September 26 Hans Haacke
*Falvey Hall, Brown Auditorium
(with generous support from the Mixed Media Lecture Series, Graduate Studies, and the MA in Critical Studies Program)
Hans Haacke was born in Cologne, Germany in 1936. He has been living in New York since 1965.
Haacke produces physically and biologically interactive works but is best known for works in the social and political arena, using a variety of media. From 1967 to 2002 he taught at the Cooper Union in New York. After a heated national debate, a large work of his, commisioned by the Bundestag (German Parliament), was permanently installed in an open-air courtyard of the Reichstag, Berlin in 2000.
Haacke has had solo exhibitions at: Museum Haus Lange, Krefeld, 1972; Museum o Modern Art, Oxford, 1978; Stedelijk Van Abbemuseum, Eindhoven, 1979; Tate Gallery, London, 1984; New Museum of Contemporary Art, New York, 1986; Centre Pompidou, Paris, 1989; Venice Biennale, 1993; Fundació Antoni Tàpies, Barcelona, 1995; Museum Boijmans Van Beuningen, Rotterdam, 1996; Serpentine Gallery, London, 2001; Generali Foundation, Vienna, 2001; Akademie der Künste, Berlin and Deichtorhallen, Hamburg, 2006; Museo Nacional Centro de Arte Reina Sofía, Madrid, 2012. Haacke's works were exhibited at: Documenta; the Biennials of Venice, São Paulo, Sydney, Tokyo, Johannesburg, Gwangju, Sharjah; the Whitney Biennial. He shared a Golden Lion award with Nam June Paik for best pavilion of the 1993 Venice Biennial.
*All other lectures will take place in the Graduate Center Auditorioum
October 17 Trisha Baga
Trisha Baga (b. 1985, Venice, FL) is an artist living and working in New York producing mainly video and performance work through a multi-disciplinary practice which engages the formal languages and concerns of sculpture, painting, cinema, music, photography,comedy, and fiction.
Baga uses common things to guide phenomenological compositions about the acts of looking and recognizing, and the gap in between. She received her BFA at Cooper Union in 2007 and her MFA at Bard College in 2010. She has had solo exhibitions at the Whitney Museum, Greene Naftali Gallery, Vilma Gold Gallery, Societe Berlin, and the Kunstverein Munich, and has shown her work at EAI, PS1, Johann Koenig Gallery, Performa09, The Housatonic Museum, LAXART, and El Centro Cultural Montehermoso.
October 24 Paul Pfeiffer
(with support from the MA in Critical Studies Program and BFA in Film and Video Department)
Borrowing footage from television, movies, and sports events that serve as raw material and building blocks for his work, Paul Pfeiffer creates video, sculpture, and installations. Using iconic images of spectacles and celebrities, he plays with the canonization of memory and history, as in a digitally erased Marilyn Monroe or ghostly image of Muhammad Ali fighting in the ring. Pfeiffer thusly asks the viewer to question their own spectatorship and desire. Informed by, among others, Francis Bacon, Warhol and DaVinci's Vitruvian Man, his large-scale pieces wrestle with notions of power while the miniature works evoke intimacy. In a recent colossal production, he recorded a hired crowd of 1,000 men to re-create the sounds of 100,000 fans cheering during a World Cup match. In all of his work, from a lush, sunrise and sunset shot and shown in real time, to a twenty-four hour a day seventy-five day long piece which invites New York commuters to watch a video of a nest full of eggs hatching and then growing into chickens, Pfeiffer is saying: pay attention. One critic summed up his body of work, "One can feel the deepening of love - and the holes left open by need."
Born in Honolulu, Hawaii, Pfeiffer has had one-person exhibitions at the Whitney Museum of American Art (2001); MIT's List Visual Arts Center and the Museum of Contemporary Art Chicago (2003); the National Gallery of Victoria, Melbourne (2005);MUSAC León, Spain (2008); the Hamburger Bahnhof, Berlin (2009) and the Albright-Knox Art Gallery, Buffalo (2010). He has received numerous awards and fellowships, including a Fulbright-Hayes Fellowship and the Bucksbaum Award from the Whitney Museum. He was most recently the subject of a retrospective at Sammlung Goetz in Munich, Germany.
November 14 Sara Oppenheimer
Sarah Oppenheimer is a visual artist based in New York City. Oppenheimer's work is anchored in the ongoing development of a typology of holes. This typology begins with the premise that the specificity of site can be extended from the particular to the general. This generality (for us, the inheritors and inhabitants of modern space) is the arrangement of spatial zones that abut and overlap in a mappable way. Holes alter this arrangement, functioning as a catalyst for the transformation of the perceptual experience of the occupant. The hole is an active blurring of the (architectural) distinction between zones.
