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Howard Singerman,
2003

Howard Singerman is an Associate Professor of Contemporary Art and Art Theory at the University of Virginia. Singerman began writing on contemporary art in the late 1970s, publishing regularly in Artweek and Artforum. He was museum editor for the Museum of Contemporary Art in Los Angeles from 1985 to 1988, and has contributed to numerous exhibition catalogues for contemporary exhibitions nationally and internationally. His ongoing research interest, and the subject of his book Art Subjects: Making Artists in the American University (1999), has been the institutions in which modern and contemporary artists have been trained and professionalized. Other notable publications (among many) include: Public Offerings, editor and contributor, Museum of Contemporary Art. Los Angeles, and Thames and Hudson, 2001; "Charting Monkey Island with Levi-Strauss and Freud" contribution to Mike Kelley: Catholic Tastes, Whitney Museum of American Art and Harry N. Abrams, 1993; and "In the Text" contribution to A Forest of Signs: Art in the Crisis of Representation, Museum of Contemporary Art, Los Angeles and MIT Press, 1989.



Richard Rezac,
2003

Richard Rezac is an artist whose geometric, quasi-minimalist sculpture has enjoyed, since the mid 80s, wide exhibition throughout the United States. Recent one person shows have been mounted at Marc Foxx, Los Angeles; James Harris Gallery, Seattle, and Feature Inc., New York; Rhona Hoffman Gallery, Chicago; and Galerie Isabella Bortolozzi. Richard Rezac’s sculpture has been shown nationally and internationally, most notably in a 2006 survey of his work at the Portland Art Museum. Other venues include Yale University Art Gallery, the Art Institute of Chicago and Museum of Contemporary Art in Chicago, and the Corcoran Gallery of Art, Washington D.C. Rezac has received Fellowship Grants from the Guggenheim Foundation, the Joan Mitchell Foundation and the Tiffany Foundation and in 2006, the coveted Rome Prize from the American Academy in Rome. He lives and works in Chicago.

richardrezac.com,


RICHARD REZAC, “CIRCUM” AT ISABELLA BORTOLOZZI, 2015,
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RICHARD REZAC, “CIRCUM” AT ISABELLA BORTOLOZZI, 2015,
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RICHARD REZAC, “CIRCUM” AT ISABELLA BORTOLOZZI, 2015,
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Dan Perjovschi,
2003

Dan Perjovschi is an artist, writer and cartoonist born in 1961 in Sibiu, Romania. Perjovschi has over the past decade created drawings in museum spaces, most recently in the Museum of Modern Art in New York City in which he created the drawing during business hours for patrons to see. The drawings present a political commentary in response to current events. Another exhibition of Perjovschi's within a Portuguese bank consists of several comic strip style drawings which address more European issues such as Romania's acceptance to the EU and abortion legalization in Portugal. Dan and Lia Perjovschi had their first retrospective exhibition at the Nasher Museum of Art at Duke University in fall 2007. In 2009 Dan Perjovschi created his first permanent realisation in Prague National Technical Library. It consists of 200 monumental drawings on the concrete walls of main atrium of the building. In 2010, Dan Perjovschi served as an International Artist in Residence at the University of Kansas Spencer Museum of Art in Lawrence, Kansas. In March 2013, Dan and Lia Perjovschi were awarded with the European Cultural Foundation's Princess Margriet Award.



DAN PERJOVSCHI,
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DAN PERJOVSCHI,
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DAN PERJOVSCHI,
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Laura Owens,
2003

Laura Owens is a painter and installation artist very firmly practicing in the tradition of the post-conceptual art generation. Using bright, color-infused imagery that depicts landscapes, couples kissing, blooming flowers, and dogs howling at the moon, Owens is something of a modern day John William Waterhouse. Working mostly in paint, Owens’ compositions are often reminiscent of the wide, rolling emptiness of Song scholar-paintings, while sharing their tiny exactness with needlepoint. Portraying worlds that are full of mythology and bursting with possibility, Owens is a model for a generation of artists who embrace the constant reinvention of the medium of painting. Praising the artist, MOCA/LA curator Paul Schimmel has declared: “Hers is an art predicated on balancing intuition and intellect, encouraging multiple voices and leveling hierarchies.”

