Showing posts with label art award. Show all posts
Showing posts with label art award. Show all posts

06/04/25

Sarah Sze: Recipient of the Meraki Artist Award 2025

The Institute of Contemporary Art/Boston announced that Sarah Sze is the first recipient of the Meraki Artist Award

The Institute of Contemporary Art/Boston (ICA) announced that Sarah Sze (b. 1969, Boston, MA) is the inaugural recipient of its new Meraki Artist Award. Widely recognized for expanding the boundaries between painting, sculpture, video, and installation, Sarah Sze’s work blends the intimate with the monumental, precision with chaos, and the physical with the digital. Her intimate paintings and large-scale installations and public works challenge perceptions of space, time, and scale, making her one of the most compelling artists of our time.
“It’s a huge honor to be the first recipient of the Meraki Artist Award and I’m inspired by the dedication to love, care, and art that the award stands for,” said Sarah Sze.  
Generously funded by Fotene Demoulas, the $100,000 award celebrates the artistic achievements of women artists and their impact on the field of contemporary visual art. Sarah Sze will accept the Meraki Artist Award at the museum’s annual Women’s Luncheon on May 5, 2025. 
“I am honored to collaborate with the ICA to spotlight the passion and presence that women visual artists bring to their practice through the Meraki Artist Award,” said Fotene Demoulas. “I want to offer heartfelt congratulations to Sarah, whose innovate work inspires us to see the world in new ways.”

“In Greek, the word meraki means to pour your soul into something, and I can think of no better way to describe Fotene’s longstanding support of artists and the ICA,” said Jill Medvedow, Ellen Matilda Poss Director of the ICA. “The generosity of this award is echoed in the open spirit and artistic expansiveness of Sarah’s work. We are thrilled to recognize Sarah as the inaugural recipient of the Meraki Artist Award and to celebrate her important contributions to art and culture.”
An exhibition of works promised to the ICA by Fotene and Tom Coté will go on view at the museum in January 2026. Reflecting their longtime support of artists at every stage of their career through exhibitions, publications, and museum acquisitions, the exhibition features work by 20 artists including Charlene von Heyl, Deana Lawson, Deborah Roberts, Diedrick Brackens, Laura Owens, Lynette Yiadom-Boakye, Mickalene Thomas, Njideka Akunyili Crosby, Olga de Amaral, and Sarah Sze. The artworks reflect multiple generations, styles, media, and thematic concerns, exemplifying a sustained interest in formal and material complexity and a steadfast belief in the singular perspectives that artists contribute to the world.

SARAH SZE BIOGRAPHY 

Sarah Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia works that shift scale between microscopic observation and macroscopic perspective on the infinite. A peerless bricoleur, Sarah Sze moves with a light touch across proliferating media. Her dynamic, generative body of work spans sculpture, painting, drawing, printmaking, video, and installation while always addressing the precarious nature of materiality and grappling with matters of entropy and temporality. 

Born in Boston, Sarah Sze earned a BA from Yale University in 1991 and an MFA from the School of Visual Arts, New York, in 1997. While still in graduate school, she challenged the very nature of sculpture, at MoMA PS1 in New York, by burrowing into the walls of the building, creating sculptural portals and crafting ecosystems that radically transformed the host architecture. A year later, for her first solo institutional exhibition, at the Museum of Contemporary Art Chicago, she presented Many a Slip (1999), an immersive installation sprawling through several rooms in which flickering projections were scattered among complex assemblages of everyday objects. This marked Sze’s first foray into video, which has since become a central medium of her installations. Citing the Russian Constructivist notion of the “kiosk” as a key inspiration, she conceived subsequent installations as portable stations for the interchange of images and the exchange of information. Sarah Sze represented the United States in the 55th Venice Biennale in 2013, and her work has been the subject of numerous solo exhibitions, including recently at Nasher Sculpture Center, Dallas (2024); Solomon R. Guggenheim Museum, New York (2023); and Fondation Cartier, Paris (2020), and featured in the Carnegie International (1999); Whitney Biennial (2000); and the Bienal de São Paulo (2002). She was awarded a MacArthur Fellowship in 2003. 

THE MERAKI ARTIST AWARD  

The Meraki Artist Award is an annual artist award that is a key part of the ICA’s efforts to exhibit, present and collect the work of women artists. The award takes its inspiration from the Greek word “meraki” (may-rah-kee), which means to do something with soul, love, or creativity. The Meraki Artist Award is funded by Fotene Demoulas and will continue to be supported for the next ten years. The artist will be recognized at the ICA’s annual Women’s Luncheon. 

ICA - INSTITUTE OF CONTEMPORARY ART - BOSTON
25 Harbor Shore Drive, Boston, MA, 02210

26/03/25

Anonymous Was A Woman: The First 25 Years @ Grey Art Museum, New York University

Anonymous Was A Woman 
The First 25 Years
Grey Art Museum, NYU
April 1 – July 19, 2025

Elizabeth King - Artwork
Elizabeth King
(AWAW 2014) 
Still from Feints and Sleights, 2017 
Stop-frame animation, color, silent, 3:00 min 
Courtesy the artist, Richmond

Judy Pfaff - Artwork
Judy Pfaff
(AWAW 2012) 
Ram's Delhi, 2012 
Wood, mild steel rod, melted plastics, black aluminum foil, 
and LED and UV Fluorescent light, 70 x 132 x 17 in. 
Courtesy the artist and Miles McEnery Gallery, New York

Betye Saar - Artwork
Betye Saar
(AWAW 2004) 
Globe Trotter, 2007 
Mixed-media assemblage, 32 1/2 x 18 1/4 x 14 1/8 in. 
© Betye Saar 
Courtesy the artist and Roberts Projects, Los Angeles

The Grey Art Museum at New York University presents Anonymous Was A Woman: The First 25 Years, an exhibition celebrating recipients of the titular grant for mid-career women artists living and working in the United States. This ambitious exhibition invites reflection on a quarter century of artistic achievement tied to the Anonymous Was A Woman (AWAW) grant program, which, since 1996, has supported women artists over the age of 40 with unrestricted awards. Six years in the making, Anonymous Was A Woman is organized by the Grey Art Museum at NYU and guest curated by Nancy Princenthal and Vesela Sretenović.

