Posts tagged fred wilson
The Cleveland Museum of Art has is showing “Fred Wilson: Works 2004-2011,” in its glass box gallery. The exhibition features four Wilson objects. The exhibition will remain on view through May 5.
Fred Wilson was the guest on Episode No. 33 of The Modern Art Notes Podcast, an episode taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Wilson’s Iago’s Mirror (2009) in Toledo’s collection. Both To Die Upon a Kiss (2011, above, detail), and Iago’s Mirror were informed by Wilson’s visits to Venice and his knowledge of Shakespeare’s “Othello. The final words Othello speaks make up the title of this piece.
Wilson is best known for his works made not out of glass, pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To listen: Download the episode directly to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See images of art discussed on the Wilson program.
This past weekend Indiana University-Purdue University Indianapolis (IUPUI) held an event titled “Art, Race, Space Symposium.” Among the topics discussed was the Central Indiana Community Foundation’s bungling of Fred Wilson’s proposed and ultimately unrealized E Pluribus Unum (2009-11) sculpture. Wilson, for whom the CICF’s lack of follow-through and ultimately termination of the project was a significant frustration, returned to Indianapolis to speak at the event.
For more on the event, read Indianapolis Star columnist Erika D. Smith’s account, IUPUI professor and president of the Society for Historical Anthropology Paul Mullins’s thoughtful advance of the symposium and full coverage of E Pluribus Unum on Modern Art Notes.
Fred Wilson was the guest on Episode No. 33 of The Modern Art Notes Podcast. The program was taped in front of a live audience at the Toledo Museum of Art. Among the topics we discussed was the E Pluribus Unum project.
Download the Wilson program directly to your PC/mobile device by clicking here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
Episode No. 33 of The Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.) It’s on view through September 9.
Among the pieces we discuss on this week’s show is Iago’s Mirror (2009, above, click to expand), which is in the collections of the Toledo Museum of Art and the Museum of Fine Arts, Boston. It’s remarkable… and on this week’s MAN Podcast, Wilson tells the story of his interest in Shakespeare as well as how he conceived and created the piece.
Wilson is best known for his works made not out of glass, pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
I traveled to Toledo to tape this week’s Modern Art Notes Podcast with Fred Wilson because the Toledo Museum of Art is celebrating the 50th anniversary of the studio glass movement (and its own role in it). Toledo + glass?, you ask… Well, yes: Toledo has been an international leader in glass manufacturing for decades, and still is.
Wilson’s great Iago’s Mirror is on view at the TMA as part of the exhibition “Color Ignited: Glass 1962-2012,” which spotlights artists use of glass over the last fifty years. Among the included artists are Dan Flavin and Josiah McElheny.
Absent from the show is pioneering minimalist Larry Bell, who used glass to create some of contemporary art’s most elegant sculptures, including the untitled 1980 work from MCASD’s collection shown here. Bell was the guest on Episode Twelve of The MAN Podcast. He told some great stories and re-visited some favorite ideas. Don’t miss it!
Download the Bell program directly to your PC/mobile device. Download/susbcribe via iTunes, RSS. See images of works discussed on the program here.
The most exciting public art project proposed in the United States in recent years was produced by Fred Wilson, my guest on this week’s Modern Art Notes Podcast. The project, E Pluribus Unum (2009-11), was not realized because its primary funder, the Central Indiana Community Foundation, inexplicably failed to support its own project.
The backstory: In 2009 a CICF-funded Indianapolis civic organization and project called the Indianapolis Cultural Trail – a pedestrian/cycling path that connects far-flung Indianapolis neighborhoods – commissioned Wilson to create a public artwork. Wilson proposed an artwork that took as its point of departure Indy’s Soldiers’ and Sailors’ Monument, a 30-story-tall, neo-classical enormity located at the geographic midpoint of Indianapolis. Designed by German architect Bruno Schmitz, it was erected in 1901-02. One of the figures on the memorial is an African-American man, apparently a former slave (as symbolized by his muscular, bare torso and by the way he is holding a recently broken chain and shackles). Indianapolis has the second-most public monuments of any American city, but according to Wilson this figure is the only African-American depicted in any of them.
Wilson’s E Pluribus Unum [rendering above via the ICT], would have reproduced that figure isolated and relocated it from its position on the Soldiers’ and Sailors’ Monument. Wilson would also have removed the signifiers of human bondage, resulting in his literally and figuratively freeing the African-American figure from references to slavery. Into the figure’s outstretched arm, the arm that the figure uses to reach up toward the white man on the monument, Wilson would have placed a flag that celebrated the African Diaspora. Wilson’s sculpture would have been visible from the existing memorial, thus pointedly critiquing its paternalism.
On this week’s Modern Art Notes Podcast, Wilson and I discussed the sad demise of the project. You can read much more about E Pluribus Unum and its sad history at Modern Art Notes, where I extensively covered the story.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or glass, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often reinforced by collections and displays of cultural objects.
This year marks the 20th anniversary of the first and most famous of Wilson’s collection interventions, the landmark “Mining the Museum” show Wilson created at the Maryland Historical Society in conjunction with The Contemporary in Baltimore. On this week’s show Wilson tells a couple stories from “Mining the Museum,” including about the remarkable, unlikely link between his experience at the Maryland Historical Society and the silver and shackles in this installation, Metalwork, 1723-1880 (1992). (This image is also on the back cover of a new book of writings on Wilson’s work, “Fred Wilson: A Critical Reader,” edited by Doro Globus.)
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson and I begin the show by discussing his recent shift toward object-making, and in particular his use of glass, such as in To Die Upon A Kiss (2011). Wilson became especially interested in Shakespeare’s “Othello” while working in Venice and the final words Othello speaks make up the title of this piece. (Also discussed on this week’s program: Wilson’s interest in Shakespeare.)
Wilson is best known for his works made not out of pigment-and-canvas or glass, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects. This year marks the 20th anniversary of Wilson’s landmark “Mining the Museum” exhibition at the Maryland Historical Society, an exhibition that was organized by Lisa Corrin for Baltimore’s The Contemporary Museum kunsthalle. Wilson has exhibited widely across the United States and has represented the United States at the Cairo Biennial (1992) and at the Venice Biennale (2003).
One of the works Wilson exhibited in Venice in 2009 was Iago’s Mirror, which the TMA acquired last year. Wilson and I recorded this week’s show while sitting in front of it. [Image above: Wilson, courtesy TMA/Andrew Weber.]
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Iago’s Mirror (2009, above, click to expand), which is in the collections of the Toledo Museum of Art and the Museum of Fine Arts, Boston. It’s remarkable… and on this week’s MAN Podcast, Wilson tells the story of his interest in Shakespeare as well as how he conceived and created the piece.
Wilson is best known for his works made not out of glass, pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Drip Group (2010, above), and Wilson’s black-glass tear pieces… and what color the glass really is. (Hint: It’s not black.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