owenslaura.com,


LAURA OWENS, “PAVEMENT KARAOKE/ALPHABET” AT SADIE COLES, LONDON,  2012
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LAURA OWENS, “UNTITLED”, 2012,
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LAURA OWENS, “UNTITLED”, 2016,
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LAURA OWENS, “UNTITLED”, 2015,
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LAURA OWENS, “UNTITLED”, 2014,
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LAURA OWENS, “UNTITLED”, 2013,
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Michelle Grabner,
2003

Grabner holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin–Milwaukee, and an MFA in Art Theory and Practice from Northwestern University. She joined the faculty of the School of the Art Institute of Chicago in 1996, and became Chair of its prestigious Painting and Drawing department in the fall of 2009. She is a senior critic at Yale University in the Department of Painting and Printmaking. Her writing has been published in Artforum, Modern Painters, Frieze, Art Press, and Art-Agenda, among others.

Grabner also runs The Suburban and The Poor Farm with her husband, artist Brad Killam. She co-curated the 2014 Whitney Biennial at the Whitney Museum of American Art along with Anthony Elms and Stuart Comer. Solo exhibitions of her work have also been held at INOVA, The University of Wisconsin, Milwaukee; Ulrich Museum, Wichita; and University Galleries, Illinois State University. She has been included in group exhibitions at Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; Tate St. Ives, UK; and Kunsthalle Bern, Switzerland. Her work is included in the permanent collection of Walker Art Center, Minneapolis; MoCA, Chicago; MUDAM, Luxemburg; Milwaukee Art Museum, Wisconsin; Madison Museum of Contemporary Art, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC and the Victoria and Albert Museum, London.



MICHELLE GRABNER, “UNTITLED”, 2014
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MICHELLE GRABNER, “UNTITLED”, 2009,
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MICHELLE GRABNER, “UNTITLED”, 1998,
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Andrea Fraser,
2003

Andrea Fraser’s work has been identified with performance, video, project-based art, context art, and institutional critique. Major projects include installations for the Berkeley Art Museum; the Kunstverein Munich; the Venice Biennale (Austrian Pavilion); the Whitney Biennial; the Generali Foundation, Vienna; the Kunsthalle Bern; the Sprengel Museum Hannover; the Bienal de São Paulo; the Tate Modern and the Whitney Museum of American Art. Surveys of her work have been presented by the Belkin Art Gallery, University of British Columbia; the Kunstverein Hamburg; the Kemper Art Museum, Washington University; the Franz Hals Museum in Haarlem; and the Carpenter Center, Harvard University.

Major retrospectives of her work have been organized by the Museum Ludwig Cologne (2013); the Museum der Moderne Kunst Salzburg (2015); the Museum of Contemporary Art Barcelona and the MUAC UNAM Mexico City (both 2016).Her essays and performance texts have appeared in Art in America, Afterimage, October, Texte zur Kunst, Social Text, Critical Quarterly, Documents, Artforum, and Grey Room. Books include Andrea Fraser: Works 1984-2003, Dumont, 2003; Museum Highlights: The Writings of Andrea Fraser, MIT Press, 2005; and Texts, Scripts, Transcripts, Museum Ludwig, 2013.



ANDREA FRASER, “MEN ON THE LINE - MEN COMMITTED TO FEMINISIM, KPFK 1972”, 2012,
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ANDREA FRASER, “NOT JUST A FEW OF US”, 2014,
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ANDREA FRASER, “LITTLE FRANK AND HIS CARP”, 2001,
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Cindy Bernard,
2003

Cindy Bernard’s career spans nearly three decades and she is best known for photographs and projections that explore the relationship between cinema, memory, and landscape including the widely exhibited series Ask the Dust (1988-92), now in the collections of the Museum of Contemporary Art, Los Angeles (21 part set), the Pompidou and MOMA. She is a recipient of grants and fellowships from the J. Paul Getty Trust Fund for the Visual Arts, California Arts Council, Creative Capital, Anonymous Was a Woman, the Harpo Foundation, California Community Foundation, the John Simon Guggenheim Memorial Foundation and the MacDowell Colony. Her work has been exhibited in museums and galleries in the US, Canada, Mexico, Europe, and Japan, and was included in the Whitney and Lyon Biennials.



