View allAll Photos Tagged PostMinimalism
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
Igor & Svetlana Kopystiansky. The Lithuanian National Museum of Art. Foreword: Arūnas Gelūnas. Texts by Michel Gauthier, John G. Hahnhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg. 2023.
ISBN 978-609-426-182-4
The information about the catalog is published online:
www.lndm.lt/igor-svetlana-kopystiansky-2/?lang=en
And at: kopystianskybooks.tumblr.com/
Regarding the purchase and shipping of the publication abroad, please contact us by e-mail dovile.zubaviciute@lndm.lt
Installation view: Video work "Incidents"(1996/7) at MoMA 2012
www.metmuseum.org/metmedia/video/collections/ph/incidents
Exhibition History of “Incidents” (1996/7), 14:56 min video/sound installation:
1997 “L'Autre. 4e Biennale de Lyon, Art Contemporain,” Lyon, France. Curated by Harald Szeemann, (cat.).
1997 “2nd Johannesburg Biennale,” South Africa. Curated by Okwui Enwezor (cat.).
1997 “In Medias Res,” Dolmabahce Palace, Istanbul. Curated by René Block (cat.).
1999 “Szenewechsel” (Change of Scene) Museum of Modern Art, Frankfurt/Main. Curated by Jean-Christophe Ammann and Mario Kramer.
1999 “Trace” Liverpool Biennial of Contemporary Art, Tate Gallery Liverpool. Curated by Anthony Bond, (cat.).
1999 “Wait,” Kunst-Werke, Berlin. Curated by Klaus Biesenbach
2000 Folkwang Museum in Essen, Germany. Curated by Klaus Biesenbach
2000 “Moment,” Dundee Contemporary Arts, Great Britain. Curated by Katrina Brown
2000 “Incidents,” Vor und Zurück. Curated by Sylvia Martin. Kunstmuseum Düsseldorf, Germany.
2000 “Igor and Svetlana Kopystiansky” Museum Sztuki, Lodz, Poland
2000 “Incidents” Art Gallery of New South Wales, Sydney, Australia. Curated by Anthony Bond.
2004 “9th Triennal of Small Sculpture” Fellbach, Germany. Curated by Jean-Christophe Ammann.
2005 “Igor & Svetlana Kopystiansky,” Kunsthalle Fridericianum, Kassel, Germany. Curated by René Block.
2005 “Igor & Svetlana Kopystiansky,” Fine Arts Center of the University of Massachusetts, Amherst, MA. Curators Loretta Yarlow/Gregory Salzmann
2005 “From the permanent collection. Kopystiansky, Roth, Orozco, Cahn, Muniz.“ AGNSW, Sydney. Curated by Anthony Bond.
2007 “Igor & Svetlana Kopystiansky,” ESPOO Museum of Modern Art (EMMA), Espoo, Finland. Curated by Timo Valjakka (cat.)
2008 "From the permanent collection.” AGNSW, Sydney. Curated by Anthony Bond.
2009 “Igor and Svetlana Kopystiansky” Cinema 2, April 22. Musée National d'Art Moderne Center Pompidou, Paris, France. Curated by Philippe-Alain Michaud.
2009 "False Twins” S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Curated by Guillaume Désanges.
2009 “From the permanent collection. Roman Opalka, Brice Marden Igor and Svetlana Kopystiansky and Rachel Whiteread,“ AGNSW, Sydney. Curated by Anthony Bond.
2009 KunstFilmBiennale, "From the collection of the Center Pompidou Paris.” Medienkunstraum der Bundeskunsthalle Bonn, Germany. Curated by Philippe-Alain Michaud.
2010 “Radical Conceptual. Positions in the MMK Collection.” MMK Frankfurt/Main, Germany. Curated by Susanne Gaensheimer.
2010 “Image by Image. Film and Contemporary art from the collection of the Centre Pompidou,” Museum Ostwall, Dortmund, Germany. Curated by Philippe-Alain Michaud and Olivier Michelon.
2010 “Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
2011 “Energy and Process. Igor and Svetlana Kopystiansky. Presentation of the collection. TATE Modern London. Curated by Stuart Comer.