Featuring some 50 artworks by 41 of the 251 award recipients from when the grant was inaugurated in 1996 through 2020, the exhibition showcases a range of media and subjects by artists including Jeanne Silverthorne (AWAW 1996), Laura Aguilar (AWAW 2000), Senga Nengudi (AWAW 2005), Mary Heilmann (AWAW 2006), An-My Lê (AWAW 2006), Carrie Mae Weems (AWAW 2007), Ida Applebroog (AWAW 2009), Jungjin Lee (2011), Janine Antoni (AWAW 2014), and Jennifer Wen Ma (AWAW 2019), among others. With each year represented by at least one artist, the exhibition includes works created within a few years of their grant, demonstrating the significance of the award to the artist’s growth. 
“Nancy and I sought to create a visually compelling and intellectually stimulating exhibition that balances work by well-established and lesser-known artists. We also wanted to highlight leaps in production that the grant made possible, both practically—many artists were enabled to try new materials and processes—and conceptually,” Vesela Sretenović says. 
All 251 artists are represented in a publication accompanying the exhibition, which also includes critical essays about the awardees by Princenthal, Sretenović, and other women scholars.

Visitors to Anonymous Was A Woman are encounter works that trace the development of contemporary art practice over the last twenty-five years, addressing issues of identity and community; the position of women artists in society; the shifting value of craft; the changing possibilities for installation and time-based media; as well as the many uses of anonymity. Flamethrower, for example, a painting by Carrie Moyer (AWAW 2009) demonstrates the artist’s characteristic high-gloss surfaces and curvaceous, colorful forms, and challenges gendered conventions of abstraction. Rona Pondick (AWAW 2016), also featured in the exhibition, has used her own body to create self-portraits in various materials—such as the colored molded resin of Magenta Swimming in Yellow—that are at once deeply personal and anonymizing. Likewise, Elizabeth King (AWAW 2014) often references her own body when creating precisely moveable, half-scale figurative sculptures and combining them with stop-motion animation, as in Feints and Sleights.

Princenthal explains, “Every single one of the artists who received a grant in our target period is remarkable, and it was an enormous challenge to choose among them. Vesela and I embraced the variety of thematic and formal approaches seen in the awardees’ work, as well as the full range of their regional, ethnic, and racial backgrounds, and the several generations they represent.” For example, Betye Saar’s (AWAW 2004) assemblage, Globe Trotter, depicts a worn vintage doll held captive inside of a small birdcage resting atop a globe—a combination of powerful symbols referencing the history of slavery. Claudia Joskowicz’s (AWAW 2020) Some Dead Don’t Make a Sound, like many of her video and installation works, evokes the transformative effect of violent political events on physical spaces and collective memory.
“I think what is astonishing for all of us,” states Lynn Gumpert, director of the Grey Art Museum since 1997, “is to look over this list of amazing artists and realize the impact they have made on the last twenty-five years of the art scene. As of 2019—when we were first conceiving the show—just 11% of all acquisitions and 14% of exhibitions at major American museums over the past decade were of work by female artists, according to the Burns Halperin Report. We know that there is still a lot of work to be done.”
Last year, Susan Unterberg and AWAW launched the Anonymous Was A Woman Artist Survey in collaboration with journalists Charlotte Burns and Julia Halperin, arts leader Loring Randolph, and SMU Data Arts. A first-of-its-kind study, the survey aims to gain a better understanding of women artists’ lives and careers, and the factors contributing to their successes and challenges. Findings will be made publicly available on April 9, 2025, as part of “Artists Speak: The Anonymous Was A Woman Symposium,” hosted at NYU.  Registration will be available on the AWAW website.

About AWAW

Founded by visionary philanthropist and photographer Susan Unterberg, the Anonymous Was A Woman (AWAW) grant program has provided annual unrestricted gifts of $25,000 each to ten exceptional artists over the age of 40, enabling them to further push boundaries in their creative fields. In 2024 the number of awardees permanently increased to fifteen and the cash prize doubled to $50,000. “Since I am an artist, I knew firsthand that the needs of mid-career artists were generally overlooked,” says Unterberg, who herself remained anonymous until 2018.

The groundbreaking program, inspired by a line from Virginia Woolf’s essay, “A Room of One’s Own,” was established in response to the National Endowment for the Arts’s decision to end funding for individual artists. True to its name, AWAW selects artists via anonymous panels based on recommendations proposed each year by a group of anonymous nominators comprising previous awardees, curators, writers, and other art professionals. 
Susan Unterberg says, “Women throughout history—and especially women artists—have often remained anonymous. They didn’t sign their work, and of course, they received very little recognition. AWAW has given me an immense amount of joy—and mostly since I’ve gone public. It’s a way to show my activism and advocate that women shouldn’t remain anonymous any longer.” 
Over the years, this grant has been transformative for many artists, offering critical financial support and awarding over $8 million to more than 300 recipients to date. In 2022 AWAW partnered with the New York Foundation for the Arts (NYFA) to initiate the Environmental Art Grant, a yearly open call for woman-led art projects that inspire thought, action, and ethical engagement with the environment.

For more information on Anonymous Was A Woman, please visit:

Anonymous Was A Woman: The First 25 Years 
List of Exhibiting Artists

Laura Aguilar
Born 1959, San Gabriel, CA
Died 2018, Long Beach, CA
Award year: 2000

Elia Alba 
Born 1962, Brooklyn, NY
Based in the Bronx, NY 
Award year: 2019

Janine Antoni
Born 1964, Freeport, Bahamas 
Based in in New York City
Award year: 2014

Polly Apfelbaum 
Born 1955, Abington Township, PA 
Based in New York City
Award year: 1998

Ida Applebroog
Born 1929, the Bronx, NY
Died 2023, New York City
Award year: 2009

Dotty Attie
Born 1938, Pennsauken, NJ
Based in New York City
Award year: 2018

Uta Barth
Born 1958, Berlin, Germany
Based in Los Angeles, CA
Award year: 2012

Janet Biggs
Born 1959, Harrisburg, PA
Based in New York City
Award year: 2004

Chakaia Booker
Born 1953, Newark, NJ
Based in New York City and Allentown, PA
Award year: 2000