CINDY BERNARD, “STRUCTURE 1:26, BEACHES, NEWFOUNDLAND”, 2014,
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CINDY BERNARD, “THE FAR COUNTRY”, PART OF THE SERIES “ASK THE DUST”, 1955 - 1991,
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CINDY BERNARD, “THE INQUISITIVE MUSICIAN”, 2011,
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Mel Ziegler,
2004

Austin-based Mel Ziegler received his BFA from the Kansas City Art Institute and his MFA in sculpture from CalArts. From the late 1970s until her death in 1995, Ziegler collaborated with his partner, Kate Ericson. Their projects created new vocabularies for making art in public spaces, by involving community, examining history and responding to specific sites. The works or Ericson and Ziegler have been exhibited in a range of venues, including the Museum of Modern Art, New York, NY; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Real Art Ways, Hartford, CT; and Capp Street Project, San Francisco, CA. Their works were included in the 1989 Whitney Biennial; the 1991 “Places With A Past” public art component at the Spoleto Festival in Charleston, SC; Sculpture Chicago’s 1993 “Culture in Action” project; and the 1999 Museum of Modern Art exhibit, “The Museum is Muse.”

The public nature of Ziegler’s work continues the themes and forms established with Ericson over the course of their collaboration. Sites and histories are methodically researched, as in the case of Camouflaged History for the Spoleto Festival, in which a house was painted in a camouflage pattern in 72 paint colors designated as the “authentic colors of historic Charleston” by the Charleston Historic Society. Projects generally involved public space: in San Francisco, the artists inscribed roofing shingles with San Francisco’s street names and then re-roofed a neighborhood house with the transformed materials.



KATE ERICSON AND MEL ZIEGLER, “CAMOUFLAGED HISTORY”, 1991,
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KATE ERICSON AND MEL ZIEGLER, “PEAS, CARROTS, POTATOES”, 1994,
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KATE ERICSON AND MEL ZIEGLER, “PASTELLUS”, 1983,
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Shirley Tse,
2004

Shirley Tse is an American contemporary artist born in Hong Kong (now a US citizen residing in Los Angeles). Tse's work is often installation based and incorporates sculpture, photography and video, and explores sculptural processes as models of multi-dimensional thinking and negotiation. She is faculty in the School of Art at California Institute of the Arts, and was the Co-Director of the Program in Art from 2011-2014. 

Her sculptures, installations and photographs have been included in numerous museum exhibitions worldwide, among them are The Biennale of Sydney (including Polymathistyrene 2000), Bienal Ceara America, Brazil, Kaohshiung Museum of Fine Arts, Taiwan, Art Gallery of Ontario, Canada, Museum of Modern Art, Bologna, Italy, San Francsico Museum of Modern Art, New Museum of Contemporary Art, New York, P.S.1 Contemporary Art Center, New York, Kettle's Yard, UK, and Govett-Brewster Art Gallery, New Zealand. Tse is represented by Shoshana Wayne Gallery in Los Angeles. Her work has been included in numerous articles, catalogues and publications including Sculpture Today by Phaidon (2007) and Akademie X - Lessons in Art + Life (2015).Tse's work is in public collections such as Rhode Island School of Design Museum, RI, M+, Hong Kong and Hong Kong Heritage Museum, Hong Kong.

 



SHIRLEY TSE, “SQUARING THE CIRCLE”, 2007,
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SHIRLEY TSE, “AUDIO”, 2012,
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SHIRLEY TSE, “VITAL ORGAN”, 2011,
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Tony Tasset,
2004

Tony Tasset was born in Cincinnati in 1960. He received his B.F.A. at the Art Academy of Cincinnati in 1983 and his M.F.A. at The School of the Art Institute of Chicago in 1985. Tasset works with video, photography, bronze, wax, fiberglass, film and even taxidermy. His work, employing wisdom and wit, continuously contends with the trappings of Modernism, Postmodern theory, pop culture and the universal human emotions associated with love, loss, frailty and beauty. Tasset's work is in the permanent collections of prestigious museums, including the Art Institute of Chicago and the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; the Museum Fur Moderne Kunst, Frankfurt; and the San Francisco Museum of Art. In addition, he has been featured in numerous solo and group exhibitions around the world, including Canada, Ecuador, Germany, Italy and the United Kingdom. In 2007, Tasset was the subject of a solo show at Laumeier, Tony Tasset: All Things Must Pass.



TONY TASSET, “ARROW PAINTING 11”, 2015,
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TONY TASSET, “ME AND MY ARROW 9”, 2015,
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TONY TASSET, “HOT DOG MAN”, 2014,
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TONY TASSET, “DEER”, 2015,
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