2011 “Wunder,” Deichttorhallen Hamburg and Siemens Stiftung. Curated by Hürlimann | Lepp | Tyradellis (cat.)
2011 “From Trash to Treasure,” Kunsthalle zu Kiel, Germany. Curated by Anette Hüsch, (cat.)
2012 “Wunder,” Kunsthalle Krems, Austria. March 4th to July 1st Curated by Hürlimann | Lepp | Tyradellis.
2012 “Igor and Svetlana Kopystiansky: Incidents (1996/7),” From the permanent collection. MoMA, New York.
2013 “Incidents,” in works from the collection selected by Rineke Dijkstra for The Krazy House. February 23-May 26. MMK Frankfurt. Catalogue.
2013-2014 “Everyday Epiphanies. Photography and Daily Life Since 1969.” Curator Douglas Eklund. The Metropolitan Museum of Art. June 25, 2013–January 26, 2014.
2014. Collection Display. MMK Frankfurt, Germany.
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
The Museum of Modern Art, Saint-Éttienne
Jacques Beauffet, Bernard Ceysson, Martine Dancer, Maurice Fréchuret, Gilles Aillaud, Carl Andre, Arman, John Armleder, Jean Arp, Jean Atlan, Enrico Baj, Georg Baselitz, Etienne Beothy, Christian Boltanski, Roger Bissiére, Victor Brauner, Camille Bryen, Pierre Buraglio, Victor Burgin, Alexander Calder, Marcelle Cahn, Louis Cane, Auguste Chabaud, Gaston Chaissac, Tony Cragg, Joseph Csaky, Robert Delaunay, Sonia Delaunay, Maurice Denis, Daniel Dezeuze, David Diao, Jim Dine, César Domela, Marcel Duchamp, Jean Dubuffet, Raoul Dufy, Max Ernst, Etienne-Martin, Aleksandra Exter, Luciano Fabro, Jean Fautrier, Naum Gabo, Jochen Gerz, Julio González, Toni Grand, Hans Hartung, Raoul Hausmann, Jean Hélion, Jörg Immendorff, Robert Jacobsen, Alain Jacquet, Donald Judd, Lajos Kassak, On Kawara, Ellsworth Kelly, Yves Klein, Joseph Kosuth, Igor Kopystiansky, Barbara Kruger, Henri Laurens, Bertrand Lavier, Jean Le Moal, Sol LeWitt, Roy Lichtenstein, Richard Long, Markus Lupertz, Alberto Magnelli, Alfred Manessier, Louis Marcoussis, André Masson, Henri Matisse, Mario Merz, Henri Michaux, Claude Monet, Barnett Newman, Kenneth Noland
description
Reference book for the collection of the Museum of Modern Art, Saint-Étienne. Essays by Jacques Beauffet, Bernard Ceysson, Martine Dancer and Maurice Fréchuret. Artists include Gilles Aillaud, Carl Andre, Arman, John Armleder, Jean Arp, Jean Atlan, Enrico Baj, Georg Baselitz, Etienne Beothy, Christian Boltanski, Roger Bissiére, Victor Brauner, Camille Bryen, Pierre Buraglio, Victor Burgin, Alexander Calder, Marcelle Cahn, Louis Cane, Auguste Chabaud, Gaston Chaissac, Tony Cragg, Joseph Csaky, Robert Delaunay, Sonia Delaunay, Maurice Denis, Daniel Dezeuze, David Diao, Jim Dine, César Domela, Marcel Duchamp, Jean Dubuffet, Raoul Dufy, Max Ernst, Etienne-Martin, Aleksandra Exter, Luciano Fabro, Jean Fautrier, Naum Gabo, Jochen Gerz, Julio González, Toni Grand, Hans Hartung, Raoul Hausmann, Jean Hélion, Jörg Immendorff, Robert Jacobsen, Alain Jacquet, Donald Judd, Lajos Kassak, On Kawara, Ellsworth Kelly, Yves Klein, Joseph Kosuth, Igor Kopystiansky, Barbara Kruger, Henri Laurens, Bertrand Lavier, Jean Le Moal, Sol LeWitt, Roy Lichtenstein, Richard Long, Markus Lupertz, Alberto Magnelli, Alfred Manessier, Louis Marcoussis, André Masson, Henri Matisse, Mario Merz, Henri Michaux, Claude Monet, Barnett Newman, Kenneth Noland and many, many more.
