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JUNE 21, 4pm- 1 am
Not since SINCE ALAN KAPROW AND THE FACTORY has anyone experienced an art happening like Michaels Alan's THE LIVING INSTALLATION
Experience this mind-blowing event where Michael will turn 10 live models, all acting out "Alice in Wonderland", into living sculptures.
He plays with linearity, expands your mind with visual puzzles makes drawings inside drawings inside paintings. He decorates the models with paint, fabric, paper and objects to create a world that is nothing less than fantastical.
Alan and musician Tim “Love” Lee provide the soundtrack.
Michael Alan's LIVING INSTALLATION has been staple in NYC for over 20 Years and The Huffington Post Calls it "A MOVEMENT IN NYC ART CULTURE!" This community project has created live art objects in venues like the Whitney and the New Museum.
The event will take place in a 3000 square foot space at Succulent Studios, with drinks, coffee and food and will be the closing of the Installation Group show.
Mike has been featured in the Village Voice, The Huffington Post, The New York Times and many more.
This event being his 11 year anniversary and the first time he has performed in 2 years, should prove to be the most extravagant yet.
Go to: WWW.MICHAELALANART.COM under INSTALL for tickets
SUCCULENT STUDIOS 67 West St. | Greenpoint Brooklyn | 5th floor | Suite 522
The University Museum and Art Gallery of The Hong Kong University will be showing an exhibition of artworks by 27 Austrian artists in China titled “Refuse the Shadows of the Past: Five Years of Austrian Art made in China” from the July 4 to August 24, 2014.
This commemorative exhibition celebrates the fifth anniversary of artistic creation and transformation by Austrian and other international artists working in China with a concentrated focus on the ‘Chinese’ past and present. Five years also mark a longer existing program of internationalisation, initiated by the Austrian government to allow artist to work around the world.
This summer, the University Museum exhibits a selection of works that have been shown in Beijing, Shenzhen, Chongqing and Ningbo in the last 5 years, and include video works by Hannes Böck, Thomas Weber Carlsen & Jan Krogsgaard, Sylvia Eckermann & Gerald Nestler, Johann Neumeister, Moritz Neumüller, Audrey Salmon, Bernhard Staudinger, Sylvia Winkler & Stephan Köperl and Heimo Wallner. Objects, installations and book works by Allan Au, Franz Amann, Anna Hofbauer, Ralo Mayer, Rainer Prohaska and Gerlind Zeilner as well as collages, drawings and photographic works by Lukas Birk, Karel Dudesek, Georg Frauenschuh, Tina Hochkogler, Heimo Lattner, Thomas Pakull, Anton Petz, Ida & Bianca Regl, Roswitha Weingrill and Andrea Witzmann.
Each exhibited artist developed his or her own method of artistic practice in a new environment, by working and living in China and not just visiting her. Thereby, they did not form part of a programmatic cultural exchange, but participated in a residency programme that allowed them to develop an approach driven by personal curiosity and subtle translations. The closest comparisons are the pictograms of the Naxi tribe, which have been communicating with images rather than with letters. Similarly, these artists communicate with, various materials, sounds, and forms to reach the visitors’ imagination.
Among the twenty-seven artists represented, Heimo Wallner features Mao Tse Tung’s selected works volume 2 with personal illustrations composed into an animation video, in order to draw and write a large map which shows historical and today’s connection of China. Roswitha Weingrill presents collages with mosaic intarsia showing female and male heads carved out of Chinese art school books.
This exhibition has been organised in collaboration with the Austrian Consulate General in Hong Kong and Macau and the Embassy of the Arts of Austria.
