Category Archives: Alternative Spaces

George H. Waterman III

George H. Waterman  III.  Waterman graduated from Harvard College where he studied Art History. He was on the first board of directors of the Dia Art Foundation. He has been a member of the Harvard Overseers Committee to Visit the Art Museums, the Collection Committee of the Whitney Museum of American Art, and the Library Committee of The Museum of Modern Art. He has been a trustee of the Archives of American Art and the Rhode Island School of Design. For most of the last 40 years, he has been and continues to be a member of the Museum Committee of the Rhode Island School of Design. He is currently the director of the Visual Art Library.

Edward Hirsch

Edward Hirsch, a MacArthur Fellow, has published nine books of poems, including The Living Fire: New and Selected Poems (2010), which brings together thirty-five years of work.

His book-length elegy, Gabriel: A Poem (2014), which The New Yorker calls “a masterpiece of sorrow,” won the National Jewish Book Award for poetry.

He has also published five books of prose, among them, How to Read a Poem and Fall in Love with Poetry (1999), a
national bestseller, and A Poet’s Glossary (2014), a full compendium of poetic terms.

He is president of the John Simon Guggenheim Memorial Foundation.

Kazys Varnelis

Kazys Varnelis is an artist, designer, and scholar. His focusses on the impact of digital technology on everyday life. He holds a PhD in the History of Architecture and Urban Development from Cornell University and is the founder and Director of the Network Architecture Lab and co-founder of AUDC , entities that are both think tanks and practices, conducting research, producing publications, and exhibitions. With AUDC he has published Blue Monday: Absurd Realities and Natural Histories and exhibited at High Desert Test Sites and other venues. With the Network Architecture Lab , he has edited the Infrastructural City. Networked Ecologies in Los Angeles and Networked Publics  and exhibited at the New Museum, the Museum of Modern Art, and held a major exhibition at the Contemporary Art Centre in Vilnius, Lithuania. He taught for a decade each at the Southern California Institute of Architecture and Columbia University and is a founding faculty member of the School of Architecture at the University of Limerick, Ireland.  

Marco Antonini

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photo by: Daniele Bianchi

Marco Antonini is an independent writer and curator. From 2011 to 2016, he served as NURTUREart’s Executive Director & Curator, presenting new work by Ian Pedigo, Ivan Argote, Jonathan Ehrenberg, Meredith James, Arianna Carossa, Daniel Bejar, Nathalie Hausler, Alina Tenser, Gabriela Salazar, Deville Cohen, Lior Modan, and Steffani Jemison, among many others. Antonini’s ambitious, inter-generational group exhibitions We Are: (2011), …Is This Free? (2012), Welcome to the Real (2013), We Are: at The Luminary (Saint Louis, MO, 2013) and Multiplicity: City as Subject Matter (2014) further pushed the envelope of what was possible at NURTUREart, connecting established and emerging artists, experimenting with off-site programming and developing books and publications that helped NURTUREart reach out to an increasingly international audience.

His independent curatorial projects have been presented in New York by Japan Society, the Lower Manhattan Cultural Council (LMCC), ISE Foundation, Elizabeth Foundation Project Space, the Italian Cultural Institute, the International Studio and Curatorial Program (ISCP), Interstate Projects, and Abrons Art Center; Internationally by Bevilacqua La Masa Foundation, Venice, FUTURA Center for Contemporary Art, Prague, CCEG, Guatemala City, Random Institute, Zurich  among many others. As an independent curator and writer, Antonini has consistently championed the early work of artists who have moved on to greater and much deserved visibility and renown.

Antonini’s articles, essays, interviews, short stories and poetry have been published worldwide on magazines, journals, catalogs and other exhibition-related publications. His two most recent books projects are Golden Age: Perspectives on Abstract Painting Today (NURTUREart 2015), co-edited with Christopher K.Ho and collecting essays and interviews dedicated to the return of abstraction in contemporary painting, and Experimental Photography (SHS/Vetro/Thames and Hudson/Prestel, 2015) a book of interviews and texts dedicated to experimental photographic practice.

