Fine Art Lecture Services
Katharine T. Carter & Associates has spent over 25 years developing and refining Fine Art Lecture Services.
Through slide presentations, lectures, and workshops, highly respected art professionals discuss a wide variety of contemporary art topics including all aspects of career development for artists, art administrators, enthusiasts and collectors.
LECTURES AND WORKSHOPS PRESENTED BY THE ASSOCIATES
Katharine T. Carter is pleased to offer the services of her Associates, a unique group of individuals with extensive experience in all aspects of the art world. These art professionals are available for a wide range of individualized programs, dynamic lectures, workshops and symposia. The addition of leading art critics, independent curators, public relations and marketing strategists and career advisors provides artists, arts administrators and contemporary art enthusiasts alike valuable information about the business of exhibiting and selling art. Each Associate is a highly respected and dedicated art professional.
Richard Vine, the current Senior Editor for Asia and former Managing Editor of Art in America, has served as editor-in-chief of the Chicago Review and of Dialogue: An Art Journal. His articles on art, literature, and intellectual history have appeared in numerous journals, including Salmagundi, Modern Poetry Studies, and New Criterion.
“New China, New Art”
Nowhere is the “shock of the new” more pronounced than in contemporary China. In just 30 years, the world’s most populous nation has gone from the enforced conformity of the Cultural Revolution to a capitalistic frenzy that is today transforming cities, social structures and individual psyches at breathtaking pace. This cultural tumult – at once encouraged and feared by the sovereign Communist Party – is reflected in the work of myriad young Chinese artists, who are not only reacting esthetically to their country’s sweeping changes but – along with emerging curators, dealers and collectors – mounting a challenge to business as usual in the international artworld. This lecture discusses various movements in post-Tiananmen art (e.g., the Stars group, Scar Art, ’85 Art New Wave, Political Pop, Cynical Realism) while examining works by many key figures, including Huang Yong Ping, Xu Bing, Gu Wenda, Chen Zhen, Zhang Huan, Song Dong, Wang Qingsong, Ai Weiwei, Liu Zhen and Zhang Dali. A frequent visitor to the People’s Republic, the author, who has published numerous articles on the nation’s contemporary art scene, also offers firsthand accounts of the people, shows and institutions that are now impacting the world’s oldest continuous civilization – and its newest global player.
“Sex, Lies, and Art Magazines”
Can a few powerful publications make or break an artist’s career? Do art magazines apportion their editorial coverage on the basis of advertising revenue from galleries? Is there a conspiracy among critical tastemakers to ignore the tender and beautiful in favor of the rude and perverse? Behind such all-too-common questions lie some persistent myths about the inner workings of the New York art world and the major international art publications. A more realistic analysis reveals a fantastic disproportion between the number of shows and artists seeking exposure and the number that can actually be covered. In this intensely competitive environment, decisions are largely conditioned by, metaphorically speaking, a network of seductions: that is, the desire originating between viewer and work of art is echoed and transformed in countless ancillary acts of commerce among artists, dealers, critics, curators, and collectors.
“Why is Contemporary Art So Weird?”
Mystification, perversion, esthetic fraud––these charges and others come quickly to the popular mind these days. For it is now a fact of cultural life that progressive visual art is the preoccupation of a minuscule minority. “Advanced” art exhibitions are typically viewed by the mainstream audience (if they are viewed at all) with a combination of skepticism, intimidation and alarm. Why is this so? Could it be otherwise? This talk addresses the determinative factors – historical, socioeconomic, psychological, and philosophical – which make today’s most creative works so problematic for the general public.
“Accommodating Wickedness: Why Chelsea Succeeds as the Capital of Contemporary Art”
Part philosophical analysis, part walking tour, this slide lecture looks at the specific characteristics – architectural, historical and attitudinal – which allows this area of New York to attract the world’s greatest concentration of avant-garde work.