Date: July 3 2014 (Thursday)
Time: 18:00 – 19:30
Place: 1/F, Fung Ping Shan Building, University Museum and Art Gallery, HKU
Details of the exhibition “Refuse the Shadows of the Past: 5 Years Austria Art Made in China”
Period: July 4, 2014 (Friday) – August 24, 2014 (Sunday)
Opening Hours: 09:30 to 18:00 (Monday – Saturday); 13:00 – 18:00 (Sunday). Closed on University and Public Holidays (For details, please visit http://www.hkumag.hku.hk/about_us.html)
Venue: 1/F, Fung Ping Shan Building, University Museum and Art Gallery, The University of Hong Kong (For location, please visit: http://www.hkumag.hku.hk/location.html)
Tel/Email: (852) 2241 5500 (General Enquiry) / firstname.lastname@example.org
Fees: Free Admission
Quality of Life: Aliza Nisenbaum, Claudia Cortinez + Carlos Vela-Prado, Daniel Bejar, Ethan Breckenridge, and Reka Reisinger
Curated by Allison Galgiani
In collaboration with the Rema Hort Mann Foundation
June 19 – July 19, 2014
Opening Reception: Thursday, June 19, 6-9 pm
Bosi Contemporary, in collaboration with the Rema Hort Mann Foundation, is proud to present Quality of Life, a group exhibition featuring Daniel Bejar, Ethan Breckenridge, Claudia Cortinez + Carlos Vela-Prado, Aliza Nisenbaum, and Reka Reisinger, all past recipients of the Rema Hort Mann Foundation Emerging Artist Grant. The meaning, significance, and success of an individual life defies a single definition, and each artist contends with these themes in their own way, demonstrating the complexity and never ending way we seek to quantify a life well lived.
The artists in this exhibition, whether directly or obliquely, reflect, challenge, or illuminate the way in which we measure or choose to define the quality of life. Whether spurred by the unyielding American mandate—to live better, to prosper and succeed, or driven by a spiritual inclination towards a more enlightened state, the concept of “quality” is a rubric used to measure something intangible. Delving into issues of nationalistic propaganda, personal identity and false idolatry, the artists explore what it means to be human; the things that drive and console us, and the histories we contrive to prove that there is meaning despite the chaos. The exhibition captures the indefatigable spirit of life and the artists’ own concepts of humanity, through various signifiers and conventions both familiar and devised by the artist themselves.
Daniel Bejar’s work is informed by his identity and response to the proliferation of media and propagandist messages that consciously and subconsciously permeate our surroundings. In his “Rec-elections” series, Bejar focuses on the tendency of political candidates to rely on clichéd and vague terminology in order to secure support, taking advantage of the public’s knee-jerk reaction to nostalgic and idealistic views of the “American Dream.” What initially seems to be a cynical outlook, the pieces themselves do not drip of contention for these mottos, but rather resolutely reaffirm the fact that we still desperately want to believe them.
Daniel received the Rema Hort Mann Foundation Emerging Artist Grant in 2013 and holds an MFA in sculpture from SUNY New Paltz and a BFA from the Ringling College of Art & Design, Sarasota, FL. His work has been exhibited internationally and was recently selected for the 5x5 Castelló 13 International Contemporary Art Prize in Castelló, Spain and the upcoming “Crossing Brooklyn” exhibition at the Brooklyn Museum. Other exhibitions venues include El Museo Del Barrio, SITE Santa Fe, Artnews Projects, Berlin, and the Bronx Museum of the Arts. Daniel currently lives and works in Brooklyn
Ethan Breckenridge’s “prisms” are perfectly contained representations of life, captured under glass. Like miniature biospheres, Breckenridge has created the ideal environment for his plant specimens to live and grow. Each microcosm will develop and thrive, but is simultaneously universally reliant on someone to cultivate it. Rife with connotations of survival and those elements that we can or cannot control in our own life, the prisms speak to a desire to create order and semblance to an otherwise chaotic life mechanism.
Ethan was a Rema Hort Mann Foundation Emerging Artist Recipient in 2010, and received his MFA from Columbia University and his BFA from the School of Visual Arts, New York. He has shown both nationally and internationally, including solo exhibitions in San Diego, Chicago, and New York, and group exhibitions in London, Rome, Lisbon, Los Angeles, and New York. Ethan currently lives and works in New York City.
The collaborative photographs and sculptures by Claudia Cortinez and Carlo Vela-Prado are presented as archival documents of a moment in time isolated from the present and the past. New York’s Governor’s Island’s unique history and relationship with Manhattan creates a liminal space, where artifacts act as the only connection to an ambiguous past. While inspired by real objects, Cortinez and Vela-Prado’s sculptures are almost entirely fabricated, aged and photographed to act as a proxy for the real, and left up to the viewer to decide what is authentic and what is imagined.
Claudia was a Rema Hort Mann Foundation Emerging Artist Grant Recipient in 2013, and she works collaboratively and independently. Together they were recipients of the 2013 Lower Manhattan Cultural Council Governor’s Island Residency program. Separately, they have exhibited in and around New York. Both artists received their MFAs in sculpture from Yale University, and both are currently based in Brooklyn.