Paris, France: Musées et Monuments de France, 1990
International Concourse- E Gates
More "installation art" at Pearson. I'm sure most people pass through this Richard Serra piece without being aware of what it is, hahaha.
I hadn't realized that Richard Serra (1938-2024) had died.
From Wikipedia:
"Richard Serra (1938-2024) was an American artist known for his large-scale abstract sculptures made for site-specific landscape, urban, and architectural settings, and whose work has been primarily associated with postminimalism. Described as "one of his era's greatest sculptors", Serra became notable for emphasizing the material qualities of his works and exploration of the relationship between the viewer, the work, and the site.
"Serra pursued English literature at the University of California, Berkeley, before shifting to visual art. He graduated with a B.A. in English Literature from the University of California, Santa Barbara, in 1961, where he met influential muralists Rico Lebrun and Howard Warshaw. Supporting himself by working in steel mills, Serra's early exposure to industrial materials influenced his artistic trajectory. He continued his education at Yale University, earning a B.A. in Art History and an M.F.A. in 1964. While in Paris on a Yale fellowship in 1964, he befriended composer Philip Glass and explored Constantin Brâncuși's studio, both of which had a strong influence on his work. His time in Europe also catalyzed his subsequent shift from painting to sculpture."
Robert Morris (b.1931, Kansas City, Missouri; d. 2018, Kingston, New York) is a key figure in the history of art after 1960. As opposed to the model of the survey, in which many examples of work are brought together to demonstrate variety or range, Robert Morris. The Perceiving Body is organised as a constellation of seven discrete rooms, each containing a single installation or a group of related objects.
During the 60s and 70s, Morris produced what are now considered to be canonical works of Minimal and Postminimal art. The works were primarily concerned with acts of making and beholding. They were made by Morris (and, later, by others) from materials and means drawn largely from the construction industry. In form, these objects eschew the compositional conventions of modernist abstraction, being based instead on principles of repetition, permutation, and chance. In scale, they observe a direct, 1:1 relation between the sculptural object and the body of the artist or observer – the ‘perceiving body.’ This emphasis on an encounter – between the subject and object – has its roots in advanced art circles of performance and dance with which Robert Morris has worked closely. Placed directly on the floor, the objects are non-monumental yet big enough to fully engage the space of the room: they confront, obstruct, or intervene.
The exhibition includes celebrated examples of the artist’s work, such as Untitled (3Ls) (1965/1970) and Untitled (Mirrored Cubes) (1965/1971), and various early ‘large-form’ constructions in plywood, fibreglass, and steel mesh that hold, transmit, or reflect light. Also shown are process-based works using soft felt, and a related work, Untitled (Scatter Piece) (1968-1969/2009), a complex installation partly devised according to chance operations derived from John Cage (b. 1912, Los Angeles; d. 1992, New York). Finally, Untitled (Portland Mirrors) (1977) is a large installation with mirrors – an expansive illusion of multiple spaces that both summons and defeats the principle of one-point perspective.
Morris’ work concerns the relation of what we see to what we know. He sometimes described his practice of this period as a series of ‘investigations,’ a term – borrowed from philosopher Ludwig Wittgenstein (b. 1889, Vienna; d. 1951, Cambridge) – that implies an almost scientific purpose. Yet the work possesses other implications. For example, Morris spoke of his progress as having been framed by philosophical doubt. We note that his work was produced during the era of American involvement in the war in Vietnam, a time of intense cultural upheaval in the United States, when political authority was subject to waves of public opposition. The propositional nature of the work of Morris and his contemporaries – the notion that each object represents a kind of experiment, a ‘what-if’ proposition – corresponds to the mood of anti-authoritarianism among those on the American cultural Left.