Ann Landi writes regularly for ARTnews, of which she has been a contributing editor for 15 years, The Wall Street Journal, Smithsonian, and other publications. She is also the author of the four-volume Schirmer Encyclopedia of Art.
“Van Gogh’s Ear”
Over the years, layers of myth and speculation have accreted to the van Gogh legend. The latest conjecture, put forward by a two German art historians and largely dismissed by other scholars, says that Paul Gauguin cut off Vincent's ear in a fit of rage.
Other theories about the painter fasten on his madness (was it epilepsy? schizophrenia? alcoholism? and should it matter?), his relationships with women and with his brother, and his tragic suicide. This lecture examines some of the popular imagery spawned by the van Gogh legend and attempts to separate the considerable achievement from the idolatry, and the real van Gogh from the cult figure.
“The Artist’s Studio: From Velázquez to the Laptop”
The artist in his studio has been an enduring source of fascination at least since Velázquez created Las Meninashis enduring portrait of the luminous Infanta Margarita and her royal entourage. Painters (and, more rarely, photographers) have depicted themselves hard at work—standing or seated at the easel, studying the model, or even entertaining collectors and dealers. Props and costumes, brushes and paints, all the accoutrements of the artist’s livelihood might find their way into the finished canvas.
The studio painting was also the way an artist could let an audience into his (or, in pre-feminist times, very occasionally her) world. It was a window on the creative process, a shortcut between the showroom and the private space where inspiration and perspiration commingled. Today, with the proliferation of video and other media, the nature of the studio “painting” has changed radically. This lecture, the subject of a recent essay in ARTnews, will discuss the ways artists have presented their studios over the centuries, touching on Rembrandt, Delacroix, Picasso, Matisse, and contemporary figures like Lisa Sigal, William Kentridge, and Kerry James Marshall.
Steve Rockwell is the publisher and editor of dArt International magazine. First released in Los Angeles in 1998, dArt also covers contemporary art in New York, Toronto, San Antonio, and Richmond, Virginia. dArt was itself the product of a 1995 narrative performance art piece entitled Meditations on Space, which involved 175 art galleries through Europe and North America. Steve Rockwell's Color Match tournaments have recently become global.
“Life Beyond the Tombstone Ad: Outlasting and Outliving the Competition”
It might be said that advertising is the sum total of signals that we transmit in a sometimes desperate bid for attention in a competitive, chaotic and unpredictable social environment. In a sense, it's every man, woman, gallery, or institution for themselves in a battle against the dragon of disinterest. How do we train our voices to be heard? Exactly what is our message? How modern masters such as Pollock, Warhol, Picasso and, Dali succeeded, has a direct correspondence to proven marketing principles at work today. I will demonstrate some of these techniques in a step-by-step presentation with visual examples. Your message, when applied tactically and creatively to the available tools of the media, just may prove irresistible.
Dominique Nahas, a leading museum and gallery catalog essayists, is an independent curator and critic, former museum director and curator, who has written extensively for magazines and periodicals such as Flash Art, Trans, New Observations, New Art Examiner, Sculpture, Art-Asia Pacific, Artnet Worldwide and C. He is a regular contributor to Art in America, as well as New York Editor of dART International and has written over 150 reviews and articles on contemporary art.
“The Highlights of the New York Art Season”
It has been said of innovative artists who show in New York that they examine commonplace, yet profound aspects of life that no one has bothered paying attention to before. That’s the major reason the high-octane international art scene in New York is exhilarating and constantly surprising. It pushes the intellectual and emotional envelope. And with mass-media at its disposal the art scene realizes that (potentially, at least) it is involved in making as well as defining new visual history The current art world in Manhattan is a thriving, rambunctious and competitive community. And it is a colossal, fascinating, energizing, culture-making, hot-house laboratory – an experimental environment where the frontiers of visuality are constantly being explored.
It’s by turns an exciting, frustrating, thought-provoking, puerile, invigorating, madcap environment with enough twists and turns to make anyone reach for their Dramamine. Who could want anything more?