Aliza Nisenbaum’s paintings give equal weight to her own and her shared history, taking cues from art historical conventions of portraiture and still-life, while also very much rooted in the contemporaneous moment. Working with undocumented Mexican immigrants, Nisenbaum listens to their stories of their experiences and sacrifices they endured in the hopes for a better life. Each of her works possesses the living spirit of her subjects and this pursuit.
Aliza was a recipient of the Rema Hort Mann Foundation Emerging Artist Grant in 2013.
She was born in Mexico City and received her MFA from The School of the Art Institute of Chicago in 2005. Recently she has exhibited in New York City, Detroit, Chicago, Dublin, and Mexico City, and will have a solo exhibition at White Columns, New York later this year. She currently lives and works in Brooklyn.
During a number of trips across the United States, Reka Reisinger documented her visits to tourist-approved destinations by photographing a cutout of herself in real places. The life-size cutout inhabits the memories of these journeys—as she travelled, her avatar was the recipient of the experience. Focusing instead on the documentation and capturing the memory, she realized that she was entirely removed from her experience of a time and place. The viewer experiences these memories as she did—removed and distant from the actual experience, raising implications of how we choose to record and measure experience and success in our lives.
Reka Reisinger was the recipient of the Rema Hort Mann Foundation Emerging Artist Grant in 2012 and received her MFA in photography from Yale University. Her work has been shown nationally and internationally, including exhibitions at MoMA PS1, Sculpture Center, Exit Art, and the Art + Commerce Festival of Emerging Photographers. Reisinger was born in Budapest, Hungary, and lives between New York and Hungary.
About the Rema Hort Mann Foundation
For almost twenty years, the Rema Hort Mann Foundation has been dedicated to the support of life and art, inspired by the memory of Rema Hort Mann, whose own life was cut short at the age of thirty due to stomach cancer. The Foundation has made its mission to fund the continued support to cancer victims and their families through direct support with the Quality of Life grants, and promising visual artists through the Emerging Artist Grants. The Rema Hort Mann Foundation is a small organization that continues to have a large impact and play a vital role to the populations that it reaches.
A portion of the proceeds from the exhibition will go to benefit the Rema Hort Mann Foundation.
The exhibition will be accompanied by a fully illustrated catalogue with texts by Allison Galgiani and Laura Cottingham available for purchase at the gallery or online.
I will come up with an artistic idea along any one issue or theme you require. This idea will be yours to use and develop as you wish. I will aim to make the ideas original. By this I mean that I will not conciously copy somebody elses idea. I can't however be held responsible for leaking of ideas from outside my brain which get lodged in my subconcious without my knowledge or the fact that the idea may already exsist wihout me having being exposed to it. All I would ask is for my name to feature on any publications, web etc which features the idea.
The least initial deviation from the truth is multiplied later a thousandfold
It is a pleasure to announce “Initial Deviations,” an exhibition of works curated by Kara Brooks at Palisades. The exhibition intends to bring together the Bushwick community not only by featuring local artists, but also by taking place in a multipurpose venue.
The three artists in ”Initial Deviations” investigate mental images, waves of events and emotional expression through repetition. The subject matter gains velocity as it evolves in the process, resulting in an abstraction of the original idea. Instead of fearing the multiplication of these deviations, the three artists embrace the transformation, allowing the viewer to experience the original subject in a constantly changing form. As a grouping, these works illustrate the fragility and malleability of memory.
Solomon Alexander Chehebar’s paintings uncover figures amongst a expressionistic frenzy of colors on canvas. Instead of focusing on a specific event, he uses a variety of paints and textures as a therapeutic means, putting forth the embodiment of his individual experience.
The faces depicted in Claire Lachow's works are her endeavor to remember strangers she encounters. While Lachow intends for faithful portrayals, her recollections are as mercurial and unstable as her media of choice – ink and water.
In this series, Brian Stremick fantasizes about lands that he has never been to before and attempts to transport he viewer to a landscape that he charted himself. Much like the condensation of memories, his conté crayon drawings take their form what has occurred in the past – over time the straight horizon begins to wobble and become a series of random occurrences brought on by the hand.
BOSI Contemporary is pleased to announce The Absorbed Tradition an exhibition of 13 new large-scale works by Erik Madigan Heck, created during the early months of 2014. The images include landscape, portraiture and fashion-based photographs, which highlight the artist’s continuous interest in abstracting and reshaping the history of photography into a new hybrid form, while formally paying homage to the established medium.