Finally, for all its methodical precision, Morris’ practice was searching, even deeply subjective. Indeed, while the work of these two-decades was based on the notion that vision is inseparable from bodily sensation, the 1970s saw the emergence of new factors and themes, such as disorientation, blindness, and illusion. According to the artist’s writings, these elements reflect an emphasis on intensive interiority, a search for the self. Much later, Morris suggested that his early work possessed undisclosed, even allegorical, references to his childhood – to indelible memories of encounters with looming objects and hidden rooms. In this way, the work was said to engage space as affective or symbolic form. MUDAM, Luxemburg
New Observations : Art in the Folds
No. 110 (January/February 1996)
Elena Berriolo, Roland Flexner, Josefina Ayerza, James Welling, Dominique Nahas, Oliver Herring, James Nares, Polly Apfelbaum, John Coplans, Gregory Volk, Igor Kopystiansky, Dorothea Rockburne, Saul Ostrow, Nancy Rubins, Sarah Charlesworth, Todd Ayoung, Faye Hirsch, Peter Halley, David Reed, George Sugarman, Terry Winters, David Ward
Issue number 110 of New Observations: "The Magazine that Lets the Artists Speak for Themselves." Guest edited by Elena Berriolo and Roland Flexner. Essays "Introduction," by Elena Berriolo and Roland Flexner; "So She Unfolds..." by Josefina Ayerza; "II," by James Welling; "Passing the Marcelling Test with a Cold Iron," by Dominique Nahas; "Covered Coat #2," by Oliver Herring; "Untitled," by James Nares; "From Fold to Fold," by Polly Apfelbaum; "Self Portrait, (Back of Hand)," by John Coplans; "Revelation and Concealment," by Gregory Volk; "Diptych," by Igor Kopystiansky; "Egyptian Painting Saqqarah," by Dorothea Rockburne; "The Gray Painting (Newspaper 1957, 27X36 Inches, Not Illustrated)," by Saul Ostrow; "Mattresses & Cakes," by Nancy Rubins; "Enclosed Garden," by Elena Berriolo; "Text," by Sarah Charlesworth; "After Civilization and After," by Todd Ayoung; "The Fifth World," by Faye Hirsch; "Fabric-Made Body," by Roland Flexner; "Prison with Conduit," by Peter Halley; "No. 289," by David Reed; "Untitled," by George Sugarman; "Implications, Images and Signes," by Terry Winters; "Unfolding the Image: Gilles Deleuze and Film Theory," by David Ward. Cover: Svetlana Kopystiansky.
New York, NY: New Observations, 1996
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
Although, I must admit that the title is somewhat of a paradox, given that there is nothing minimal about glitter. ;-) I was attracted to the texture of this composition.
Entry for: Postminimalism in Project Challenge.
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
Igor Kopystiansky. The Carpet. 1990
reproduced in: 1990 Igor and Svetlana Kopystiansky. DAAD/Martin-Gropius-Bau Berlin. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christine Tacke.
Exhibition view: "Construction in Process III," Lodz, Poland. Participating artists including: Rolf Julius, Ilan Averbuch, Jozef Robakowski, Karin Sander, Svetlana Kopystiansky, Igor Kopystiansky, Michael Snow, Barco Dimitrijevic, Les Levine, Sol LeWitt, Jonas Mekas, Francesco Torres, Endre Tot, Jochen Gerz, Micha Ullman, John Nixon, Ken Unsworth, Jerzy Grzegorski, Richard Nonas, Ian Wallace, Ryszard Grzyb, Marcia Hafif, Dennis Oppenheim, Ryszard Wasko, Lawrence Weiner, Emmet Williams.
Collection Muzeum Sztuki Lodz, Poland:
zasoby.msl.org.pl/arts/view/11631
Igor Kopystiansky The Carpet / Dywan
Datowanie: 1990
Technika: asamblaż
Materiały: farba olejna, płótno
Rozmiar:wymiary różne każdego ze 100 elementów od 192x9cm do 16,5x16cm cm
Sposób nabycia:dar
Numer inwentarzowy: MS/SN/M/2109/1-100
Back in Lodz - Construction in Process III
The third edition was organized in 1990 in Lodz.