Kathy Butterly
Born 1963, Amityville, NY
Based in New York City
Award year: 2002

Anne Chu
Born 1959, New York City
Died 2016, New York City
Award year: 2001

Sonya Clark
Born 1967, Washington, DC
Based in Amherst, MA
Award year: 2016

Petah Coyne
Born 1953, Oklahoma City
Based in New York City
Award year: 2007

Chitra Ganesh
Born 1975, Brooklyn, NY
Based in Brooklyn, NY
Award year: 2020

Sharon Hayes
Born 1970, Baltimore, MD
Based in Philadelphia, PA
Award year: 2013

Mary Heilmann
Born 1940, San Francisco, CA
Based in New York City and
Bridgehampton, NY
Award year: 2006

Claudia Joskowicz
Born 1968, Santa Cruz de la Sierra, Bolivia
Based in New York City and Santa Cruz de la Sierra, Bolivia
Award year: 2020

Nina Katchcadourian
Born 1968, Stanford, CA
Based in Brooklyn, NY, and Berlin, Germany
Award year: 2003

Elizabeth King
Born 1950, Ann Arbor, MI
Based in Richmond, VA
Award year: 2014

An-My Lê
Born 1960, Saigon, Vietnam
Based in Brooklyn, NY
Award year: 2006

Jungjin Lee
Born 1961, Seoul, South Korea
Based in New York City
Award year: 2011

Mary Lucier
Born 1944, Bucyrus, OH
Based in New York City and Cochecton, NY
Award year: 1997

Jennifer Wen Ma
Born 1973, Beijing, China
Based in New York City and Beijing, China
Award year: 2019

Suzanne McClelland
Born 1959, Jacksonville, FL
Based in Brooklyn and Orient, NY
Award year: 2010

Carrie Moyer
Born 1960, Detroit, MI
Based in Brooklyn, NY
Award year: 2009

Senga Nengudi
Born 1943, Chicago, IL
Based in Colorado Springs, CO
Award year: 2005

Judy Pfaff
Born 1946, London, UK
Based in Tivoli, NY
Award year: 2012

Rona Pondick
Born 1952, Brooklyn, NY
Based in New York City
Award year: 2016

Christy Rupp
Born 1949, Rochester, NY
Based in New York City and Hudson Valley, NY
Award year: 2008

Betye Saar
Born 1926, Los Angeles, CA
Based in Los Angeles, CA
Award year: 2004

Joyce J. Scott
Born 1948, Baltimore, MD
Based in Baltimore, MD
Award year: 1997

Beverly Semmes
Born 1958, Washington, DC
Based in New York City
Award year: 2014

Jeanne Silverthorne
Born 1950, Philadelphia, PA
Based in New York City
Award year: 1996

Diane Simpson
Born 1935, Joliet, IL
Based in Chicago, IL
Award year: 2019

Valeska Soares
Born 1957, Belo Horizonte, Brazil
Based in São Paulo, Brazil
Award year: 2005

Renée Stout
Born 1958, Junction City, KS
Based in Washington, DC
Award year: 1999

Julianne Swartz
Born 1967, Phoenix, AZ
Based in Stone Ridge, NY
Award year: 2015

Marie Watt
Born 1967, Seattle, WA
Based in Portland, OR
Award year: 2006

Carrie Mae Weems
Born 1953, Portland, OR
Based in Syracuse, NY
Award year: 2007

Lynne Yamamoto
Born 1961, Honolulu, HI
Based in Easthampton, MA
Award year: 1996

Carrie Yamaoka
Born 1957, Glen Cove, NY
Based in New York City
Award year: 2017

Anonymous Was A Woman - AWAW - Book
Anonymous Was A Woman: 
The First 25 Years
Courtesy Hirmer Verlag and Grey Art Museum, NYU

Publication
Book cover for "Anonymous Was A Woman." The title is written in black capital letters on a white background, with the word, "Woman" slightly faded.Anonymous Was A Woman: The First 25 Years is accompanied by a 392-page volume of the same name, which will be released prior to the opening of the exhibition. Co-published by Hirmer Verlag and the Grey Art Museum at New York University, the publication commemorates all 251 recipients of the award from 1996 through 2020, offering a visual and critical account of their work and careers. Featuring new essays by Nancy Princenthal, Vesela Sretenović, Valerie Cassel Oliver, Alexandra Schwartz, Cecilia Fajardo-Hill, Jenni Sorkin, and Gaby Collins-Fernández, as well as a roundtable discussion with founder Susan Unterberg, the book also unveils previously untold histories, underscoring the lasting influence of these artists. “The book, unlike the exhibition, functions as kind of a mini-history, which is exciting,” shares Gumpert. Available soon at the Grey Art Museum Bookstore, $55 retail, and online.
Anonymous Was A Woman: The First 25 Years is organized by the Grey Art Museum, New York University, and curated by Nancy Princenthal and Vesela Sretenović.

About the Curators

Nancy Princenthal is a Brooklyn-based writer whose book Agnes Martin: Her Life and Art (2015) received the 2016 PEN/Jacqueline Bograd Weld Award for Biography. She is also the author of Hannah Wilke (2010) and Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (2019), and co-author of Mothers of Invention: The Feminist Roots of Contemporary Art (2024). Princenthal has taught at Bard, Princeton, Yale, the School of Visual Arts, NYU’s Institute of Fine Arts, and elsewhere.

Vesela Sretenović is an art historian and curator of modern and contemporary art with a special interest in cross-disciplinary art practices and in bridging theoretical knowledge with hands-on experience. From 2009–23 she served as Director of Contemporary Art Initiatives and Academic Affairs at The Phillips Collection, Washington, DC. She is currently working as an independent curator and educator.

