Curated by Claire Gilman & Margaret Sundell
Responding to the rapid, often violent transformations of the twenty-first century, contemporary artists have displayed a growing desire to activate art’s documentary capacity: its ability to bear witness to events in the world. The Storyteller focuses on artists who use the story form as a means of comprehending and conveying political and social events. For them, the story functions neither as a purely imagined narrative nor as a piece of verifiable information. It is at once temporal and personal, public and communal, persisting through the listener’s interpretive process and through each subsequent retelling.
Curated by David Platzker
Harald Szeemann: Documenta 5 explores the many facets of one particularly controversial Documenta exhibition, which jumped outside the contemporary art sphere into an expanded realm of activity, a legendary extravaganza that invited both visceral criticism and praise. This specific 1972 Documenta, chiefly curated by the influential Swiss curator, Harald Szeemann, was a pioneering, radically different presentation that was conceived as a 100-day event, with performances and happenings, outsider art, and even non-art. The assembled materials in this exhibition provide a rich jumping off point for art history students, artists, and general audiences to plunge into the international contemporary art scene of 1972, to see what this particularly fertile cultural moment produced.
Curated by Nato Thompson
This exhibition explores the distinctions between geographical study and artistic experience of the earth, as well as the juncture where the two realms collide. Geography benefits from the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer—an amalgam of scientist, artist, and explorer—is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.
Curated by David Platzker
Raymond Pettibon: The Punk Years, 1978-86 taps into the steady stream of this California artist’s early graphic arts production, before he appeared on the contemporary art stage. It includes over 200 examples of Pettibon’s powerful designs made between 1978 and 1986, when he was immersed in the Los Angeles punk rock scene, doing the graphic design for Black Flag and other punk bands. Crossing back and forth between music and the visual arts, this project shows Pettibon’s raw imagery, heavily shadowed technique, and characteristic visual punch in formation.
Curated by Sara Krajewski; co-organized with the Henry Art Gallery
How are artists using clipped, copied, grabbed, or downloaded images, and what do such artistic positions relate to the viewer vis-à-vis the work? How do such synthesized images operate in visual culture? Do these works critique our media-saturated age or are they only symptomatic of it? What can these processes and these composite images tell us about the state of photography today? These are just some of the questions explored in this exhibition.
Curated by João Ribas; co-organized with The Drawing Center, New York
FAX invites a multigenerational group of artists, as well as architects, designers, scientists and filmmakers, to conceive of the fax machine as a tool for thinking and drawing. Although the technology for transmitting printed images and texts over distance dates from the nineteenth century, it was the introduction of commercially available machines in the 1970s that turned facsimiles into a ubiquitous communications medium for international business.
Curated by Christopher Bedford
Despite all that has changed since sexual and social identity became a hot-button topic in art production and discourse throughout the 1970s, ’80s, and ’90s, one American stereotype still remains particularly entrenched: that of the male athlete. Mixed Signals: Artists Consider Masculinity in Sports focuses on artists from the mid-1990s to the present who question the notion of the male athlete as the last bastion of uncomplicated, authentic identity in American culture during the preceding decades.
Curated by 35 international curators
To celebrate ICI’s 35th anniversary in 2010, thirty-five leading curators from all over the world have been invited to select one artist’s video each, which they think is important, and should be seen by audiences across the globe now. Project 35 will be compiled onto a series of DVDs with eight to nine works in each of the four chapters, which will be distributed every three months, to provide you with new and engaging programming throughout the year.
Curated by Harrell Fletcher and Jens Hoffmann
This innovative project proposes an alternative model to the standard contemporary art biennial, aiming to recognize the talent and unique expression that is present within many communities. At the same time, the openness of this model is intended to reflect upon the often exclusionary and insular nature of contemporary art. Collaborating in partnership with five art centers across the U.S. over a two-year period, the curators will participate in a series of workshops and public events, leading to an exhibition of work by local artists.
Curated by Martha Wilson and presenting venue's curator
Intended as an evolving retrospective, this exhibition encourages collaboration between curator(s) at each presenting institution and the artist Martha Wilson to select works from overlapping stages of Wilson’s career that suit their own local collections and audiences. Selections may include examples of her conceptually-based performances, videos, and photo-texts, or her work as director of Franklin Furnace, her activities in DISBAND, or her role as a founding member of the Guerrilla Girls.
Curated by RoseLee Goldberg
Art Moves: Performance 1960 to 2010 is an exhibition that shows how performance has come to be at the center of the discussion on the latest developments in 21st century art and culture.
Curated by Lawrence Rinder, with Matthew Higgs; organized by the UC Berkeley Art Museum and Pacific Film Archive
Create is a group show that will bring well-deserved attention to the compelling work created over the past 20 years by artists with developmental disabilities, sharing it with a broad audience and expanding on its impact on renowned international artists and its significant contribution to the field of contemporary art.
Curated by Irene Hofmann
Broadcast explores the ways in which artists since the late 1960s have engaged with, critiqued, and inserted themselves into official channels of broadcast television and radio. By co-opting the sounds, images, and presentation strategies of our culture’s dominant forms of mass media, they reveal the mechanisms and power structures of broadcasting systems, and challenge their authority and influence.
Curated by Michael Connor
The New Normal brings together thirteen recent artworks that use private information as raw material and subject matter. Although the concept of privacy is widely invoked, it is difficult to define. The private sphere encompasses domestic spaces, bodies, thoughts, communications, and behaviors—contexts that are usually rendered inaccessible to the public eye by legal, social, and physical boundaries.
Curated by Susan Hapgood
All people have their own psychological quirks; we accept this as an essential element of human nature. During the past fifteen years, more and more artists have been probing these peculiarities, exploring neurosis as a primary subject of their art. Slightly Unbalanced features work that deals with a range of psychological tendencies, including anxiety, obsessive behavior, depression and narcissism. The artists question what constitutes normalcy, and what qualifies as neurosis, a slippery and suggestive endeavor.
Curated by Ingrid Schaffner
Jess (1923–2004) was an influential artist who emerged in the 1950s from within the literary context of Beat culture in San Francisco. Focusing on his intimate ties to poetry, books, and printed matter, Jess: To and From the Printed Page features examples of his celebrated impastos together with many of his collages and designs, as well as the books and magazines in which they were reproduced.
Curated by José Roca
Long before large art exhibitions and blockbuster shows, crowds were awed by traveling shows called “phantasmagoria” in which familiar scenes and stories were performed with the use of magic lanterns and rear projections to create dancing shadows and frightening theatrical effects. These lively, interactive events incorporated storytelling, mythology, and theater in a single art form that entertained while providing a space for thinking about the otherworldly—playing with the viewers’ anxieties regarding death and the afterlife. A comparable trend can be seen in works by contemporary artists who create ghostly images to reflect on notions of absence and loss, using spectral effects and immaterial mediums such as shadows, fog, mist, and breath.
Curated by Alex Baker & Toby Kamps
The theme of space exploration—its infinite potential, as well as its historical successes and failures—is the focus of Space Is the Place, featuring installations, paintings, works on paper, and sound and video works made during the past ten years by an international group of contemporary artists.
Curated by Stephanie Smith
Balancing environmental, social, economic, and aesthetic concerns, sustainable design has the potential to transform everyday life and is reshaping the fields of architecture and product design. Beyond Green: Toward a Sustainable Art explores the influence of this design philosophy on artists who combine a fresh aesthetic sensibility with a constructively critical approach to the production, dissemination, and display of art.