Participants
Marcela Anselmetti
Rolf Julius
Daniel Reynolds
Ilan Averbuch
Wolf Kahlen
Rafael Rheinsberg
Janusz Baldyga
Elzbieta Kalinowska
Jozef Robakowski
Reiner Barzen
Andromahi Kefalos
Ingrid Roscheck
Terry Berkowitz
Edmund Kieselbach
Nicolas Rowan
Tom Bills
Marek Kijewski
Karin Sander
Monika Brandmeier
Adam Klimczak
Anthony Sansotta
Jean Pierre Brigaudiot
Svetlana Kopystiansky
Igor Kopystiansky
Eva Maria Schon
Wojciech Bruszewski
Philip Smith
Hartmut Boehm
Anna Kutera
Mikolaj Smoczynski
Peter D'Adostino
Romuald Kutera
Eric Snell
Jacqueline Dauriac
Emma J. Lawton
Michael Snow
Barco Dimitrijevic
Edward Łazikowski
Pawel Sobczak
Peter Downsborough
Les Levine
Marek Sobczyk
Kristian Dubbick
Sol LeWitt
Ann Thulin
Bernd Eickhorst
Emilio Lopez-Menchero
Hanne Tierney
Wendy Elliott
Milovan Markovic
Sissel Tolaas
Lilli Engel
Jonas Mekas
Francesco Torres
Gene Flores
Rune Mields
Tout
Michael Galasso
Antoni Mikolajczyk
Endre Tot
Klaus Geldmacher
Teresa Murak
Dagmar Uhde
Jochen Gerz
Giovanni Nicolini
Micha Ullman
Leszek Golec
John Nixon
Ken Unsworth
Jerzy Grzegorski
Richard Nonas
Ian Wallace
Ryszard Grzyb
Ann Noel
Maria Wasko
Marcia Hafif
Dennis Oppenheim
Ryszard Wasko
Tadashi Hashimoto
Erick Oppenheim
Lawrence Weiner
Wolfgang Hainke
Paul Panhuysen
Emmet Williams
Marygold Hodkinson
Luigi Pasotelli
Xawery Wolski
Alexander Honory
Beverly Piersol
Brigida Wrobel-Kulik
Peter Hutchinson
Anna Plotnicka
Marthe Wery
Taka Iimura
David Rabinowitch
Sofia Zezmer
Jean Luc Jehan
Margaret Raspe
Fonds Igor et Svetlana Kopystiansky/Archive Igor and Svetlana Kopystiansky
Centre Pompidou
Location: Bibliothèque Kandinsky - MNAM-CCI - Centre Pompidou, Paris
transmission III (coronation)
oil stick and graphite on canvas
60" x 102"
2008
earth
dirt, two marbles, gold leaf, sage, white spruce oil
dimensions variable
2009
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
Igor Kopystiansky. The Carpet. 1990
reproduced in: 1990 Igor and Svetlana Kopystiansky. DAAD/Martin-Gropius-Bau Berlin. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christine Tacke.
Exhibition view: "Construction in Process III," Lodz, Poland. Participating artists including: Rolf Julius, Ilan Averbuch, Jozef Robakowski, Karin Sander, Svetlana Kopystiansky, Igor Kopystiansky, Michael Snow, Barco Dimitrijevic, Les Levine, Sol LeWitt, Jonas Mekas, Francesco Torres, Endre Tot, Jochen Gerz, Micha Ullman, John Nixon, Ken Unsworth, Jerzy Grzegorski, Richard Nonas, Ian Wallace, Ryszard Grzyb, Marcia Hafif, Dennis Oppenheim, Ryszard Wasko, Lawrence Weiner, Emmet Williams.
Collection Muzeum Sztuki Lodz, Poland:
zasoby.msl.org.pl/arts/view/11631
Igor Kopystiansky The Carpet / Dywan
Datowanie: 1990
Technika: asamblaż
Materiały: farba olejna, płótno
Rozmiar:wymiary różne każdego ze 100 elementów od 192x9cm do 16,5x16cm cm
Sposób nabycia:dar
Numer inwentarzowy: MS/SN/M/2109/1-100
Back in Lodz - Construction in Process III
The third edition was organized in 1990 in Lodz.