See an archive of past and current work here.

Premiere of Kim Hoeckele's theatrical piece Rosy-Crimson. Courtesy, NURTUREart.

Premiere of Kim Hoeckele’s theatrical piece Rosy-Crimson. Courtesy, NURTUREart.

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Exhibition view of Steffani Jemison’s solo exhibition Prime. Courtesy, NURTUREart.

Anne-Marie Oliver / Barry Sanders

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Anne-Marie Oliver & Barry Sanders

Anne-Marie Oliver is a cultural theorist, photographer, and documentarian, whose projects occur at the intersection of art, religion, politics, and technology. Her work can be found in Critical Inquiry, Partisan Review, The International Journal of Comparative Sociology, and Public Culture, the Bulletin of the Center for Transnational Cultural Studies, the University Museum, the University of Pennsylvania, as well as Salon, The New Republic, and Le Monde diplomatique. She spent many years doing fieldwork and research in the Middle East, collecting and documenting the art, political ephemera, and underground media of the first intifada—work supported by the H.F. Guggenheim Foundation and, later, Harvard’s Center for Middle Eastern Studies. The result of that research was published by Oxford University Press in 2004 as The Road to Martyrs’ Square (with Paul F. Steinberg), and was a Quill Award nominee. She has given lectures at Columbia, Princeton, Stanford, the Carnegie Council for Ethics in International Affairs, the Muriel Gardiner Seminar on Psychoanalysis and the Humanities at Yale, Tufts, USC, and Harvard; and has appeared as a discussant on CNN, National Public Radio, the BBC, MSNBC, Air America, and Fresh Air with Terry Gross. Her current projects address the role of art and aesthetics in the 21st century, particularly in relation to invisible catastrophe; surveillance, proto-surveillance, and the experience of time; and notions of the intervention. She has carried out various art projects, individual and collective, at the Portland Institute for Contemporary Art’s TBA Festival, PDX Contemporary Art, and galleryHOMELAND, among others, and, in 2011, closed out the Visiting Artist Lecture Series at the Mason Gross School of Art at Rutgers. In 2013, she curated the show Infinity Device with Barry Sanders at the Historic Maddox Building in Portland, Oregon. She has taught at MIT, Georgia Tech, and the Hebrew University of Jerusalem, and has served as a guest critic at CalArts, the Tisch School of the Arts, NYU, and the University of the Arts London, among others. Along with Barry Sanders, she founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

Barry Sanders’ projects occur increasingly at the intersection of art and activism, and include The Green Zone: The Environmental Costs of Militarism, which Project Censored named one of the top-ten censored stories of 2009, and “Over These Prison Walls,” which invites collaborations between artists and incarcerated youth. He has twice been nominated for the Pulitzer Prize and is the author of fourteen books and over fifty essays and articles, including Sudden Glory: A Brief History of Laughter, Alienable Rights: The Exclusion of African-Americans in a White-Man’s Land, 1619-2000 (with Francis Adams), ABC: The Alphabetization of the Popular Mind (with Ivan Illich), The Private Death of Public Discourse, and A Is for Ox: The Collapse of Literacy and the Rise of Violence in an Electronic Age. His book-art projects include a collaboration with printmaker Michael Woodcock, Fourteen Ninety Two or Three, which won Honorable Mention in the Carl Hertzog Awards Competition for Excellence in Book Design, while his 2002 essay for Cabinet, “Bang the Keys Softly: Type-Writers and Their Dis-Contents,” has been reprinted in Courier (University Art Museum, SUNY) as well as Ghost in the Machine (New Museum). He has given presentations at the Los Angeles County Museum of Art (with Ivan Illich); the J. Paul Getty Museum; and the Portland Art Museum, among many others, and in 2013, curated the show Infinity Device with Anne-Marie Oliver at the Historic Maddox Building in Portland, Oregon. He was the first to occupy the Gold Chair at Pitzer College, where he taught, among other things, the history of ideas and medieval church iconography. Along with Anne-Marie Oliver, he founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

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Atta Kim, Caldera

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CT+CR Collective 2016, 4755.8 (Casting Our Glances across These Shores towards Fukushima-Daiichi on the 5th Anniversary of the Pacific Disaster)

Amish Morell

amishmorrellAmish Morrell is Editor of C Magazine and Director of Programs at C The Visual Art Foundation. He has taught at the University of Toronto Mississauga, York University and at Ryerson University and currently teaches in the graduate Criticism & Curatorial Practice MFA program at OCAD University.