In addition to comprising the exhibition, the images are featured in a special issue of CREEM magazine. Curated and photographed by the artist, the publication has been designed as an art book with two parts. The first section, entitled “Conversations on Photography,” focuses on the artist’s interviews with and portraits of high-profile individuals in the world of photography. Curators, directors, and fellow photographers — including Taryn Simon, Elinor
Carucci, Vince Aletti, Susan Bright and Kathy Ryan — are captured in in-depth features alongside their own work. The second section of the magazine is composed of Heck’s new works. Images range from portraits of Waris Ahluwalia in Haider Ackermann and Jamie Bochert in Ann Demeulemeester to a 40-page black-and-white book of portraits of Guinevere Van Seenus. The issue concludes with the third installment of the artist’s “Without A Face” series, originally commissioned by and debuted in New York Magazine. Here, it exists as a series of ambiguous “advertisements” made for a selection of fashion designers.
Erik Madigan Heck is a photographer, filmmaker, and writer. In 2013 he received an Infinity Award from the International Center of Photography for his work. He is a regular contributor to the New York Times Magazine, The New Yorker, W, and Harper’s Bazaar UK. He is the founder of Nomenus Quarterly and No Photos Please, and is the author of “January to August.” Heck is included in the forthcoming exhibition “Don’t Stop Now: Fashion Photography Next,” opening July 2014 at the Foam Museum in Amsterdam, with an accompanying catalog published by Thames & Hudson.
Wandering Scholars is an interdisciplinary symposium about contemporary culture, art, media and scholarship that focuses on acts of “walking” and “wandering” as strategies of thought and expression. It will consider the importance of processes of walking, elements of distraction, chaos, non-productivity, non-linearity and “failure”, as well as the fascination of a peripatetic way of disseminating knowledge. Whether we are making solitary journeys or moving in groups, we are constantly drifting and perceiving with five senses, or using technological devices, while sensing the rhythms and languages constituted by spaces, times and people. The symposium invites artists, scholars and audiences to develop participatory modes of education as acts of walking.
About Event - Sexuality and Dimsum
Date: 29 May 2014(THU) 1 - 5pm
Journeys into sex art and knowledge will be shown and discussed at a "Long Table"**.
At 1pm the event will open with an appetizer and sparkling beverage. Next we will witness a performance art piece by Tobaron Waxman entitled The 71st Face . It is an cappella endurance performance for the transsexual voice that will
resonate with the cattle depot's architecture. More specifically he will sing songs in Yiddish, Hebrew and Aramaic about death and transformation.
At 2:30 pm there will be an intermission around the table with informal table chat and Dimsum.
At 3:15 pm the floor goes to filmmaker Fan Popo who will present a talk and movie segments entitled Queer Mobility and Home Sickness. As he describes:" My 'identity trouble' is not merely limited to sexuality; it is also about me as a filmmaker, a curator, an activist, a writer (sometimes). It is cool to engage in a variety of tasks within multiple fields, but this can be exhausting as well; traveling around brings me as much excitement as homesickness.
The program will conclude at 5pm with a dialogue by Nguyen Hoang Tang and Dredge Kang over a refreshing dessert.
** The Long Table format, invented by performer/professor Lois Weaver, is a means of generating open discussion about a specified topic, using a stylized environment and participation protocol to turn ordinary conversation into a performance. ‘The Long Table’ experiments with participation and public engagement by re-appropriating a dinner table atmosphere as a public forum and encouraging informal conversation on serious topics.
16 May (Fri) 7pm
13 – 31 May (daily) 12nn – 7pm
17 May (Sat) 11am & 3pm
Unit13, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Hong Kong
Absorption and Explosion, an exhibition on media and contemporary art which features two of the most promising Japanese artists of our time, Nobumasa Ikemori (Nobu) and Eiki Mori. Listed by Art Basel 2014 as a concurrent exhibition, Absorption and Explosion will run from 13th to 31st May.
On this occasion, Eiki has chosen the title “Hong Kong Obscura” for this exhibition, in which he will specially produce a new series of photos purely about Hong Kong, capturing the city’s energy, including portraits of people, streets, life and soul.
Nobu has chosen the title “Shin” (“belief”) for this exhibition, which will show his latest black ink paintings depicting the vitality of the human figure, animals, spirits and nature, giving a dynamic interpretation of living and life.