Participants
Marcela Anselmetti
Rolf Julius
Daniel Reynolds
Ilan Averbuch
Wolf Kahlen
Rafael Rheinsberg
Janusz Baldyga
Elzbieta Kalinowska
Jozef Robakowski
Reiner Barzen
Andromahi Kefalos
Ingrid Roscheck
Terry Berkowitz
Edmund Kieselbach
Nicolas Rowan
Tom Bills
Marek Kijewski
Karin Sander
Monika Brandmeier
Adam Klimczak
Anthony Sansotta
Jean Pierre Brigaudiot
Svetlana Kopystiansky
Igor Kopystiansky
Eva Maria Schon
Wojciech Bruszewski
Philip Smith
Hartmut Boehm
Anna Kutera
Mikolaj Smoczynski
Peter D'Adostino
Romuald Kutera
Eric Snell
Jacqueline Dauriac
Emma J. Lawton
Michael Snow
Barco Dimitrijevic
Edward Łazikowski
Pawel Sobczak
Peter Downsborough
Les Levine
Marek Sobczyk
Kristian Dubbick
Sol LeWitt
Ann Thulin
Bernd Eickhorst
Emilio Lopez-Menchero
Hanne Tierney
Wendy Elliott
Milovan Markovic
Sissel Tolaas
Lilli Engel
Jonas Mekas
Francesco Torres
Gene Flores
Rune Mields
Tout
Michael Galasso
Antoni Mikolajczyk
Endre Tot
Klaus Geldmacher
Teresa Murak
Dagmar Uhde
Jochen Gerz
Giovanni Nicolini
Micha Ullman
Leszek Golec
John Nixon
Ken Unsworth
Jerzy Grzegorski
Richard Nonas
Ian Wallace
Ryszard Grzyb
Ann Noel
Maria Wasko
Marcia Hafif
Dennis Oppenheim
Ryszard Wasko
Tadashi Hashimoto
Erick Oppenheim
Lawrence Weiner
Wolfgang Hainke
Paul Panhuysen
Emmet Williams
Marygold Hodkinson
Luigi Pasotelli
Xawery Wolski
Alexander Honory
Beverly Piersol
Brigida Wrobel-Kulik
Peter Hutchinson
Anna Plotnicka
Marthe Wery
Taka Iimura
David Rabinowitch
Sofia Zezmer
Jean Luc Jehan
Margaret Raspe
Fonds Igor et Svetlana Kopystiansky/Archive Igor and Svetlana Kopystiansky
Centre Pompidou
Location: Bibliothèque Kandinsky - MNAM-CCI - Centre Pompidou, Paris
Igor Kopystiansky. The Carpet. 1990
reproduced in: 1990 Igor and Svetlana Kopystiansky. DAAD/Martin-Gropius-Bau Berlin. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christine Tacke.
Exhibition view: "Construction in Process III," Lodz, Poland. Participating artists including: Rolf Julius, Ilan Averbuch, Jozef Robakowski, Karin Sander, Svetlana Kopystiansky, Igor Kopystiansky, Michael Snow, Barco Dimitrijevic, Les Levine, Sol LeWitt, Jonas Mekas, Francesco Torres, Endre Tot, Jochen Gerz, Micha Ullman, John Nixon, Ken Unsworth, Jerzy Grzegorski, Richard Nonas, Ian Wallace, Ryszard Grzyb, Marcia Hafif, Dennis Oppenheim, Ryszard Wasko, Lawrence Weiner, Emmet Williams.
Collection Muzeum Sztuki Lodz, Poland:
zasoby.msl.org.pl/arts/view/11631
Igor Kopystiansky The Carpet / Dywan
Datowanie: 1990
Technika: asamblaż
Materiały: farba olejna, płótno
Rozmiar:wymiary różne każdego ze 100 elementów od 192x9cm do 16,5x16cm cm
Sposób nabycia:dar
Numer inwentarzowy: MS/SN/M/2109/1-100
Back in Lodz - Construction in Process III
The third edition was organized in 1990 in Lodz.
