Thursday, January 24

Dove Bradshaw, Sculptor/Visual Artist

lecture 5:00 p.m.

Meyerson Hall B-3

http://www.dovebradshaw.com/

http://www.toutfait.com/issues/issue_2/Art_&_Literature/bradshaw.html

http://www.umass.edu/fac/calendar/universitygallery/events/PrimarySource.html

Thursday, February 7

Sharon Harper, Photographer

lecture 12:30 p.m.

Meyerson Hall Gallery

http://www.photoarts.com/gallery/harper/intro.html

http://www.citypaper.net/articles/2007/12/13/sharon-harper

http://www.artfacts.net/index.php/pageType/artistInfo/artist/20760

Thursday, February 14

Johanna Drucker, Spiegel Resident/Writer and Book Artist/Robertson Professor of Media Studies, University of Virginia "Combo Meals: Why/How This Book Now?"

lecture 5:00 p.m.

Meyerson Hall B-1

http://people.virginia.edu/~jrd8e/

http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/151402.ctl

http://muse.jhu.edu/journals/modernism-modernity/v002/2.3br_drucker.html

Johanna Drucker has published and lectured extensively on topics related to the history of typography, artists' books, and visual art. She is currently the Robertson Professor of Media Studies at the University of Virginia where she is Professor in the Department of English and Director of Media Studies. Her scholarly books include: Theorizing Modernism (Columbia University Press, 1994), The Visible Word: Experimental Typography and Modern Art (University of Chicago Press, 1994); The Alphabetic Labyrinth (Thames and Hudson, 1995), and The Century of Artists' Books (Granary, 1995). Her most recent collection, Figuring the Word, was published in November, 1998, (Granary Books).

In addition to her scholarly work, Drucker is internationally known as a book artist and experimental, visual poet. Her work has been exhibited and collected in special collections in libraries and museums including the Getty Center for the Humanities, the Whitney Museum of American Art in New York, the Marvin and Ruth Sackner Archive of Visual and Concrete Poetry, the New York Public Library, Houghton Library at Harvard University, and many others. Recent titles include Narratology (1994), Prove Before Laying (1997), The Word Made Flesh (1989; 1995) The History of the/my Wor(l)d (1990; 1994), Night Crawlers on the Web (2000), Nova Reperta.(JABbooks, 1999), Emerging Sentience (JABbooks 2001), the last two in collaboration with Brad Freeman. A Girl's Life, a collaboration with painter Susan Bee, is forthcoming from Granary Books in Spring 2002.

Tuesday, February 19

Charles Gaines, Sculptor

lecture 5:00 p.m.

Meyerson Hall B-3

http://query.nytimes.com/gst/fullpage.html?res=950DE5DC143DF933A05757C0A9629C8B63

http://www.designboom.com/snapshot/gallery.php?SNAPSHOT_ID=8&GALLERY_ID=313

http://artscenecal.com/ArticlesFile/Archive/Articles2002/Articles0402/CGainesA.html

Charles Gaines’ work has been featured recently in a two person exhibition with Edgar Arceneaux at the RedCat Gallery, Los Angeles and at the Lentos Kunstmuseum in Linz, Austria.  His work has been shown in solo exhibitions at Triple Candie, New York; Luckman Fine Art Gallery California State University, Los Angeles; Walter/McBean Gallery, San Francisco Art Institute, San Francisco; Santa Monica Museum, Santa Monica; Fresno Art Museum, Fresno, John Weber Gallery, New York City, Leo Castelli Gallery, New York City, and at Margo Leavin Gallery, Los Angeles, among others.  He has been included in “Double Consciousness: Black Conceptual Art Since 1970", Contemporary Arts Museum, Houston; in “Fade (1990-Present): African American Artists in Los Angeles”, Luckman Gallery, Cal State LA; “Recherche-entdeckt!  Bilderarchive der Unsichtbarkeiten, Sixth Esslingen International Photo Triennial, Galerie der Stadt Esslingen am Neckar, Germany; “Structure of Difference: Painting, Sculpture, and Photography of the Past 50 Years,” Wadsworth Atheneum, Hartford; “Deep Distance-Die Entfernung der Fotografie”, Kunsthalle Basel; in “More than Meets the Eye: Triennale der Photographie,” Deichtorhallen, Hamburg; "Some Grids: The Grid in Twentieth Century Art," Los Angeles County Museum of Art LACMA; "New Dimensions in Drawing, 1950-1980," Aldrich Museum of Contemporary Art, Ridgefield; and in the "Whitney Biennial," Whitney Museum of American Art, New York.  His work was included in the Venice Biennale 2007 52nd International Art Exhibition.