As an art historian, independent curator and critic covering the Manhattan art scene one word describes the visual work I see on any given day at the numerous galleries or museums or alternative spaces in Manhattan and its environs: diversity (and plenty of it). There is work for all persuasions: from portraits and landscapes and figure studies and still lives to abstract and semi-abstract and representational art made in many media. There is art made with traditional materials as well as artwork made with a wide variety of high tech materials and processes, often of stunning beauty. There are artworks presented from all cultures and countries in museums, galleries, private salons, foreign consulates, corporate sponsored spaces, as well as in parks and other outdoor arenas. There are “official” art exhibitions as well as “unofficial, guerrilla” exhibitions. There are exhibitions of well known blue chip artists showing work in top galleries as well as artworks by newly emerging or mid-career artists in recently established commercial art spots. And, of course there is always a jostling for reconsideration and re-validation in historical terms of forgotten or half-remembered artists.
“The Highlights of the New York Art Season” intends to serve as an introduction to the sights of the past six months in the city’s thriving metropolis as well as in Brooklyn and beyond. It introduces students, faculty, museum directors, curators and staff and general art audiences to an overview of the most current work being exhibited in New York. This unique informational resource is directed towards anyone without regular first-hand contact with major galleries and museums in New York City. This slide lecture captures the explosive energy of the New York art world in its broad coverage of the innovative trends in contemporary art.
“Cyberspace: New Frontiers in Sculpture”
Technology is the language of our day. As with any other medium technology can be directed and applied to enhance our awareness of the complexity and pleasures of day to day existence and to project our fears and delights onto the future. “Cyberspace: New Frontiers in Sculpture” will center on several aspects of new technologies both in relation to the use of space and in terms of the ideology of digital somatics. As examples of these forays into new visual languages, Mr. Nahas’ talk will feature images taken from the interactive media of virtual reality (VR) as well as images of examples of stereolithography, that is, three dimensional printing, otherwise known as rapidprototyping (RP) in the visual work of revolutionary thinkers such as Berkeley mathematician Carlos Sequin, and artists such as Robert Lazzarini, Michael Rees, Greg Little, Frank Stella and inventor and toy maker Michael Grey. VR and RP have been applied and used in the entertainment industry, in the aerospace and automobile industry, in medical diagnostic imaging, in convincing VR walk-throughs by seven architects and designers. Some of the most important visual work, however, is being done on extending the theory of topological forms using programs to do first order mathematical surfaces (as in the VR and RP work of Berkeley’s Carlos Sequin and ASU’s Dan Collins). On other levels, artists and visionaries have explored technology to generate captivating new visual metaphors for consciousness. In “Cyberspace: New Frontiers in Sculpture” we will explore the visual ruminations of various artists on the idea of the man-machine hybrid (the cyborg) in the work of Michael Grey, cyber-Pygmalion myth in the RP work of Michael Rees, investigations on the creation of the millennial avatar in the RP work of Greg Little and chaos theory in the new fabricated sculpture of Frank Stella.
Critic and historian Dominique Nahas incorporates three main themes in his art talk on Pop Surrealism: Those of the grotesque body, surrealist icons of popular culture, and surreal comics and the influence of “low art” underground comics on “high art” including the fractured, dream-like surrealist narrative that has been used in comics, television, film and advertising. Mr. Nahas traces the exciting development of these two formerly antithetical art movements, one an introspective link to the unconscious, the other an outward manifestation of consumer desire in the work of over seventy contemporary artists as diverse as Peter Saul, John Wesley, Ashley Bickerton, Yayoi Kusama, Robert Artschwager, Cindy Sherman, Sue Williams, John Currin, Paul McCarthy, Art Spiegelman and Shazia Sikander.