Participants
Marcela Anselmetti
Rolf Julius
Daniel Reynolds
Ilan Averbuch
Wolf Kahlen
Rafael Rheinsberg
Janusz Baldyga
Elzbieta Kalinowska
Jozef Robakowski
Reiner Barzen
Andromahi Kefalos
Ingrid Roscheck
Terry Berkowitz
Edmund Kieselbach
Nicolas Rowan
Tom Bills
Marek Kijewski
Karin Sander
Monika Brandmeier
Adam Klimczak
Anthony Sansotta
Jean Pierre Brigaudiot
Svetlana Kopystiansky
Igor Kopystiansky
Eva Maria Schon
Wojciech Bruszewski
Philip Smith
Hartmut Boehm
Anna Kutera
Mikolaj Smoczynski
Peter D'Adostino
Romuald Kutera
Eric Snell
Jacqueline Dauriac
Emma J. Lawton
Michael Snow
Barco Dimitrijevic
Edward Łazikowski
Pawel Sobczak
Peter Downsborough
Les Levine
Marek Sobczyk
Kristian Dubbick
Sol LeWitt
Ann Thulin
Bernd Eickhorst
Emilio Lopez-Menchero
Hanne Tierney
Wendy Elliott
Milovan Markovic
Sissel Tolaas
Lilli Engel
Jonas Mekas
Francesco Torres
Gene Flores
Rune Mields
Tout
Michael Galasso
Antoni Mikolajczyk
Endre Tot
Klaus Geldmacher
Teresa Murak
Dagmar Uhde
Jochen Gerz
Giovanni Nicolini
Micha Ullman
Leszek Golec
John Nixon
Ken Unsworth
Jerzy Grzegorski
Richard Nonas
Ian Wallace
Ryszard Grzyb
Ann Noel
Maria Wasko
Marcia Hafif
Dennis Oppenheim
Ryszard Wasko
Tadashi Hashimoto
Erick Oppenheim
Lawrence Weiner
Wolfgang Hainke
Paul Panhuysen
Emmet Williams
Marygold Hodkinson
Luigi Pasotelli
Xawery Wolski
Alexander Honory
Beverly Piersol
Brigida Wrobel-Kulik
Peter Hutchinson
Anna Plotnicka
Marthe Wery
Taka Iimura
David Rabinowitch
Sofia Zezmer
Jean Luc Jehan
Margaret Raspe
Fonds Igor et Svetlana Kopystiansky/Archive Igor and Svetlana Kopystiansky
Centre Pompidou
Location: Bibliothèque Kandinsky - MNAM-CCI - Centre Pompidou, Paris
Igor Kopystiansky. The Carpet. 1990
Collection Muzeum Sztuki Lodz, Poland
zasoby.msl.org.pl/arts/view/11631
Technika: asamblaż
Materiały: farba olejna, płótno
Rozmiar:wymiary różne każdego ze 100 elementów od 192x9cm do 16,5x16cm cm
Sposób nabycia:dar
Numer inwentarzowy: MS/SN/M/2109/1-100
reproduced in: 1990 Igor and Svetlana Kopystiansky. DAAD/Martin-Gropius-Bau Berlin. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christine Tacke.
Exhibition view: "Construction in Process III," Lodz, Poland. Participating artists including: Rolf Julius, Ilan Averbuch, Jozef Robakowski, Karin Sander, Svetlana Kopystiansky, Igor Kopystiansky, Michael Snow, Barco Dimitrijevic, Les Levine, Sol LeWitt, Jonas Mekas, Francesco Torres, Endre Tot, Jochen Gerz, Micha Ullman, John Nixon, Ken Unsworth, Jerzy Grzegorski, Richard Nonas, Ian Wallace, Ryszard Grzyb, Marcia Hafif, Dennis Oppenheim, Ryszard Wasko, Lawrence Weiner, Emmet Williams.
Collection Muzeum Sztuki Lodz, Poland:
zasoby.msl.org.pl/arts/view/11631
Igor Kopystiansky The Carpet / Dywan
Datowanie: 1990
Technika: asamblaż
Materiały: farba olejna, płótno
Rozmiar:wymiary różne każdego ze 100 elementów od 192x9cm do 16,5x16cm cm
Sposób nabycia:dar
Numer inwentarzowy: MS/SN/M/2109/1-100
Back in Lodz - Construction in Process III
The third edition was organized in 1990 in Lodz.