He has curated numerous public projects and exhibitions in Atlantic Canada, including The Frontier is Here, Nightwalks with Teenagers and Doing Our Own Thing: Back-to-the-Land in Eastern Canada During the 1970s. He is currently working on a curatorial project called Outdoor School for the Doris McCarthy Gallery in Toronto. In September 2016 he will be a faculty member at Visual + Digital Arts residency at the Banff Centre in Banff, Alberta.

 

Amish Morrell was interviewed by Kristen Fahrig for this edition.

Theresie Tungalik

theresie-011-1I was born on the sea ice in the month of March at the Arctic Circle. My parents were traveling by dog team so I would be born in the community of Naujaat,  Nunavut. I have lived around art most of my life and it has inspired me as I am a fan of great creator of art. Today I work with many artists across the territory of Nunavut. I have seen the changes and stills as tools and msterials become available to Inuit artists.

For the last 17 years I have been the Advisor for Arts and Traditional Economy  with the Government of Nunavut.   Through my job is have met some of the most interesting people. Art is one of the best ways to keep one busy and makes one come with new ideas that make one unique and identifiable though one’s creation.

Theresie Tungalik was interviewed by Kristen Fahrig for this edition.

Harald Falckenberg

haroldHarald Falckenberg, born 1943, is President of the Kunstverein in Hamburg since 1998. He has studied law in Freiburg, Berlin and Hamburg and worked since 1979 until 2014 as CEO, now as board member for a company in the petrol business. Since 1987 he is honorary judge at the Hamburg Constitutional Court. His worldwide renowned collection of contemporary art which comprises over 2000 works, e.g. by John Baldessari, Richard Prince, Martin Kippenberger and Thomas Hirschhorn, is shown on 62,000 square feet in a former factory building in Hamburg. In 2008 Falckenberg was appointed professor for art theory at the Academy of Art in Hamburg. Since 2011 the collection is shown in partnership with the recommended exhibition house Deichtorhallen Hamburg. Falckenberg has written numerous essays on art and artists which are collected in the anthologies „Ziviler Ungehorsam“ (Civil Disobedience), 2002, and „Aus dem Maschinenraum der Kunst“ (From the Engine Room of Art), 2007. He was honoured with the Art-Cologne-Preis (2009) and the Montblanc de la Culture Arts Patronage Award (2011).

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The Falckenberg Collection building , located in Hamburg-Harburg.

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Jon Kessler´s “The Palace at 4 A.M.“, 2005/2006

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Jonathan Meese´s “Das goldene Skelett; (Der Sektenmensch starb) Koma/Roulette / oder Casino Royal (Goldenes Skelett)“, 2000.

Linda Earle

LInda picLinda Earle is an arts administrator educator, writer, grant-maker, and advocate of arts and social justice.    She is currently the Executive Director of the New York Arts Program an off campus study program serving undergraduates nationally in the visual, performing and media arts, writing and journalism. Before joining NYAP she served as the Executive Director of Program at the Skowhegan  residency one of the nation’s leading organizations for emerging visual artists.  Earle was a Senior Program Director for the NY State Council on the Arts(NYSCA) where the multi-disciplinary Individual Artists Program was established under her direction.

She has taught Film and Cultural Theory at Barnard and Hunter Colleges and at Rutgers University’s Mason Gross School of the Arts. and has curated visual arts and film exhibitions.    She  has a long-standing interest in the intersection of art and social justice serves on the Boards of Art Matters a foundation that supports artists who break new ground aesthetically and engage social issues,  and Inclusion in the Arts which  advocates and promotes authentic dialogue about race, culture, and disability in theatre, film and media.  She also serves on the Board of the Jerome Foundation which supports emerging artists.   As a writer she has participated in residency programs at Hedgebrook and the Writers’ Room.