The wish or dream to defy our earth-bound condition is the stuff of fantasies in children’s books, fairy-tales, adventure novels, as well as great literature and films. WEIGHTLESS will explore this fascinating subject through the visual efforts of artists using a variety of materials and approaches. Such works will suggest emotional states of mind, psychic realms, as well as fantastic narratives surrounding a re-conditioned physical world at a remove from normative space and time that is subject to wish fulfillment and projection as we shed our mortal confines. WEIGHTLESS will explore the themes of flight, transience, suspension, emptiness, ephemerality, dispersal, transparency, power and sublimity that circulate around the ontological dialectical tension that exists between emptiness (weightlessness) and fullness (weight). WEIGHTLESS will be looking at fantastic imagistic themes as well as suggestions of para-normal considerations explored in different ways by a diverse array of internationally recognized artists such as videographers Amy Globus, Hiraki Sawa, Jennifer and Kevin McCoy, Jennifer Steinkamp, animation artist and sculptor Luca Buvoli, ceramist Satoru Hoshino, photographer Michael Kenna, performance artist Ernesto Pujol, the installation artist Fran Siegel, the paintings and sculptures of Peter Rostovsky among many others. WEIGHTLESS will point to the formal devices used by each artist that brings forth the optical illusion of a world occupying a supranatural gravityless space and place to suggest phantasmagorical narratives, unnatural settings, dream worlds, sensorial allegories, or contemplative evocations. WEIGHTLESS will point to the sensations aroused or suggested by each of the artists as he or she induces unusual and liminal perceptions, sensations or epiphenomenal considerations in the mind of the viewer.
BROOK S. MASON
Brook S. Mason is an award winning international art market journalist who regularly contributes to the Financial Times and serves as US Correspondent of The Art Newspaper. She covers not only the auctions but also the leading art fairs in New York, Paris, London, Basel and Maastricht annually. Her in depth knowledge of leading museum curators, auction house experts, dealers and collectors on two continents informs her stories and interviews of such pivotal players as former Metropolitan Museum of Art director Philippe de Montebello, fashion designer Karl Lagerfeld and Sotheby’s CEO William Ruprecht. She is a contributing author of two books, including The International Art Markets: The Essential Guide for Collectors and Investors (Kogan Page, 2008) which garnered enthusiastic reviews in both the Wall Street Journal and the Financial Times. A paperback edition will be issued shortly. Also, Designers on Designers (McGraw Hill, 2004) for which she wrote on the Paris and New York architect Robert Couturier, went into two printings.
“Behind the Scenes: Great English Country Houses”
English country houses have long captivated novice and seasoned collectors. Some rival the Royal Palaces in the richness of their collections of art and antiques spanning centuries and cultures while others remain quintessential models of style for legions of American interiors designers and homeowners. Hear an award-winning art market journalist detail the collections of key English country houses from Chatsworth, home of the Duke of Devonshire, to Little Moreton Hall, the most famous of all black and white timber-framed houses in England. Brook Mason is the first journalist in 55 years to attend the Attingham Summer School in Britain, which is designed specifically for museum curators, architects and designers. She went behind the scenes of more than 30 country houses in England, interviewed titled owners, antiques experts, auction house specialists and preservationists. Hear how some of the most famous English country house collections were formed and how they are constantly updated.
“Art and Antiques Fairs: Which Ones Matter and Which Ones to Miss Along the Way (With Key Shopping Tips)”
With art fairs popping up all over the globe, novice and seasoned collectors have an array of shows to choose from in the increasingly crowded art market. Learn which ones really matter to the discriminating leaders of the art world from an accomplished international art market journalist who regularly covers TEFAF, the Maastricht, Holland-based fair, considered a mandatory shopping destination for art and antiques by over 220 museum curators; Art Basel in Switzerland and tiptop fairs in New York and Miami. Aside from detailing an A to Z of acclaimed international fairs, critical tips will be presented on how to shop the fairs, obtain exclusive VIP cards permitting tours of private collectors’ homes, and more. Learn which fairs such pivotal collectors and interior designers as Audrey Gruss, Mario Buatta, Nicky Haslam and Rose Tarlow never miss--along with shopping tips for bringing home the best in both traditional and contemporary art and all manner of antiques and design as well.