Grey Art Museum, New York University
18 Cooper Square, New York, NY 10003

05/02/17

Annette Lemieux: Maud Morgan Prize 2017

Museum of Fine Arts, Boston, Awards 2017 Maud Morgan Prize, Honoring a Massachusetts Woman Artist, to Annette Lemieux

The Museum of Fine Arts, Boston (MFA), announced that Boston-based ANNETTE LEMIEUX (born 1957) is the recipient of its 2017 Maud Morgan Prize, which honors a Massachusetts woman artist who has demonstrated creativity and vision, and who has made significant contributions to the contemporary arts landscape. Ranging from painting to photography to found-object assemblage, Lemieux’s conceptual works confront urgent subjects such as the horror of war, the nature of time, the elusive truth of memory and the relationship between personal experience and cultural history. Currently a Senior Lecturer on Visual and Environmental Studies at Harvard University, she has influenced younger generations of artists as a teacher for more than 20 years. The Museum has collected Annette Lemieux’s works since the late 1980s, cultivating a sustained belief in her practice. As part of the Prize, the artist will receive a $10,000 award, and an exhibition of her work will be presented at the MFA in the summer.

“Annette is fearless about tackling timely socio-political issues in her artwork. She is a careful observer of the world and a thoughtful commentator on important issues of our time,” said Matthew Teitelbaum, Ann and Graham Gund Director of the MFA. “We look forward to working closely with her and sharing her voice with a wide and appreciative public.”

Born in Norfolk, Virginia, Annette Lemieux received a Bachelor of Fine Arts in painting from the Hartford Art School, University of Hartford in 1980. After graduation, she spent a decade in New York City, working as an assistant for artist David Salle and becoming part of a burgeoning scene of appropriation artists—alongside Sarah Charlesworth, Barbara Kruger and Cindy Sherman—who frequently incorporated text, images, objects and symbols from mass media and pop culture into their work. Her work was featured in the Whitney Biennial in 1987 and 2000, as well as the Venice Biennale in 1990.

Annette Lemieux is the recipient of awards and grants from the National Endowment for the Arts, the Pollock-Krasner Foundation, the George A. and Eliza Gardner Howard Foundation Fellowship, Brown University and the Kaiser Wilhelm Museum in Germany. In 2009 she received an honorary doctorate in fine arts from Montserrat College of Art. Her work has been exhibited internationally and acquired by museums across the United States and Europe. In addition to the MFA, these include the Metropolitan Museum of Art, Whitney Museum of American Art, Museum of Modern Art, Art Institute of Chicago, San Francisco Museum of Modern Art, Solomon R. Guggenheim Museum, Victoria and Albert Museum, Tel Aviv Museum of Art and more. Lemieux’s critically acclaimed projects include solo exhibitions Unfinished Business (2012) at Harvard University’s Carpenter Center for the Visual Arts and the mid-career survey The Strange Life of Objects: The Art of Annette Lemieux (2010) at the Worcester Art Museum.

Al Miner, Assistant Curator of Contemporary Art, will collaborate with Annette Lemieux on her solo 2017 exhibition at the MFA marking the award of the Maud Morgan Prize.

“Annette has long been an admired and beloved fixture in the region’s art scene,” said Al Miner. “I’m thrilled to be working with an artist so deserving of this distinction. And I especially look forward to introducing audiences to recent MFA acquisitions and to debuting her exciting new body of work, which evidences her staying power.”

MAUD MORGAN PRIZE

Established at the Museum in 1993, the Maud Morgan Prize honors the recipient with a cash award and an MFA presentation of her work. The $10,000 prize is given biennially to a Massachusetts woman who has worked as an artist for at least 10 years, who has demonstrated creativity and vision, and who has made significant contributions to the contemporary arts landscape. In addition to recommendations by MFA curators, nominations are solicited from a broad cross-section of contemporary curators from throughout the Commonwealth. This year’s process involved 25 nominating organizations—more than in any previous year—and resulted in five finalists. After submissions were reviewed, finalists were chosen by a committee of MFA curators, and visits were made to the artists’ studios. Committee members selected Annette Lemieux, a decision endorsed by MFA Director Matthew Teitelbaum.

The committee included Al Miner (Assistant Curator of Contemporary Art), Jen Mergel (Robert L. Beal, Enid L. Beal and Bruce A. Beal Senior Curator of Contemporary Art), Liz Munsell (Assistant Curator of Contemporary Art and Special Initiatives, a position supported by Lorraine Bressler), Emily Zilber (Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts), Kathryn Gunsch (Teel Curator of African and Oceanic Art) and Patrick Murphy (Lia and William Poorvu Assistant Curator of Prints and Drawings and Supervisor, Morse Study Room).

Previous winners of the Maud Morgan Prize include Marilyn Arsem, Sarah Braman, Wendy Jacob, Ambreen Butt, Shelley Reed, Jill Weber, Ranee Palone Flynn, Suara Welitoff, Laura Chasman, Shellburne Thurber, Catherine McCarthy, Kendra Ferguson, Elsbeth Deser, Bonnie Porter, Natalie Alper, and Jo Ann Rothschild.

MAUD MORGAN (1903 - 1999)

During her most active years as an artist and instructor in Massachusetts, Maud Morgan represented a voice of recognition for women committed to a career in the arts. She was associated with some of the most distinguished artists of the 1930s and studied at the Art Students League in New York with Hans Hoffman. Morgan exhibited with the Betty Parsons Gallery in New York in the company of Jackson Pollock and Mark Rothko before instructing students of studio art, including Frank Stella and Carl Andre, with her then-husband, painter Patrick Morgan, at Abbot Academy and Phillips Academy in Andover, Massachusetts. At the age of 92, she published her autobiography, Maud’s Journey: A Life from Art. Throughout her career, Morgan was a source of inspiration for many artists, young and old.

MUSEUM OF FINE ARTS, BOSTON
www.mfa.org

19/06/13

Prix Sobey 2013 : Artistes Finalistes du Sobey Art Award

Prix artistique Sobey 2013 : Les artistes finalistes

Le Musée des beaux-arts de la Nouvelle-Ecosse (Art Gallery of Nova Scotia) et la Fondation Sobey pour les arts ont annoncé le 13 juin 2013 les cinq finalistes du Prix Sobey 2013, une importante reconnaissance pour le secteur de l’art contemporain du Canada. 