Earle received her BA in Film Studies from Hampshire College; and an MFA in Film from Columbia University where she also studied painting, art history, and architectural history.

Currently Reading: Robin Coste Lewis’ Voyage of the Sable Venus

Diane Brown

Diane Brown

Diane Brown

RxArt Founder and Executive Director, Diane Brown, has forged a professional path that draws equally from her professional beginnings as a Pre-med student at the University of Wisconsin and from her career as a New York based gallerist, art dealer, and consultant.

Brown has been active in the field of contemporary art since 1973; from 1976-1982, she owned and operated the Diane Brown Gallery in Washington DC and New York City (1983-1992). These spaces played host to some of the most significant artists of the time and that, in turn, has set the standard for the artistic aims of RxArt; a belief in art’s ability to not only transcend but transform its settings and viewers. Brown also worked as a private dealer, a consultant to private collectors for collection development and management, and as the curator of a corporate photography collection in New York City.

RxArt Jeff Koons Project 2010

Jeff Koons, Advocate Children’s Hospital, Oak Lawn, IL, 2010

RxArt Rob Pruitt Project 2014

Rob Pruitt, St. Mary’s Hospital for Children, Bayside, NY, 2014rx art

INVISIBLE-EXPORTS / Risa Needleman / Benjamin Tischer

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INVISIBLE-EXPORTS was founded by Risa Needleman and Benjamin Tischer in 2008 on New York’s Lower East Side, with over 30 years in the art world between them. 

Located on 89 Eldridge Street, New York, NY 10002. Regular Gallery Hours: Wednesday – Sunday 11am – 6pm or by appointment

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CL Install 1

John Hutnyk

John and TheodorJohn Hutnyk writes on culture, cities, diaspora, history, film, prisons, colonialism, education, Marxism. He studied and taught in Australia at Deakin and Melbourne Universities; and in the UK in Manchester University’s Institute for Creative and Cultural Research; before moving to Goldsmiths in 1998, and becoming Academic Director of the Centre for Cultural Studies in 2004-2014. He has held visiting researcher posts in Germany at the South Asia Institute and Institute for Ethnologie at Heidelberg Universpantoity, and Visiting Professor posts in InterCultural Studies at Nagoya City University Japan, Zeppelin University and Hamburg University, Germany, Sociology at Mimar Sinan University, Istanbul, Turkey and at the Graduate institute for Social Research and Cultural Studies, National Chiao Tung University, Taiwan. Adjunct Professor of RMIT University, Melbourne.

Bad marxismHis books include: “The Rumour of Calcutta: Tourism, Charity and the Poverty of Representation” (1996 Zed); “Critique of Exotica: Music, Politics and the Culture Industry” (2000 Pluto Press); “Bad Marxism: Capitalism and Cultural Studies” (2004 Pluto); “Pantomime. Terror: Music and Politics” (2014 Zero); and co-authored with Virinder Kalra and Raminder Kaur: “Diaspora and Hybridity” (2005 Sage). He have edited several volumes of essays, including “Dis-Orienting Rhythms: the Politics of the New Asian Dance Music” (1996 Zed, co ed with Sharma and Sharma); “Travel Worlds’ (1998 Zed co-ed with Raminder Kaur); editions of the journals ‘Theory, Culture and Society’ and ‘Post-colonial Studies’, and both a festschrift for Klaus Peter Koepping called “Celebrating Transgression” (2006 Berghahn, co-ed with Ursula Rao) and the phd colloquium volume “Beyond Borders” (Pavement books 2012). Next books = Global South Asia, Trinketization, Capital and Cultural Studies, Proletarianisation.

Naomi Campbell

NC photo 0316Naomi Campbell is an award-winning producer of over sixty new Canadian performance works with companies including Nightswimming, Mammalian Diving Reflex, DVxT Theatre, the late Paul Bettis’ Civilized Theatre, VideoCabaret and numerous independent artists. She has produced national and international tours and was Industry Series Producer for the 2008 (Vancouver), 2009 (Ottawa) and 2010 (Kitchener-Waterloo) Magnetic North Theatre Festivals. Over the past 8 years she has consulted with over 20 independent companies and individual artists on touring, board development, visioning, and organizational transformation.