Oppenheimer's recent and upcoming projects include Mass MoCA, Kunsthaus Baselland, the Cleveland Museum of Art, the Baltimore Museum of Art, the Andy Warhol Museum, Art Unlimited at Art Basel, the Museum of Contemporary Art San Diego, the Saint Louis Art Museum, Mattress Factory, Skulpturens Hus, the Drawing Center and Sculpture Center. Oppenheimer has been the recipient of the Guggenheim Fellowship, the Louis Comfort Tiffany Foundation, the Rome Prize and the Joan Mitchell Foundation fellowship. Oppenheimer is a critic at the Yale University School of Art.
November 21 Lucio Pozzi
Lucio Pozzi was born in 1935 in Milan, Italy. After living a few years in Rome where he studied architecture, Pozzi came to the United States in 1962, as a guest of the Harvard International Summer Seminar. He then settled in New York and became a US citizen. He now shares his time between his Hudson (NY) and Valeggio s/M (VR, Italy) studios. Pozzi, a "secretly subversive artist," is a pioneer in working across different media and approaches which often coexist in the same show. In 1978,Pozzi's early videotapes were exhibited in at the Museum of Modern Art, New York, in one of the first single-artist exhibitions of the Projects:Video series. In the same year Pozzi exhibited landscape watercolors in the "temple of Conceptualism," the John Weber Gallery in New York, the same space where a few months before he had presented a giant installation of walls and photographs. He has continued setting up his Provocation Shows in public museums and private galleries, such as a three-gallery show in New York (Leo Castelli, John Weber, Susan Caldwell) in 1984, followed by exhibitions at University of Massachusetts, in Bielefeld, Karlsruhe, and at Studio Carlo Grossetti (Milan).
In today's art world many artists have embraced a multiplicity of media and genres in their practice. Considering this, Pozzi's transdisiplinary practice which consists of abstract and representational painting, constructing photographic entities, producing performances, building installations and making videotapes has made his work more relevant than ever. His work has been presented at Documenta 6 (1977) and at the Venice Biennale (U.S. Pavilion) in 1980. He occasionally writes and has taught at the Cooper Union, Yale Graduate Sculpture Program, Princeton University and the Maryland Institute College of Art, and other art schools in the US and Europe. His art is represented in many collections of international museums and private institutions.
Pozzi's teaching is another way for him to question and probe the fabric of modern art making. In a subtle, case-by-case dialogue he employs a capillary manner of guerrilla infiltration instead of shouting sensational slogans. His lecture/performance, The Next 475 Years Of My Art And Life, is both a lecture and a work of art. "I have chosen to seek the intensity of inspiration by structuring a practice of continuous shifts from one mode of art making to the next. I believe that coherence of style and meaning does not depend on formula but surfaces uncalculated in the practice of the artist."
December 12 Jill Magid
Jill Magid, a New-York based artist and writer, forms intimate relationships with systems of power including police, military, secret service, corporations, and CCTV surveillance. For Magid, their power isn't a remote condition to contest, but rather something to manipulate by drawing it closer, exploiting its loopholes, engaging it in dialogue, infiltrating its structure, and repeating its logic.
With solo exhibitions at institutions around the world including Tate Modern, London; Whitney Museum of American Art, New York; Berkeley Museum of Art, California; Tate Liverpool; the Stedelijk Museum Bureau Amsterdam; Yvon Lambert, Paris and New York; Gagosian Gallery, New York; The Centre d' Arte Santa Monica, Barcelona and at the Security and Intelligence Agency of the Netherlands, Magid has been recognized with awards such as the Basis Stipendium from Fonds Voor Beeldende Kunsten in the Netherlands and the Netherland -American Foundation Fellowship Fulbright Grant. Magid has participated in the Liverpool, Bucharest, Singapore, Incheon, and Gothenburg Biennials. She is also the author of four books including Becoming Tarden, a nonfiction novel which opens with the phrase "the secret itself is much more beautiful than its revelation." Magid holds a BFA from Cornell University and a Masters of Science from the Massachusetts Institute of Technology. She is an adjunct professor at Cooper Union, and a 2013-15 Fellow at the Vera List Center for Art and Politics.
Additional Studio Visits/Critiques By:
Ken Lum: November 6
(organized by the MA Program in Critical Studies)
Dario Robleto: November 13
(organized by the MA Program in Critical Studies)
Paul Miller/DJ Spooky: November 21
(organized by the Center for Race and Culture)
Maren Hassinger: November 25
(organized by Rinehardt School of Sculpture)
Andrea Frazer: December 11
(Mixed Media Speaker organized by the Department of Art History, Theory, and Criticism)