Finalistes de 2013   

• Côte Ouest et Yukon : Isabelle Pauwels 
• Prairies et Nord : Mark Clintberg
• Ontario : Duane Linklater 
• Québec: Pascal Grandmaison 
• Atlantique : Tamara Henderson

« Les membres du jury sont fiers d’annoncer la liste finale du Prix Sobey 2013. La qualité exceptionnelle de la production artistique canadienne à partir de laquelle 25 candidatures ont été soumises a renforcé notre détermination à appuyer l’art contemporain au pays. Les cinq artistes ont notamment été sélectionnés en raison de leur engagement exceptionnel au sein de leur pratique, qui selon nous, participe au déploiement et à la richesse du discours sur l’art contemporain autant sur la scène canadienne, qu'internationale. Les finalistes se distinguent par la diversité des médiums qu’ils emploient ainsi que par leur démarche. »

Chaque année le Prix Sobey offre 70 000 $ aux artistes finalistes. Le grand gagnant recevra une somme de 50 000$ et  5 000 $ seront remis à chacun des autres finalistes. Établi en 2002, ce prix est décerné à un artiste canadien de 40 ans et moins qui a présenté ses œuvres dans une galerie d’art publique ou commerciale au cours des 18 mois précédant sa mise en candidature. Le Prix Sobey a pour objectif de participer à la production du savoir en art contemporain, et est l’un des prix les plus importants et prestigieux offert à un artiste au Canada.

Les œuvres des candidats seront présentées à partir du 13 septembre 2013 lors d’une exposition au Musée des beaux-arts de la Nouvelle-Ecosse (MBANE). Le nom du gagnant ou de la gagnante du Prix Sobey 2013 sera révélé lors du gala qui aura lieu au MBANE le 9 octobre 2013.

Présentation des finalistes du Sobey Art Award 2013

ISABELLE PAUWELS
Née à Courtrai, en Belgique, Isabelle Pauwels vit et travaille à New Westminster, en Colombie-Britannique. Elle a obtenu un baccalauréat en beaux-arts (BFA) de l’Emily Carr Institute of Art and Design en 2001 et une maîtrise en beaux-arts (MFA) de la School of the Art Institute of Chicago en 2006. 

ISABELLE PAUWELS
Immunized Arm(s), 2009
Lightjet print, 101.6 x 38.1 cm. 
Courtesy Isabelle Pauwels

La pratique de Isabelle Pauwels comprend la sculpture et l’édition de livres d’artiste, mais son médium de prédilection demeure la vidéo. Ses installations vidéos mettent de l’avant l’exploration de la mise en scène, de la réalisation et surtout du montage. Ses installations lui permettent de reconfigurer les genres populaires, tels la comédie et le documentaire. Intégrant la performance à ses tournages, les œuvres de l’artiste mettent de l’avant l’idée d’une tension entre les conventions du récit et les interactions de tous les jours. Les sujets de recherche d’Isabelle Pauwels comprennent l’histoire de la télévision, les narrations de l’exploration coloniale et la culture de la télévérité. Récemment, elle a présenté des œuvres au Volker Bradke à Dusseldorf, au Western Front à Vancouver, à la Vancouver Art Gallery et à la Power Plant Contemporary Art Gallery à Toronto. Isabelle Pauwels est représentée par la Catriona Jeffries Gallery à Vancouver.

MARK CLINTBERG
Mark Clintberg est un artiste, un écrivain et un commissaire d’exposition de l’Alberta. Il est présentement inscrit au doctorat en histoire de l’art à l’Université de Concordia à Montréal (Québec) où il est également professeur à temps partiel. Il a obtenu sa maîtrise en arts (MA) à l’Université Concordia en 2008 et son baccalauréat en beaux-arts (BFA) du Collège d’art et de design de l’Alberta en 2001, terminant une partie de ses études au Collège d’art et de design de la Nouvelle-Écosse. En 2010, il a été chercheur à l’Oxford University grâce au soutien du Conseil de recherches en sciences humaines (CRSH).

MARK CLINTBERG
Behind this lies my true desire for you, 2012
Salvaged wood, latex paint, offset print posters, 670 cm x 944 cm 
Courtesy Mark Clintberg et Sobey Art Award

Les œuvres de Mark Clintberg font partie de collections publiques et privées du Canada et des Etats-Unis, y compris le Musée des beaux-arts du Canada et l’Alberta Foundation for the Arts, ont acquis ses œuvres. Au cours de la dernière année, il a tenu des expositions individuelles à l’Art Gallery of Alberta à Edmonton, l’Illingworth Kerr Gallery à Calgary et Trap\door à Lethbridge. Il a également présenté ses œuvres dans le cadre des Locust Projects à Miami, au Musée des beaux-arts du Canada à Ottawa, au Banff Centre, au Centre des arts actuels Skol à Montréal, au Harbourfront Centre à Toronto et à Eastern Edge à St. John's. Il a publié ses écrits au sein de différents quotidiens et revues d’art telles The Art Newspaper, The Senses & Society, C magazine, ETC., BlackFlash, Canadian Art, Border Crossings, the Fillip Review, Photofile, Arte al Dia International et Art.es Magazine. Il fera une résidence d’artiste à l’île Fogo à Terre-Neuve-et-Labrador au cours du printemps et de l’été. A la fin de l’été 2013, il lancera un nouveau projet à Western Front, à Vancouver.

DUANE LINKLATER
Duane Linklater est un artiste autochtone Cri Omaskêko de Moose, dans le nord de l’Ontario. Il vit actuellement à North Bay, en Ontario. Il a fait ses études à l’Université d’Alberta, où il a décroché un baccalauréat en études autochtones et un baccalauréat en beaux-arts. Duane Linklater a fréquenté la Milton Avery Graduate School of Arts au Bard College, dans le Nord-Ouest de l’État de New York où il a terminé sa maîtrise en beaux-arts dans les domaines du film et de la vidéo. Il produit diverses œuvres, notamment des installations de vidéos, des films, des performances et des sculptures. Son travail met en scène l’idée de l’échange et de la collaboration. 

DUANE LINKLATER
(Untitled) A raspberry garden for 21st Street, 2012
12 raspberry bushes, soil, string, bamboo, canvas, chalk, chalkboard, clip, printed email, dimensions variables
Courtesy Duane Linklater

Duane Linklater a présenté ses œuvres à l’échelle nationale et internationale, soit à la Vancouver Art Gallery, à l’Art Gallery of Alberta, à la Family Business Gallery à New York, à la Power Plant à Toronto et à la Thunder Bay Art Gallery. Son projet de film en collaboration avec Brian Jungen, Modest Livelihood, a tout d’abord été présenté à la Walter Phillips Gallery, au Banff Centre, de concert avec dOCUMENTA (13), puis à la Reva and David Logan Centre Gallery à l’University of Chicago, et sera exposé à la Catriona Jeffries Gallery à Vancouver, à l’été 2013. En juin 2013, Duane Linklater présentera une exposition individuelle avec de nouvelles oeuvres à la Susan Hobbs Gallery  à Toronto et dont le commissariat est assuré par Althea Thauberger.