Thursday, February 21

Martha Madigan, Photographer

lecture 5:00 p.m.

Meyerson Hall B-3

http://www.marthamadigan.com/

http://www.michaelrosenfeldart.com/artists/artists_represented.php?m=history&i=4

http://www.photoinsider.com/pages/madigan/madigan.html

Monday, February 25

Patricia Phillips, Critic and Curator

lecture 4:30 p.m.

Meyerson Hall B-3

Phillips' research and critical writing involve contemporary and public art, design, architecture, sculpture, landscape and the intersections of those areas.

Since 1980, her essays and reviews have been published in Artforum, Art in America, Flash Art, Sculpture and Public Art Review. Her books and collected essays include "It Is Difficult" (1998), a survey of the work of Alfredo Jaar. She was the editor of "City Speculations" (1996), published in conjunction with a major exhibition she curated at the Queens Museum of Art in 1996. In 2002 she was appointed editor-in-chief of Art Journal, a quarterly published by the College Art Association.

Her curatorial and design projects include "Disney Animators and Animation" (Whitney Museum of American Art, 1981), "The POP Project" (Institute for Contemporary Art/P.S. 1, 1988), and "Making Sense: Five Installations on Sensation" (Katonah Museum of Art, 1996).

Friday, February 29

Vito Acconci, Sculptor/ Installation Artist

lecture 5:00 p.m.

Meyerson Hall B-1

http://www.acconci.com/

http://www.ubu.com/film/acconci.html

http://www.eai.org/eai/artist.jsp?artistID=289

Acconci began his career as a poet, editing 0 TO 9 with Bernadette Mayer in the late 1960s. In the late 1960s, Acconci transformed himself into a performance and video artist using his own body as a subject for photography, film, video, and performance. His performance and video work was marked heavily by confrontation and Situationism. In the mid 1970s, Acconci expanded his metier into the world of audio/visual installations.

One noted installation/performance piece from this period is Seedbed (January 15-29 1971). In Seedbed Acconci lay hidden underneath a gallery-wide ramp installed at the Sonnabend Gallery, masturbating while vocalizing into a loudspeaker his fantasies about the visitors walking above him on the ramp. One motivation behind Seedbed was to involve the public in the work's production by creating a situation of reciprocal interchange between artist and viewer.

During the 1980s he invited viewers to create artwork by activating machinery that erected shelters and signs. He also turned to the creation of furniture and to prototypes of houses and gardens in the late 1980s.

More recently, the artist has focused on architecture and landscape design that integrates public and private space.

Monday, March 3

Anna Hammond, Curator and visual artist

lecture 5:00 p.m.

Meyerson Hall B-3

Anna Hammond is Deputy Director for Programs and Public Affairs and Curator of Artist Initiatives and Special Projects at the Yale University Art Gallery.  She also serves as critic at the Yale School of Art. Previous posts include the Museum of Modern Art, New York, Christie's, Inc., and Harry N. Abrams, Inc. where she was the project editor for the revision of H.H. Arnason's A History of Modern Art.

Wednesday, March 5

Joseph Grigley,

lecture 5:00 p.m.

Meyerson Hall B-1

Currently Professor, Visual and Critical Studies (2002) at SAIC. AB, 1978, St. Anselm's College; DPhil, 1984, Oxford University. Exhibitions: Whitney Museum of American Art; Kunstmuseum, Bern; De Appel, Amsterdam; Portikus, Frankfurt; Anthony D'Offay Gallery, London; Boijmans Museum, Rotterdam; Musée d'art Moderne de la Ville de Paris; Centre Georges Pompidou, Paris; Whitney, Venice, Berlin, Sydney, and Istanbul Biennials. Books: Textualterity: Art, Theory, and Textual Criticism; Conversation Pieces. Essays: “23 Footnotes to Sound in Kunstmuseum Bern,” “Editing Bodies,” “Postcards to Sophie Calle,” “Caravaggio's ‘Musicians’.”