“The Roaring Market for Contemporary Decorative Arts and Design”
The artistry of clay, glass, wood, metal and fiber has remained the most stable specialty of the art world. With new artist-jewelers appearing practically daily on the market, hear an internationally-recognized art market journalist detail the key artists to watch along with where and how to source their material in the highly competitive art world. Also examined will be new factors driving this market such as the increasing number of fine arts museums now making contemporary decorative arts and design part and parcel of their acquisitions agenda. In addition, learn how major collectors are making a difference by donating top work to major fine arts institutions like the Boston Museum of Fine Arts, the Metropolitan Museum of Art and London’s V&A Museum and thereby further spurring the market. Learn what areas of this market remain relatively untouched by inflation and why. Hear about specific collecting groups that permit access to artists’ studios and collectors homes as well as where to source the best.
Peter Frank is Senior Curator at the Riverside (CA) Art Museum and art critic for Angeleno magazine and the L.A. Weekly. In New York he served as art critic for The Village Voice and The SoHo Weekly News and he is the former editor of Visions Art Quarterly. Frank has organized and assisted with numerous theme and survey exhibitions for such prestigious institutions and organizations as the Guggenheim Museum, Independent Curators Inc., The Alternative Museum, and Artists’ Space in New York; the Museo Reina Sofia in Madrid; Documenta in Kassel, Germany; and the Los Angeles County Museum of Art, Museum of Contemporary ARt, and Otis Art Institute in Los Angeles. He has published numerous books and catalogues, the latest a monograph on the painter Robert De Niro, Sr.
“The Arts In Fusion: Intermedia Yesterday and Today”
This lecture concerns the historical background and contemporary forms assumed by what has generally become known as “Intermedia”, that is, artwork which combines normally separate artistic disciplines. Among the forms of Intermedia prevalent in our time are performance art, body art, conceptual art, visual poetry, sound poetry, artists’ books, graphically-notated music, and many other manifestations. The Arts In Fusion describes and analyzes Intermedial work produced not only in our own time, but throughout the 20th century, by the Futurists, the Dadaists, the Surrealists, artists of the Bauhaus, and other historical groups, as well as by individuals such as Kurt Schwitters and Marcel Duchamp. Postwar figures such as John Cage and Allan Kaprow and groups like the Nouveaux Realistes and Fluxus are portrayed as both significant in their own right and as transitional to the present-day explosion in Intermedial forms and practices. The Arts In Fusion considers various leading contributors to this explosion, including Lawrence Weiner, Laurie Anderson, Vito Acconci, Douglas Davis, Eleanor Antin, Ian Hamilton Finlay, Gina Pane, John Baldessari, the Noigandres poets of Brazil, and many others.
“The (Re)Emergence of Art Around America”
This lecture discusses the growing self-sufficiency and even influence of American art centers other than New York. The talk considers sociological, economic, and political as well as aesthetic matters to investigate the reasons why cities like Chicago, Los Angeles, and Houston, and even smaller centers, no longer depend on New York as much as they once did. “(Re)Emergence” also discusses how New York remains the center of the art world in certain ways, but how this, too, could change. The contributions of artists, collectors, schools, dealers, critics, and curators to this dynamic are analyzed, as is its effect on the particular interests of these various art-world participants. Of course, the decentralization of the American art scene can be extended to art activity worldwide; the situation vis-a-vis New York in America is thus a microcosm of the global situation.