She has received 2 Dora Mavor Moore Awards, a 2005 Vital People Award from the Toronto Community Foundation, the 2009 Leonard McHardy and John Harvey Award, the 2010 Mallory Gilbert Leadership Award and the 2011 Victor Martyn Lynch Staunton Award, for her contributions to the national theatre community.

She is currently the Director of Artistic Development at Toronto’s Luminato Festival, where she shepherds new works from ideas to production.

Naomi was interviewed by Kristen Fahrig for this edition.

David Liss

unnamed[4]David Liss is Artistic Director and Curator of the Museum of Contemporary Art, Toronto, Canada, since December 2000. Arriving from Montreal with a vision to create a permanent museum for contemporary art in Canada’s largest city, Liss evolved MOCA from modest beginnings in the Toronto suburb of North York, re-locating the museum to Queen St. West in 2005. Through innovative exhibitions, extensive publications and multi-disciplinary platforms, over the course of a 10-year lease on Queen St. he has developed MOCA into an important cultural venue in Toronto, in Canada and beyond.

Most recently he has established a greatly expanded and permanent home for the museum in the iconic Tower Automotive Building in Toronto’s west end where MOCA is poised to make significant contributions to Canadian and global arts and culture.

In addition to establishing MOCA as a permanent institution he has curated and organized numerous exhibitions at MOCA, and for other institutions, in Canada and abroad.

From April 1995 until November 2000 he was Director/Curator of the Gallery of the Saidye Bronfman Centre for the Arts in Montreal.

He holds a BFA (1987), from Concordia University in Montreal, and between 1994 and 1996 he regularly contributed art reviews to the Montreal Gazette.

Since the mid-1980s he has organized, produced and curated numerous solo and group exhibitions of contemporary art, in addition to overseeing related publications, educational programs, performances, events, and travelling exhibitions and projects in Canada and internationally.

He is a member of the Canadian Association of Museum Directors Organization (CAMDO), a contributing editor to Canadian Art magazine and Adjunct Professor at York University in Toronto. He is also a practicing artist in drawing, watercolor and photography.

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MOCCA on Queen St. West, 2005 – 2015

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MOCA Toronto’s new location, scheduled to open in Spring of 2017

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Current MOCA Toronto project: Solid States by Toronto artist An Te Liu, at the Toronto Sculpture Garden

Dennis Elliott

IMGP5608Dennis Elliott recently stepped down as Executive Director of the International Studio & Curatorial Program (ISCP) which he founded in Lower Manhattan in 1994.

ISCP was the fifth NYC visual arts program Elliott administrated starting in 1980 with the Nova Scotia College of Art & Design (NSCAD). In 1985, he initiated the Alliance of Independent Colleges of Art’s (AICA) New York Studio Program. AICA was a consortium of 18 US and four Canadian colleges. In 1992, when the NSCAD program was discontinued, Elliott was recruited to coordinate the Marie Walsh Sharpe Art Foundation’s Space Program, which he shepherded for the next 21 years. These programs hosted approximately 1,200 artists and art students for extended residencies in the New York City art community.

In addition, ISCP hosted approximately 2,000 artists and curators from 64 countries including the US. ISCP currently has 35 studios, two gallery spaces and generous common areas for its participants. The ISCP model was unique at its inception and since then, has been replicated all over the world.

Elliott, a Canadian, graduated from the California College of Arts and Crafts (CCAC) with an MFA in painting in 1971. He received the Northern California scholarship to attend the Showhegan School of Painting and Sculpture the same year. As a young artist, Elliott, attended several residency programs, which ultimately gave rise to his proposing that he initiate similar programs in New York City.

Building and sustaining these programs came to demand all his attention at the expense of being in the studio. Currently, he lives in New York and has returned to painting after a hiatus of 20 years.