PASCAL GRANDMAISON
Pascal Grandmaison (1975) vit et travaille à Montréal. Son travail a fait l’objet d’expositions individuelles au Casino Luxembourg - Forum d'art contemporain, à la Carleton University Art Gallery, au Musée des beaux-arts du Canada (Ottawa), au Musée d’art contemporain de Montréal, chez Jessica Bradley Art + Projects (Toronto), à la Galerie René Blouin (Montréal),à la Contemporary Art Gallery (Vancouver) et à la Galerie Georges Verney-Carron (Lyon, France). Il a aussi participé à plusieurs expositions collectives dont celles présentées aux Galeries de l’ancien Collège des Jésuites (Reims, France), au Centre culturel canadien (Paris, France), à Existentie (Gent, Belgique), au Centre d’art contemporain (Meymac, France), au Centre for Contemporary Art (Warsaw, Pologne), au Musée des beaux-arts de Montréal, à la Jack Shainman Gallery (New York), au Musée national des beaux-arts du Québec (Québec), à la Biennale internationale d’art contemporain 2005 de Prague. 

PASCAL GRANDMAISON
Le jour des 8 soleils, 2011
8 HD Videos, 5 mins, projections on 8 buildings. 
Courtesy Pascal Grandmaison

Les œuvres Pascal Grandmaison ont pour effet  de brouiller les repères entre la réalité et la fiction, entre l’exactitude et le vague, entre le noir et le blanc. Dans le choix de ses sujets, l’artiste préfère regarder au-delà de ce que le monde offre à voir directement pour découvrir les choses qui se cachent derrière et qui tendent habituellement à disparaître dans le décor. Par conséquent, les sujets de ses « narrations » sont ces éléments secondaires, relégués au rôle de figurants. L’artiste les sort de l’ombre pour les mettre en lumière, sur le devant de la scène. Pascal Grandmaison est représenté par la Galerie René Blouin, et la Jack Shainman Gallery.

TAMARA HENDERSON
Tamara Henderson est originaire de Sackville, au Nouveau-Brunswick. Elle a étudié au Collège d’art et de design de la Nouvelle-Écosse, à Halifax, et à Städelschule, à Frankfurt am Main, et a obtenu une maîtrise du Royal Institute of Art, à Stockholm en Suède. Tamara Henderson a participé à des résidences au Paul Klee Center: Tin Soldiers and Nixon Coming, au Banff Center: Life is Beautiful… et au CCA Kitakyushu. Elle a présenté ses œuvres à Kassel dans le cadre de dOCUMENTA (13), à Western Front à Vancouver, à Frankfurter Kunstverein, à Kunstverein Nürnberg et à la Walter Philips Gallery à Banff, et réalisé des conférences à l’Université Simon Fraser à Vancouver et à l’University of Washington à Seattle. 

TAMARA HENDERSON
Western Fade Out, 2010
Found 16 mm Film, Loop System, Markers: Red, Green, Blue, Variable dimensions. 
Courtesy Tamara Henderson

La pratique de Tamara Henderson est basée sur les enregistrements de l’inconscient qui adoptent une structure onirique ou fantaisiste. Inspirées par les processus de l’hypnose, le domaine nocturne et les états de conscience altérés, les expériences de Tamara Henderson se manifestent dans la sculpture, les meubles, les décors de studio et les films de 16 mm. Possédant des qualités spectrales, les formes évoquent l’absence d’une expérience consciente.  

En avril dernier, le Musée des beaux-arts de la Nouvelle-Ecosse (Art Gallery of Nova Scotia) et la Fondation Sobey pour les arts avient annoncé la liste préliminaire de la selection des artistes pour le Sobey Art Award 2013.

Fondation Sobey pour les arts, Canada

24/11/12

Platform Graduate Award 2012 Recipient: Joella Wheatley


Artist Joella Wheatley was announced last night as the inaugural recipient of the Platform Graduate Award 2012. About the Platform Graduate Award 2012 and Joella Wheatley, you can read a previous post on this blogzine.

JOELLA  WHEATLEY
Joella Wheatley, Untitled Platform Graduate Award recipient
Courtesy of Turner Contemporary, Margate

The 22 year old was presented with the award at Modern Art Oxford by artist Lindsay Seers for her work - a series of intense paintings that explore the mind as a channel for restructuring the concept of space.

Victoria Pomery, Acting Chair of Contemporary Visual Arts Network (CVAN) South East and Director, Turner Contemporary said: ‘We look forward to seeing how Joella will build on this opportunity in her future career. CVAN South East would like to see Platform continue to develop closer working relationships between South East galleries and their local Higher Education institutions while providing opportunities to support and showcase new talent.’

Joella Wheatley was one of eight graduate artists shortlisted as part of the Platform Graduate Award 2012 - an inaugural mentor programme devised by the CVAN South East network, between galleries and emerging artists from the South East.

Platform Award selection panel member and Director of MK Gallery, Anthony Spira said the standard of work throughout the Platform project had been particularly high, highlighting the wealth of Fine Art talent in the South East.

Over the last few months four flagship galleries, Aspex, MK Gallery, Modern Art Oxford and Turner Contemporary, have each provided a platform for 31 recent graduates from each of their local art colleges, of which eight were shortlisted for the award.

Joella Wheatley will receive a 12-month tailored programme of professional development from the four South East art galleries as well as £2,500 bursary towards further development of her practice.