“...Lest Ye Be Judged: Juried Shows From the Juror’s POV”
At any given time of year, there is a juried show going on in some part of the United States, and perhaps other parts of the known universe. Many artists dismiss the notion of participating in such shows, while many others virtually define their careers by them. What good are such exhibitions to the exhibitors? Is it worth the money and the effort? Conversely, might participating in the “juried circuit” be a better career move than striving for gallery representation? If you do submit to juried exhibitions, how do you find out which ones are the best to submit to? What should you submit? What should you then expect? In fact, what kinds of juried shows are there? What does a typical juror look for? Who or what intervenes between the juror and your work? How much of a crapshoot is it? For that matter, what’s in it for a juror to be a juror?
Robert Mahoney has been an art writer in New York for over fifteen years, writing for such publications as ArtsFLASH ART, Contemporanea, Tema Celeste and Cover magazines. He currently writes for TIME OUT New York, Artnet online (since 1996), and contributes to edificerex.com and d'Art International. Mr. Mahoney is also the author of numerous catalog essays on contemporary artists, his writing having been presented in conjunction with exhibitions around the world. From 1994-99 Mr. Mahoney served as Public Information Officer at the Queens Museum of Art, Queens, New York, where he brought high-profile coverage to exhibitions of contemporary art.
“Art After Life: Contrasts between Art for Art's Sake and Art for Life’s Sake”
Most contemporary art is a hothouse creation based on other art, theoretical constructs and little experience in the real world. Once an artist obtains some success with a certain style, then the market enforces that style on his or her work for good. This lecture explores, through the example of several concrete case studies, how an art for art's sake art, when confronted by real life, is greatly altered, then moves on to something different, for better or worse. The lecturer sketches out a model for art that would allow of the inclusion of real life in the work.
“Sense and Sensation: The Concept of the Real in Recent Art”
Using the model of comparing the “sense” of recent art of the United States and the “sensation” created by recent art of the United Kingdom, this lecture will explore how art responds to real life and either incorporates it or chooses to distance itself from life. The tendency of recent British artists to incorporate real life objects into their works of art is compared to the American artistic hygiene, which has, of late, moved away from such incorporations. The impact and legacy of political thinking on American art and other factors contributing to a “shock gap” in contemporary art are also explored.
“Talking Pictures: Uncommon Comparisons in Art”
Most often works of art are discussed within discourses, and at the dictate of the artist's intentions or the gallery's sales goals. But in curating and in the experience of seeing art in the galleries works often compare to each other in startling ways that brings out new meaning in works of art. The Talking Pictures series is based on an ongoing approach to art undertaken by the lecturer which focuses on two particular works of art and finds similarities or differences which highlight developments in recent art.
Robert Curcio is an independent curator, writer, promoter, dealer and co-founder of Scope, Inc. His writing has appeared in ARTnews, d’Art International, Sculpture, Tema Celeste and Zing magazines. In addition, he is the Vice President of NURTUREart, a non-profit organization dedicated to exhibiting emerging artists and one of the Executive Directors of City Exhibit, an international art fair. He was co-owner of Curcio/Spector Gallery, a contemporary gallery. As the Associate Director of The New York Presence Program for Katharine T. Carter & Associates, he brings artists to the attention of galleries and other art professionals.
“The Art Fair Phenomenon”
Somewhere before the new millennium, the art world began to experience a kind of perfect storm, but one that generated greater power and riches rather than a destructive force. Within little more than a decade, the international art fair has gone from being an experiment in marketing to an unavoidable phenomenon—and a huge marketing success. The rise of the art fair, which has now become a major topic of discussion throughout the art world, began with the resurgence of the contemporary art market in the mid-1990s and a wave of do-it-yourself exhibitions in cities across the globe.
Well-organized exhibitions and fairs began in many international cities in alternative spaces including hotels, warehouses, storefronts, and commercial photography studios, adding to the momentum. Mr. Curcio, original co-founder of Scope Art Fairs, will discuss all aspects of the art fair phenomenon. The lecture is suitable for audiences of artists, exhibitors, and collectors alike.
