Lecture Series

Critical Dialogues Lecture Series- Martin Kersels

Martin Kersels was born in Los Angeles, California. He attended UCLA for both his undergraduate and graduate educations, receiving a BA in art in 1984 and an MFA in 1995. His body of work ranges from the collaborative performances with the group SHRIMPS (1984-1993) to large-scale sculptures such as Tumble Room (2001) to photographs of performative actions to kinetic and sound producing sculptures.

His interest in machines, entropy, sound, and dissolution has produced work that examines the dynamic tension between failure and success, the individual and the group, and the thin line between humor and misfortune. Since 1994, Kersels’ objects and projects have been exhibited at museums both nationally and internationally, including the 1997 and 2010 Whitney Biennials, the Pompidou Center, MOCA Los Angeles, the Tinguely Museum, Kunsthalle Bern, MAMCO in Geneva, and the Getty Museum in Los Angeles. For nearly 14 years Kersels taught at the California Institute of the Arts (CalArts), only within the last few years joining the faculty at the Yale School of Art as Director of Graduate Studies in Sculpture. Currently he lives and works in the New Haven area of Connecticut. His work is represented by the galleries Mitchell-Innes & Nash in New York, Redling Fine Art in Los Angeles, and Galerie Georges-Philippe & Nathalie Vallois in Paris.

 

  • Date & Time

    2017-04-26 6:00pm to 8:00pm
  • Location

    Tyler School of Art- B004
  • Category

Critical Dialogues Lecture Series-Charles Mayton

Charles Mayton is New York-based contemporary artist, whose paintings combine the abstract and the schematic, exploring the questions of time, language and performance in painting, straddling abstraction and figuration.

Mayton was born in 1974 in Florida. He studied at the Ringling School of Art and Design, and graduated from Milton Avery School of the Arts at Bard College in 2007.

Mayton’s paintings are tantalizingly beautiful, with vivid hues of paint swept across canvases featuring bright semiotic symbols, including question marks, quotations, and clouds. This quality places a premium on the tangible, as a reminder that the best way to incite the unconscious, to release the imagination, is to begin with the overtly physical. Charles Mayton’s practice examines the various ways in which cultural artefacts can be redistributed and reanimated, with an increasingly acclaimed aspect of this enquiry centered on painting about painting. In essence, Mayton’s work provides an inspired documentation of inspiration itself, a pictorial overview of the various ways in which another’s creativity can trigger our own in a constant process of reproduction and renewal.

Charles Mayton’s first solo show in New York, entitled The Difficult Crossing was held in 2011. It was a three-dimensional realization of his 1926 painting of the same title, by René Magritte, which depicts an artist’s studio, the starting point for an array of responses to the Belgian surrealist’s image. Magritte is not an unconscious inspiration here but a decidedly conscious one. Ranging from dissections of Magritte’s perspectival framework to analyses of color palette, Mayton’s painterly quotations and paintings that also reference the practice of making them veer from overt borrowings to far less obvious, meandering meditations. By plunging the viewer into the center of Magritte’s canvas, Mayton conjures a world that demands that one consider the role of the unconscious within the artist’s studio, a place where ideas take material shape. Given that our daily experience increasingly plays out against a digital wasteland of information, it’s worth pausing for a moment to remember the ethos of the Surrealists. Mayton builds on the group’s pursuit of psychic freedom, stimulating a dialogue about the importance of artistic creation and its relationship to consciousness.

Charles Mayton’s work has been displayed in numerous group and several solo exhibitions, in Paris, New York, Dallas and London. He lives and works in New York.

Critical Dialogues Lecture Series-Emily Weiner

Emily Weiner is an artist based in New York City. Exhibitions include: Soloway (Brooklyn), Regina Rex/Harbor (New York), The Walter Phillips Gallery (Alberta, Canada), Sargent's Daughters (New York), Kravetz Wehby (New York), and Grizzly Grizzly (Philadelphia). She is faculty at The School of Visual Arts, and has been a workshop leader at Dia: Beacon, guest instructor at Barnard College, Columbia University, and guest lecturer at Cooper Union’s Summer Outreach program. Residencies and awards include: Visiting Artist at the American Academy in Rome (2015); artist-in-residence at The Banff Centre, Canada (2012); and artist-in-residence at Camac Art Center in France (2011). Her writing on art has appeared in ArtForum, Domus, and Time Out New York, among other publications. She co-runs Soloway, an artist-run space in Williamsburg, Brooklyn, and The Willows, an occasional apartment show series in Brooklyn Heights. Emily received her BA from Barnard College, Columbia University (2003) and her MFA in Fine Arts at the School of Visual Arts (2011).