From a Review…
Schwendener, Martha. "Joseph Grigely Vox Populi". TimeOut
June 5, 2003

The question if often posed to those who possess all five senses: Which would you rather lose, your sight, or your hearing? The two are typically cast as binaries, even in the art world. Take, for instance, the last Whitney Biennial, in which sound works were accessed via headphones in a pitch black room, as if seeing anything while listening might contaminate the experience.
The sight-sound dichotomy is more immediate for Joseph Grigely, who was born hearing but is now deaf. (His artist bio reads, “born in 1956, Longmeadow, MA; deafened in 1967.) Since 1994, he has been making art composed of handwritten communications jotted on cocktail napkins, gallery announcements, and other sundry scraps of paper. On view here is Blueberry surprise, a compilation of selected writings from Grigely’s copious archive, printed on a 70”x52”sheet of paper. Featuring a maddening 45000 words, it’s a daunting work to take in, but it does include fascinating and often hilarious snippets of dialogue that conjure myriad places, situations and ideas.
Dominating the exhibition is an installation of five white, life size fiberglass dogs based on canines found in four paintings by Canaletto. The 18th century artist is best known for his postcard-like cityscapes, most famously of Venice, called vedute – a term that interestingly derives from the word vedere (Italian for “to see”).But in a gallery statement, Grigely characterizes Canaletto as a noisy painter; his dogs, with their cocked ears ad crouching postures, reveal dramas hidden in the otherwise placid scenes.
While Grigely doesn’t always fully connect the dots between sight and sound, “Vox Populi” offers plenty to ponder: about the silence of pictures, the points at which seeing and hearing intersect, and the ways we communicate our experiences to each other

TBA April

Ryan Trecartin, Sculptor

lecture 5:00 p.m.

Meyerson Hall B-3

http://www.saatchi-gallery.co.uk/artists/ryan_trecartin.htm

http://artnews.info/gallery.php?i=182&exi=7267

http://www.coolhunting.com/archives/2006/02/ryan_trecartin.php

POSTPONED TO LATER DATE

TO BE ANNOUNCED

Tom Nozkowski, Painter

ICA Tuttleman Auditorium

http://www.nyss.org/nozkowski/

http://www.mbergerart.com/nozkowski/

http://www.harlanandweaver.com/artistTN.htm

Monday, March 24

Diana Horowitz, Painter

lecture 5:00 p.m.

Meyerson Hall B-3

http://dianahorowitz.com/

http://www.askart.com/askart/h/diana_horowitz/diana_horowitz.aspx

http://www.maureenmullarkey.com/essays/wintercurry2.html

Wednesday, March 26

Anne Chu, Sculptor

Lecture 7:00 p.m.

ICA Tuttleman Auditorium

A Spiegel sponsored event

http://www.303gallery.com/artist.php?artistid=AC&exh_id=82

Friday, March 28

Armelle Le Roux, Glass Designer

lecture 4:00 p.m. " Creation, Fabrication, Conservation. The Art of Stained Glass "
with a reception following at 5:30

Arthur Ross Gallery in conjunction with exhibit

March 29-June 15, 2008

Remembered Light:
Destruction and Resurrection
Glass Fragments from World War II : The McDonald Windows Contemporary glass artists draw inspiration from the war experience and memories of one man to create new windows that include fragments collected by Chaplain McDonald in the ruined churches, chapels, and synagogues of Europe. These windows-universally symbolic of destruction and the resurrection of faith and hope through art-will be permanently installed in the Interfaith Chapel of the Presidio, San Francisco.

Cosponsored by The Chaplin of the University of Pennsylvania, Arthur Ross Gallery, and PennDesign

Meyerson Hall B-1

Monday, April 14

Donald Kuspit, Art Critic

lecture 5:00 p.m.

Meyerson Hall B-1

"Iconoclasm and Traditionalism in Modern Art."

Spiegel Lecture

http://www.art.sunysb.edu/kuspit.html

http://www.themodernword.com/reviews/kuspit.html

http://www.artquotes.net/art_quotes/critics/donald-kuspit.htm

Jenny Saville, Spiegel Resident, Painter

Cancelled

Monday, May 12

Eduardo Kac, Visual Artist

Lecture 4:30 p.m.

Meyerson Hall, B-3

http://www.ekac.org/

http://www.genomicart.org/genome-Kac.htm