and work in New York City. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. Jonas has taught at MIT since 1998, and is currently Professor Emerita in the MIT Program in Art, Culture, and Technology within the School of Architecture and Planning. 

Jonas’s most recent solo exhibitions include those at Centre for Contemporary Art, Kitakyushu Project Gallery, Japan (2014); Kulturhuset Stadsteatern Stockholm (2013); Proyecto Paralelo, Mexico (2013); Contemporary Arts Museum, Houston (2013); Bergen Kunsthall, Norway (2011); and Museum of Modern Art, New York (2010). She has been represented in dOCUMENTA in Kassel, Germany, six times since 1972, and has had major retrospectives at the Stedelijk Museum, Amsterdam; Galerie der Stadt Stuttgart, Germany; and the Queens Museum of Art, New York.



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Jessica Vaughn,
Spring 2016

“My task as an artist is to make sense of the networks of consumed resources, desirable space, labor, and class rooted in the displacement of black people in urban locations. My practice is the terrain where city segregation, affect, care, material traces and residue left from everyday objects meets contemporary thinking. I begin a piece where there is a testimony of lived experience and material objects that have traces of everyday life. Guided by thinkers and authors who study urban planning, social and cultural studies my intuition directs my material choices.”

jessvaughn.com,


JESSICA VAUGHN, “GLORY”, 2015,
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JESSICA VAUGHN, “STACKED AND DECORATED WHITE BREAD”, 2013,
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JESSICA VAUGHN, “RAINBOW PUSH”, 2013,
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JESSICA VAUGHN, “CARPETBAGGER”, 2015,
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JESSICA VAUGHN, “UNTITLED”, 2015,
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Darby English,
Winter 2016

Darby English teaches modern and contemporary art and cultural studies at The University of Chicago, with a focus on American and European art produced since the Second World War. He is the author of How to See a Work of Art in Total Darkness, published in 2007 by the MIT Press, and 1971: A Year in the Life of Color, in 2016 by the University of Chicago Press. He is co-editor of Kara Walker: Narratives of a Negress, published in 2002 by the MIT Press, and Art History and Emergency, forthcoming from Yale University Press. English’s short-form writing has appeared in Art Bulletin, Artforum, caareviews, The Guardian, The International Review of African-American Art and other venues.



Darby English, 1971: A Year in the Life of Color, published by the University of Chicago Press, 2016.
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Candice Hopkins,
Sounding the Margins

Candice Hopkins is based in Albuquerque, New Mexico. She has held curatorial positions at the IAIA Museum of Contemporary Native Arts, National Gallery of Canada, the Western Front and the Walter Phillips Gallery at the Banff Centre. Her writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, Revolver Press, New York University, the Fillip Review and the National Museum of the American Indian, among others. Hopkins has lectured widely including at the Witte de With, Tate Modern, Dakar Biennale, Tate Britain and the University of British Columbia. Hopkins was co-curator of the 2014 SITE Santa Fe biennial exhibition, "Unsettled Landscapes." In 2014 she received the Joan Lowndes award from the Canada Council for the Arts for excellence in critical and curatorial writing. She currently is a curatorial advisor for Documenta 14, opening in 2017.

Department of Art Theory and Practice at Northwestern University is pleased to present this talk in partnership with the The Graham Foundation.



 Beau Dick, Tsonokwa Mask, 2007 Red cedar, horse hair and acrylic, 78.8 × 66.1 × 35.6 cm.Photo: National Gallery of Canada.
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Benjamin Tiven,
Spring 2016

Benjamin Tiven lives and works in New York. He completed the Whitney Museum's Independent Study Program in 2012. His art and films are shown wordwide in museums, such as the Bronx Museum of Art, New York and at the Oberhausen Short Film Festival.

benjamintiven.com,


BENJAMIN TIVEN, “EPOCH (EXPANDED-WAVELENGTH PRECISION OPTICAL CHRONOGRAPH)”, 2014,
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BENJAMIN TIVEN, “DANIEL ARAP MOI AT A PUBLIC PRESENTATION, UNKNOWN DATE”, 2013,
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BENJAMIN TIVEN, “TWO DEVICES”, 2014,
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Asli Cavusoglu,
Fall 2015

Aslı Çavuşoğlu's work utilizes different media to investigate silenced histories. These investigations (articulated through various media forms) revisit key moments in an effort to locate the relationship between rupture and continuity as consciousness and how related identities are constructed, and reconstructed. She has composed rap songs using words censored in the Turkish media and made a video of residents from a Turkish town re-enacting key events from a local socialist struggle that was crushed by the 1980 military coup. In recent work ‘The Stones Talk’ (2013) she delves into history to grant archaeological finds unearthed in excavations throughout Turkey a new voice; applying various forms of enhancement to remnants deemed too small or insignificant for museum display in order to lend them a new, decidedly more significant identity.

Recent solo shows include Murder in Three Acts at Delfina Foundation in London and Gallery NON in Istanbul (2013). Selected group shows include The Crime Was Almost Perfect at Wiite de With Center for Contemporart Art in Rotterdam (2014), Suspicious Minds at Galeria Vermelho in Sao Paulo (2013), Signs Taken in Wonder at MAK Museum in Vienna (2013), His Masters Voice at HMKV in Dortmund, Soundworks at the ICA in London (2012), Performa 11 in New York (2011), 7 Works at Borusan Contemporary in Istanbul (2011) and This Place You See Has No Size At All at Kadist Art Foundation in Paris (2009).

http://aslicavusoglu.info/,


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Exhibition, 2013
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Exhibition, 2013
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Angelo Plessas,

Angelo Plessas is an artist based in Athens. The focus of his work is to network the offline with the online in ways that make us understand aspects of both conditions, and to generate new ways of relating to both. His activities range widely—from performances to artist residencies; from self-publishing to interactive websites; from sculptures, to live-stream events and different educational projects. For the last four years, he has organized annual, weeklong gatherings of The Eternal Internet Brother/Sisterhood.



ANGELO PLESSAS, “ETERNAL INTERNET BROTHER/SISTERHOOD 1-3”, 2015,
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ANGELO PLESSAS, “ETERNAL INTERNET BROTHER/SISTERHOOD”, 2012–2014,
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ANGELO PLESSAS, “ETERNAL INTERNET BROTHER/SISTERHOOD”, 2012–2014,
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