Joella Wheatley, artist's website: www.joellawheatley.co.uk

Turner Contemporary, Rendezvous, Margate, CT9 1HG, UK

28/09/10

Suchan Kinoshita at Museum Ludwig Cologne

Suchan Kinoshita: In 10 Minutes
Museum Ludwig Cologne
9 October 2010 - 30 January 2011

The Museum Ludwig and SUCHAN KINOSHITA (born in 1962 in Tokyo, lives in Maastricht and Münster) will receive the Fine Arts Prize of the Board of Trustees of the Plastics Industry (Kunstpreis des Kuratoriums der Kunststoff-Industrie). This prize will enable the Japanese-German artist to have a solo exhibition in the Museum Ludwig’s largest sun-lighted gallery.

Suchan Kinoshita, "Set" mit "Uhr",
Installation at the van AbbeMuseum, Eindhoven, March 2010
© Suchan Kinoshita, Photo: Nicholas Burrough

Contrasts play a central role in Kinoshita’s work: sound and silence, distance and nearness, permanence and fleetingness. These themes are not just coincidentally related to theatre and music. For Kinoshita (pronounced keen-OSH-ta), who came to Cologne in 1981 to study at the music academy, this connection is natural. Her work is often located at the crossroads of theater, music and visual art.

In her exhibitions, Suchan Kinoshita creates a subtle interplay of objects, sounds and spatial perception. This invites the visitor to move through the installation and regard things alone or in their varying interrelationships. In addition to her experience in theatre and music, her examination of zen and the haiku also find their way into her work. The exhibition thus acquires a contemplative tone that emphasizes the open and associative character of Kinoshita’s art.

Suchan Kinoshita, "Isofollies" und "Dia-Guckies",
Installation at Galerie Nadja Vilenne, Lüttich, 2009
© Suchan Kinoshita, Courtesy Galerie Nadja Vilenne

At the Museum Ludwig, Kinoshita will assemble a selection of earlier and new works that are chosen distinctly for the way they will work together in the large gallery. Exhibition of her earlier works allows new insights into, and access to, her complex methods. She consistently questions the roles of actor and spectator, but through varying means. Thus not only the artist, but also (and perhaps more importantly) viewers and art objects have a voice.

Suchan Kinoshita
„Detournement“, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, 
van Abbemuseum Eindhoven, 19.-20. 3. 2010
Copyright: Suchan Kinoshita
© Suchan Kinoshita, Photo: Peter Cox and van Abbemuseum, Eindhoven

Within the space, Kinoshita will place numerous small and large sculptures on tables, on the gallery floor and on shelves. They are separate groups of work – from small, almost delicate “Guckies” (altered slide viewers that alienate and make the small look monumental), to the fragile “Clocks” (irregular hourglasses filled with fluids that measure time by different speeds), to the solid “Isofollies” (detritus wrapped up in black plastic sheeting and made into an independent sculpture of new value). Filmed performances with a play of light and language will also be shown. The exhibition might thus be seen as comprising many singular shows that can stand alone and still come together.

The Fine Arts Prize of the Board of Trustees of the Plastics Industry was founded in 2002. Since then it has been awarded every other year to a museum for the successful advocacy of contemporary art. The prize of €50,000 is intended at the same time to make possible the significant exhibition of an outstanding artist who has rendered service in the education and advocacy of younger artists. Previous prize holders have been: the Städel Museum, Frankfurt and Thomas Bayrle, 2002; the Kunsthalle Düsseldorf and Fritz Schwegler, 2004; the Galerie Neue Meister, Dresden and Martin Honert, 2006; and the Weserburg, Bremen and Jean-François Guiton, 2008.

Current exhibition at Museum Ludwig, Cologne
Roy Lichtenstein. Art as Motif, Through 3 October 2010

Museum Ludwig Cologne
Heinrich-Böll-Platz, 50667 Köln

18/04/04

Daan van Golden: Heineken Prize for Art 2004

Dr A.H. Heineken Prize for Art 2004 awarded to Daan van Golden

The Royal Netherlands Academy of Arts and Sciences has awarded the Dr A.H. Heineken Prize for Art 2004 (EUR 50,000) to Daan van Golden 'for his versatile output as an artist and his ability to place art in a new context, time and again'.

Daan van Golden has been working as an artist for over forty years, a period of major change in the world of modern art. Van Golden's response to that change has been both exciting and complex. Younger generations of artists particularly appreciate the extraordinary way in which he presents his paintings, photographs and other works in installations and publications, which then become works of art in themselves.

Van Golden's earliest works were abstract-expressionist in nature. In 1963, while in Japan, he embarked on a radical change in style and began a series of painstaking depictions of textile and wrapping paper patterns in enamel paint. His use of existing commercial products betrays the influence of pop art, then in its ascendancy, but in Van Golden's hands such references take on a quality of timeless elegance. His work thereafter uses a highly diverse range of images, drawing on both high and popular culture. Van Golden often sees images within images; in Pollock (1991), for example, he enlarges a detail of an abstract painting by Jackson Pollock to suggest an animal figure. His photographs, frequently taken during his travels, also contain many autobiographical references, for example the series documenting his daughter Diana's life from infant to adult.

In 1968, Van Golden was invited to exhibit at Documenta 4 in Kassel, where he combined existing and new paintings to produce an intriguing installation. He repeated this approach at subsequent exhibitions, but he also produced work in situ. During the Century 87 exhibition in 1987, Van Golden covered the paths of the Hortus Botanicus in Amsterdam with blue gravel, inspired by Mexico's Agua Azul riverine landscape. In the mid-1990s he redesigned parts of the inner and outer courtyards of the Institute of Social Studies in The Hague.

Daan van Golden (born in Rotterdam in 1936) lives and works in Schiedam, the Netherlands. After at-tending technical school, he enrolled at the Rotterdam Academy of Fine Arts and Technical Sciences, where he specialised in painting and took classes in graphic techniques. He also worked as a window dresser for De Bijenkorf, an exclusive chain of department stores. He spent 1963 to 1965 in Japan and has travelled widely since then, with long sojourns in such places as Morocco, India, Indonesia, and North and South America. His travels have found their expression in his work.

There have been two major solo exhibitions of Daan van Golden's work, one organised by the Boijmans Van Beuningen Museum in 1982 (Daan van Golden - 1963-1982) and the other by the Stedelijk Museum in Amsterdam in 1991 (Daan van Golden - Works 1962-1991). Van Golden was one of the artists featured in the Dutch pavilion at the 1999 Venice Biennial. Solo exhibitions have been organised in Geneva, Dijon, Paris and Göteborg. Van Golden's work can also be viewed regularly at Galerie Micheline Szwajcer in Antwerp.