“Contemporary Art in New York City Fieldtrips”
Spend an incomparable, art intensive day or weekend in New York City. Visit established and emerging galleries in Chelsea, 57th Street, Madison Avenue and Williamsburg, Brooklyn while discussing current exhibitions, artists represented by galleries and discussion with gallery staff when appropriate. In addition, visit selected artists in their studios. This experience provides arts organizations, educators and students, professional artists, museum trustees and collectors, gallery owners and staff, with the exclusive opportunity to learn about contemporary fine art, the market, general business practices, and what is happening currently in the New York art world. The field trip can be tailored to your specific interests. An evening reception at an artist's studio or gallery with drinks and prominent "art world" professions can be arranged upon request.
“Approaching New York Galleries”
This professional development lecture offers excellent preparation experience for both students and artists by providing a combination of practical information and specific art business workings. Special insights by Robert Curcio from his experiences, both successes and horror stories, with additional insights from fellow art professionals provides the do's and don'ts to approaching galleries and staff, how and what materials to send and to whom, a successful studio visit, interviewing the gallery as they interview you, artist/gallery relationships, etc. –in short the inside scoop to successfully navigating your career.
“The New York Gallery Review”
This is a specially developed lecture workshop which reviews, through slides and discussion, the top established, emerging galleries and alternative spaces throughout New York City. The work of 4 - 5 recently exhibiting artists from each gallery will be shown in order to identify the gallery's focus, direction, and aesthetic range. Current art news, exhibition reviews, insider information and other data will be provided. The workshop was assembled for two purposes: to offer a current review of what is happening in New York for students, artist or professionals planning a trip to New York and specifically for artists planning marketing and promotional assaults on galleries by providing basic information about the kind of work that is being exhibited.
A. M. WEAVER
A.M. Weaver has an extensive background in arts administration and art history. She is a writer and art curator with more than thirty years of experience. She has published articles in the International African American Art Review, Art in America, Art South Africa, Fiberarts, Surface Design, Aperture, Frieze and African Arts and has written in-depth catalogue essays for innumerable institutions. A. M. Weaver holds a BFA from the University of the Arts, Philadelphia, PA and an MFA from the Hoffberger School of Painting, Maryland Institute College of Art, Baltimore, MD. She has a background in African aesthetics, traditional and contemporary, and photography.
"In Their Midst"
“In Their Midst” is a photographic/film series on the representation of the female body within multiple contexts and cultural references. This lecture series focuses on the work of seven contemporary artists, Carrie Mae Weems, Berni Searle, Renee Cox, Shirin Neshat, Grace Ndiritu, Cindy Sherman, and Wanda Raimundi-Ortiz. Five of the artists featured are accomplished photographers who delve into the realm of filmmaking. This project provides an analysis of imperatives shared in their work concerning feminist, sociological and political agendas. The photographs and films by these artists range from the documentary and performative to the conceptual. With a focus on the female form, Weems, Searle, Cox, Neshat, Sherman, Raimundi-Ortiz and Ndiritu use themselves as subjects, thus becoming transformative agents. Their images are not merely self-referential or portraits, but encapsulate a reading of the black/brown/white female that assumes multiple identifications. Encompassing reality, myth and fantasy, the representation of the female body challenges antiquated stereotypes, offering alternative readings. The artist as subject constructs interpretations of the feminine outside and beyond binary oppositions – black/white, male/female, private/public and nature/culture. In essence, the purpose of the project is to present the work of seven artists who merge art practices and social commentary, thus articulating a prevailing trend within the contemporary arts.
Any single presentation (1/2 day)
Booking fee: $1,250 to $1,500 plus travel, meals and lodging.
Any single presentation plus studio visits and informal
meetings with the speaker (full day)
Booking fee: $1,875 to $2,000 plus travel, meals and lodging.
Combination of programming, two formal presentations plus
studio visits and informal meetings with the speaker (2 full days)
Booking fee: $2,500 plus travel, meals and lodging.