A major highlight will fall on 17 May (Saturday) when Nobu conducts two live painting sessions entitled “Burn! Okonomix”, held at 11 am and 3 pm at Cattle Depot Artist Village. Inspired by “Okonomiyaki”, a traditional dish from his hometown Hiroshima, Nobu’s recipe will include authentic ingredients for okonomiyaki which he will artistically blend with black into onto a vast canvas plate. To use his own words, Nobu will “make people alive, smile with super taste new vitality painting”.
Absorption and Explosion is organized by Zen Foto Gallery, Tokyo, Japan,(www.zen-foto.jp/) in collaboration with Videotage, a Hong Kong-based non-profit organization dedicated to promoting video and media art.
I'm looking for someone to team up with who can screen print simple designs in single or two-tone colour on fabric?
I'm interested in both
- someone who can give me a consultation about designs (what it would cost in materials, how hard they would be, how much time it would take to print)
- someone who could actually print the patterns.
Get in touch!
In 2014 we're creating a Reading Room in Hamilton House, Bristol - a sanctuary for rare, unusual and beautiful books based on the model of user-generated library Mellow Pages in Brooklyn (www.mellowpageslibrary.com). All books in the Reading Room will be donated by a network of members, and displayed to view and peruse in a small dedicated space in the creative warrens of Hamilton House. (www.hamiltonhouse.org)
In the next couple of months we need some help to transform the space - painting walls, acquiring furniture, fixing new lamps and lights, potting plants, hammering nails in walls and cataloguing books.
If you can help please get in touch. Time/Bank hours to be paid for each hour of work contributed to the project. And if you'd like to join the Reading Room or find out more, do write.
LINEA: Katie Holten and Mariateresa Sartori
Curated by Kathy Battista
April 27 – May 31, 2014
Opening Reception: Sunday, April 27, 6-9 pm
Public walk with the artists: Thursday, May 1, 4pm
BOSI Contemporary is pleased to announce Linea, an exhibition of new work by Katie Holten and Mariateresa Sartori curated by Kathy Battista. The exhibition will consider the potential of drawing through works on paper, canvas, and cardboard, as well as video, found objects, and a series of walks.
The two artists were chosen for their investigations into drawing as an expanded field. Drawing is the basis of their work – as an act of mark making, a tool for mapping presence and a device for tracing actions. In the twentieth century drawing was freed from representation, effectively liberating it from the flat surface, enabling it to venture into space. Holten and Sartori use various means to obsessively map their place in the cosmos - Linea refers to the geological strata on the surface of a moon or a planet and in Italian it means “line”, the basis of all drawing.
Katie Holten’s Constellations are a series of new white-on-black drawings that resemble aggregations of stars. In fact, the basis for her images is not “outer” space but the landscape of the Earth; Holten uses the NASA Earth Observatory’s 2012 satellite images of the planet at night as source material. She recently completed a MOOC on Complexity at the Santa Fe Institute in which she studied how complexity emerges and evolves in nature, society, and technology. She explored the tools used by scientists to understand complex systems, including dynamics, chaos, fractals, information theory, self-organization, iteration, and networks. Holten is compelled by the imperative of examining how our collective history is embedded in landscape. The Constellations interrogate how the physical structures of humanity are interwoven with the natural world as they map specific places – networks of cities and towns – with their connecting arteries. In these drawings, Holten uses chalk formed during the Cretaceous period, which she collected while walking along a former seabed in western Kansas. The site is plotted in Constellation, the Midwest.
Mariateresa Sartori’s double channel video The Drawers shows her students drawing, their eyes looking at the camera, darting to the pages below, and back again. Their subject is Sartori herself. An exploration of looking and, potentially, power, it is, as Samuel Bordreuil says in the Linea catalogue, “between the Velázquez of Las Meninas and the Panopticon of Jeremy Bentham.” A related series of drawings by Sartori, 1 minute and 15 seconds of drawers’ gazes, depicts the eye movements of the same group of students in small drawings. Resembling a grid of electrocardiographs, it turns gaze into line. In The Progressive, Sartori translates into signs the compositional principles of Brahms’ 4th Symphony, turning Brahms’ branch-like musical structure into a rippling, undulating series of lines, iterating themes into networks much as Holten does with landscape.