The Heineken Prize for Art
The Dr A.H. Heineken Prize for Art was awarded for the first time in 1988. Previous winners include Aernout Mik for video art (2002), Guido Geelen for ceramics (2000) and Marrie Bot for photography (1990). The jury (Henk van Os, chair, Carel Blotkamp, Ed Taverne and Ilja Veldman) is awarding the Dr A.H. Heineken Prize for Art to Daan van Golden for his entire oeuvre.

Unlike the other Heineken Prizes, the Dr A.H. Heineken Prize for Art is awarded by a jury which is independent of the Royal Netherlands Academy of Arts and Sciences. Although a number of jury members are also members of the Academy, they are acting in a private capacity. 

The five Heineken Prizes for science, scholarship and art are presented every other year during a special session of the Academy. This year the presentation will take place on Friday 1 October at the Beurs van Berlage Building in Amsterdam.

KNAW 
Het Trippenhuis, Kloveniersburgwal 29, Amsterdam 

21/09/02

2002 Praemium Imperiale Laureates Announcement

2002 Praemium Imperiale Laureates

The recipients of the 14th Praemium Imperiale are:

Painting: SIGMAR POLKE
Sculpture:  GIULIANO VANGI
Architecture: NORMAN FOSTER
Music: DIETRICH FISCHER-DIESKAU
Theatre/film: JEAN-LUC GODARD

The artists are recognized and awarded for their achievements, for the impact they have had internationally on the arts, and for their role in enriching the global community. The five recipients each receive 15 million yen (c. $125,000), and a diploma and medal presented by honorary patron of the Japan Art Association Prince Hitachi in an awards ceremony in Tokyo. The awards ceremony will be held on October 23rd, 2002.

The Praemium Imperiale is an annual award given by the Japan Art Association for global achievement in the arts. Since its foundation in 1989, it has become a mark of the highest international distinction. The 2002 laureates join a roster of 67 artists, including David Hockney, Willem de Kooning, Robert Rauschenberg, Christo and Jean-Claude, Anthony Caro, Frank Gehry, Renzo Piano, Leonard Bernstein, Mstislav Rostropovich, Ravi Shankar, Ingmar Bergman, Akira Kurosawa, Peter Brook.

2002 PRAEMIUM IMPERIALE LAUREATES
Painting :SIGMAR POLKE
Sigmar Polke was born in Oels/Schlesien, Poland in 1941 and studied art at the Staatliche Kunstakademie in Düsseldorf under Joseph Beuys between 1961 and 1967. Polke first gained notoriety in 1963 alongside fellow student Gerhard Richter with their exhibition “Capital Realism.” Polke’s work with old prints, news photos, and comic characters has always set his work apart, politically and emotionally, both from American and British Pop Art, and from his German contemporaries.

Sculpture:GIULIANO VANGI
Giuliano Vangi was born near Florence in 1931. He began his career concentrating on abstract studies and working with crystal and metals such as iron and steel, but moved to figurative expression when he returned to Italy in 1962 after four years in Brazil. His subject is always the human figure, and aside from stone, wood, and metal, he is just as likely to use glass and pottery, gems and gold - or any other natural material. He is currently collaborating with architect Renzo Piano(Praemium Imperiale laureate 1995) on a new work for the Church of St. Padre Pio. Robert Rauschenberg(Praemium Imperiale laureate 1998) and Arnaldo Pomodoro(Praemium Imperiale laureate 1990) are also taking part in this project.

Architecture:NORMAN FOSTER
Norman Foster was born in Manchester in 1935. After graduating from Manchester University School of Architecture and City Planning in 1961, he completed a Master’s Degree in Architecture at Yale University. His architecture is universally admired for its conceptual and structural brilliance and “high-tech” beauty - a special union of technology and aesthetics that has been polished and perfected over a lifetime. His works combine advanced technology, an ingenious geometry, attention to detail, and sensitivity to ecological considerations. Recent commissions, especially the Sackler Galleries and the Great Court of the British Museum, both in London, and the new German Parliament at the Reichstag in Berlin, add a new quality to his work. Although uncompromisingly modern in character, they demonstrate a great respect for the past.

Music:DIETRICH FISCHER-DIESKAU
Dietrich Fischer-Dieskau was born in Berlin in 1925. For most of his career, he divided his time fairly equally between opera and concerts. He sang Verdi and Puccini roles as readily as Mozart, Strauss and Wagner, and sang in many contemporary operas as well. Although probably most well known for his performances of traditional lieder, Fischer-Dieskau's dedicated commitment to contemporary music is noteworthy. He participated in the first performances of works by Benjamin Britten, Samuel Barber, Hans Werner Henze, Ernst Krenek, Witold Lutoslawski, Siegfried Matthus, Winfried Zillig, Gottfried von Einem. The precisely articulated accuracy of his performances, in which text and music are presented as equal partners, established standards that endure today. He is considered one of the most influential musicians of the 20th century.

Theatre/film:JEAN-LUC GODARD
Jean-Luc Godard was born in Paris in 1930, and grew up in Switzerland. He returned to Paris in the late 1940’s to study and during this period he met Andre Bazin, Francois Truffaut, and others who would be central to the French Nouvelle Vague movement of the 1960s. He is widely recognized as one of the filmmakers who has most influenced the modern art and language of the medium. Breathless(a bout de souffle)(1959), Godard’s first full-length film was to become an epoch-making point in motion picture history. Godard continues to explore new techniques in film and video. Godard’s works, from Breathless through his most recent, Eloge de l’Amour(2001), challenge his contemporaries and also have an immense influence on artists working in many different fields.

ANNOUNCEMENT IN PARIS
The main announcement took place, with all of the new Praemium Imperiale laureates present, at the Chateau de Versailles. Mr. Raymond Barre hosted the event on behalf of the Japan Art Association. Mr. Barre serves, along with Messers.Umberto Agnelli, Edward Heath, William Luers, Yasuhiro Nakasone, and Richard von Weizsäcker, on an advisory panel to the Japan Art Association. Japan Art Association executives and advisors attended the Paris announcement.

The Japan Art Association, Tokyo