Critical Dialogues Lecture Series- Sara Magenheimer

Sara Magenheimer (b. Philadelphia) has widely exhibited, performed and screened her work. Recent exhibitions include The Kitchen, Foxy Production, White Columns, Chapter NY, Interstate Projects, 247365, and Cleopatra’s. From 2004–10 Magenheimer performed in bands, touring extensively and releasing five records. She was the recipient of a 2014 Rema Hort Mann Foundation Grant, 2015 Artadia Grant, and winner of the Prix De Varti at the 2015 Ann Arbor Film Festival. She recently completed a New Commission from Art in General at kim? in Riga, Latvia and a two person screening at The High Line with Hannah Black.

Critical Dialogues Lecture Series-Sonia Almeida

Sonia Almeida was born in Lisbon, Portugal. She received her MFA from the Slade School of Fine Art (UCL) in 2006 and BA from the University of Lisbon.

She is the recipient of the Pollock-Krasner Foundation Grant, Artist Fellowship Massachusetts Cultural Council and the James and Audrey Foster Prize.

Recent solo exhibitions include cupping the hand behind the ear at Simone Subal Gallery in NYC and Forward, Play, Pause at the MIT Visual Arts Center in Cambridge, MA.

Her work is included in the DD Collection -Dimitris Daskalopoulos, the Serralves Foundation, the MIT List Visual Arts Center, amongst others.

She lives in Boston and currently teaches at Brandeis University, Bard College and is represented by Simone Subal Gallery in NYC.

 

Critical Dialogues Lecture Series- Matana Roberts

Matana (m(a)-ta-Nah\) Roberts:

award winning, internationally renowned composer, band leader, saxophonist, sound experimentalist and mixed-media practitioner; works in many contexts and mediums, including improvisation, dance, poetry, and theater. Her innovative work has forged new conceptual approaches to considering narrativity, history, and political expression within improvisatory structures. past member of the BRC: Black Rock Coalition and the AACM: Association for the Advancement of Creative Musicians. holds two degrees in music performance. based in New York City.

Critical Dialogues Lecture Series in partnership with the Fibers and Materials Studies Department- Jeffrey Gibson

Jeffrey Gibson grew up in major urban centers in the United States, Germany, Korea, England and elsewhere. He is also a member of the Mississippi Band of Choctaw Indians and half Cherokee. This unique combination of global cultural influences converge in his multi-disciplinary practice of more than a decade since the completion of his Master of Arts degree in painting at The Royal College of Art, London in 1998 and his Bachelor of Fine Arts degree in painting from the School of the Art Institute of Chicago in 1995.

Gibson’s artwork intermingles elements of traditional Native American art with contemporary artistic references. Thus powwow regalia, 19th century parfleche containers, and drums are seamlessly merged with elements of Modernist geometric abstraction, Minimalism, and Pattern and Decoration. Here there is an echo of Frank Stella and Josef Albers – canonized in our current dialogue which has little or no inclusion of Native American art which Gibson provides comparable weight and equivalence.

Gibson’s artworks are in the permanent collections of many major art museums, including the Museum of Fine Arts, Boston, the Smithsonian, the National Gallery of Canada, the Nasher, the Nerman, Crystal Bridges, and the Denver Art Museum. Recent solo exhibitions include SCAD Museum of Art (Savannah and Atlanta), the National Academy Museum in New York, The Institute of Contemporary Art in Boston, and the Cornell Museum of Fine Art. The Denver Art Museum will mount a traveling mid-career survey in the Spring of 2018, to be followed by a smaller solo exhibition at the Ruth and Elmer Wellin Museum of Art in the fall of 2018. He has participated in Greater New York, Prospect New Orleans, the Everson Biennale, and Site Santa Fe. Gibson is a member of the faculty at Bard College and a past TED Foundation Fellow and Joan Mitchell Grant recipient.

Critical Dialogues Lecture Series-Jim Lee

Jim Lee received his MFA from the University of Delaware in 1996.  He is represented by Nicelle Beauchene Gallery, New York.  and has exhibited internationally at Galerie VidalCuglietta, Brussels; Motus Fort, Tokyo; FDC Satellite, Brussels and Galerie Markus Winter, Berlin. Additionally he has been included in exhibitions at Ratio 3, San Francisco; LAND, Los Angeles; Islip Art Museum, NY; Galerie Ruth Leuchter, Dusseldorf; Galerie Lelong, New York; Daimler Contemporary, Berlin; IMOCA, Indianapolis; White Flag Projects, St. Louis; Atlanta Contemporary Art Center, Atlanta; Larry Becker Contemporary Art, Philadelphia and the Neuberger Museum of Art in Purchase, NY.  Jim is an associate professor at Hofstra University and lives and works in Brooklyn, New York.

  • Date & Time

    2017-03-01 6:00pm to 8:00pm
  • Location

    Tyler School of Art- B004
  • Category

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