Sartori and Holten find beauty in their investigations of systemic composition and line. Telling stories with literal and metaphorical maps, they work within a great art historical tradition, yet extend this lineage with their personal choice of subjects and gift for subtle gestures. In today’s world of frenetic, fleeting and ephemeral communications, Holten and Sartori write love letters for posterity, reminding the viewer that beauty is found in the slightest of movements and the rhythms and patterns of language.
Their common interest in mapping relates to the practice of walking, which brought the artists together in May 2013 when Holten was on a residency in Venice and walked the city as part of her Ten Years Later project in which she revisited her Irish Pavilion for the 50th Venice Biennale in 2003. For the duration of Linea, Holten will lead a walk every day. Joined by a diverse group—including artists, scientists, and writers—she will trace the urban landscape and 'mine' objects, while creating drawings and photographs. On May 1st at 4pm the public is invited to join Holten and Sartori on a walk.
The exhibition will be accompanied by a fully illustrated catalogue with texts by Kathy Battista, Samuel Bordreuil, and a conversation between Katie Holten and Sarah Sze.
Katie Holten (b. 1975, Dublin, Ireland) is an alumna of the National College of Art and Design, Dublin, Ireland (1998); Hochschule der Künste, Berlin, Germany (1997); Cornell University, New York, USA (2006); and Santa Fe Institute, New Mexico, USA (2013). In 2003 she represented Ireland at the 50th Venice Biennale. She has had solo museum exhibitions at the New Orleans Museum of Art, New Orleans, USA (2012); Dublin City Gallery The Hugh Lane, Dublin, Ireland (2010); The Bronx Museum of the Arts, New York, USA (2009); Nevada Museum of Art, Reno, Nevada, USA (2008); Villa Merkel, Esslingen, Germany (2008); and the Contemporary Art Museum St. Louis, Missouri, USA (2007). Recent group exhibitions include 1st Cartagena Biennale, Museo Naval, Cartagena, Colombia (2014); Contemporary Irish Art, BOZAR, Brussels, Belgium (2013); Light and Landscape, Storm King Art Center, New York, USA (2012); and Twenty, Irish Museum of Modern Art, Dublin, Ireland (2011). Her public projects include Ten Years Later, Venice, Italy (2013) and Tree Museum, Grand Concourse, Bronx, New York, USA (2009-2010). Her work is included in public collections including the Irish Museum of Modern Art, Dublin, Ireland; Nevada Museum of Art, Reno, USA; and the Bronx Museum of the Arts, New York, USA. She lives in New York City.
Mariateresa Sartori (b. 1961, Venice, Italy) graduated in German language and literature at the University of Ca' Foscari, Venice, Italy (1987) with a thesis on Freud and his psychology in art. She has had solo exhibitions at Galleria Michela Rizzo, Venice, Italy (2013); Greenhouse, Giardini Biennale, Venice, Italy (2011); a two person show with Antoni Muntadas, Galleria Michela Rizzo, Venice (2009); Foundation Querini Stampalia, Venice (2009); and Foundation Bevilacqua La Masa, Palazzetto Tito, Venice (2005). Among her group shows are Off Course: A Narration Between Italy and Greater China, Foundation Querini Stampalia, Venice (2013); At Heaven's Door: Cyberfest, The State Hermitage Museum, Petersburg, Russia (2012); Movingimage, Contemporary Video Art Fair, Waterfront New York Tunnel, New York, USA (2012); In Other Words: The Black Market of Translation, Negotiating Contemporary Cultures, NGBK, Kunstraum Kreuzberg/Bethanien, Berlin, Germany (2012); Fuori Centro, Hangar Bicocca Foundation, Milan, Italy (2009); XV Quadrennial of Rome, (2008); Energy, Folkwang Museum, Essen, Germany (2003); Projekt Artist in Residence, Graz, Austria (2000); Pittura Immedia, Neue Galerie, Graz, Austria / Mücsarnok, Kunsthalle Budapest, Hungary (1995); and the 45th Venice Biennale (1993). Since 2000 Sartori teaches public drawing courses to absolute beginners, using Betty Edwards’ method that starts from the same neuroscientific assumptions that move her artistic research. She lives in Venice, Italy.
Kathy Battista is a writer, curator, and educator. She is Director of Contemporary Art at Sotheby’s Institute of Art, New York. She is the author of Re-negotiating The Body: Feminist Artists in 1970s London (IB Tauris, 2012) and the forthcoming New York New Wave (IB Tauris, 2014). She lives in New York City.
Updates and a schedule of the walks will be available at www.katieholten.com/walks