Participants
Marcela Anselmetti
Rolf Julius
Daniel Reynolds
Ilan Averbuch
Wolf Kahlen
Rafael Rheinsberg
Janusz Baldyga
Elzbieta Kalinowska
Jozef Robakowski
Reiner Barzen
Andromahi Kefalos
Ingrid Roscheck
Terry Berkowitz
Edmund Kieselbach
Nicolas Rowan
Tom Bills
Marek Kijewski
Karin Sander
Monika Brandmeier
Adam Klimczak
Anthony Sansotta
Jean Pierre Brigaudiot
Svetlana Kopystiansky
Igor Kopystiansky
Eva Maria Schon
Wojciech Bruszewski
Philip Smith
Hartmut Boehm
Anna Kutera
Mikolaj Smoczynski
Peter D'Adostino
Romuald Kutera
Eric Snell
Jacqueline Dauriac
Emma J. Lawton
Michael Snow
Barco Dimitrijevic
Edward Łazikowski
Pawel Sobczak
Peter Downsborough
Les Levine
Marek Sobczyk
Kristian Dubbick
Sol LeWitt
Ann Thulin
Bernd Eickhorst
Emilio Lopez-Menchero
Hanne Tierney
Wendy Elliott
Milovan Markovic
Sissel Tolaas
Lilli Engel
Jonas Mekas
Francesco Torres
Gene Flores
Rune Mields
Tout
Michael Galasso
Antoni Mikolajczyk
Endre Tot
Klaus Geldmacher
Teresa Murak
Dagmar Uhde
Jochen Gerz
Giovanni Nicolini
Micha Ullman
Leszek Golec
John Nixon
Ken Unsworth
Jerzy Grzegorski
Richard Nonas
Ian Wallace
Ryszard Grzyb
Ann Noel
Maria Wasko
Marcia Hafif
Dennis Oppenheim
Ryszard Wasko
Tadashi Hashimoto
Erick Oppenheim
Lawrence Weiner
Wolfgang Hainke
Paul Panhuysen
Emmet Williams
Marygold Hodkinson
Luigi Pasotelli
Xawery Wolski
Alexander Honory
Beverly Piersol
Brigida Wrobel-Kulik
Peter Hutchinson
Anna Plotnicka
Marthe Wery
Taka Iimura
David Rabinowitch
Sofia Zezmer
Jean Luc Jehan
Margaret Raspe
Fonds Igor et Svetlana Kopystiansky/Archive Igor and Svetlana Kopystiansky
Centre Pompidou
Location: Bibliothèque Kandinsky - MNAM-CCI - Centre Pompidou, Paris
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
Igor and Svetlana Kopystiansky. Double Fiction. 2008. Installation view: Radvila Palace Museum of Art, exhibition Igor & Svetlana Kopystiansky. 2023
www.lndm.lt/radvilu-rumu-dailes-muziejuje-atidaroma-pasau...
Igor and Svetlana Kopystiansky. Double Fiction. 2008. Installation view: Radvila Palace Museum of Art, exhibition Igor & Svetlana Kopystiansky. 2023
"Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock.
…“Two revelatory pieces taken from the classical narrative cinema, Spellbound (2009) and Birds (2008), rework canonical Alfred Hitchcock films employing the same technique used in Pink and White. In this case, the moving image is not found footage but a finely crafted example of the classical cinema, created by a director employing elaborately staged action, cinematography, a script, acting, lighting, composition, and sound. In the case of Spellbound, a three-minute loop superimposes a sequence from the film played forward with the same scenes played in reverse. The two sequences come together in the middle and then continue on to either the conclusion or beginning of the sequence. Narrative anticipation and the intense drama of the action reaches its climax as a single scene. Time folds upon itself as we watch, but also as we recall what we already know. This method is elaborated further in The Birds, in which the entire Hitchcock film is shown with sound, from beginning to end and over again in reverse, from the end to the beginning. (The credits have been removed.) At the mid-point, the film becomes one as the superimposed films line up and become a single film. A work of astonishing simplicity and originality, it takes the meta-cinematic work of such artists as Douglas Gordon and Stan Douglas and the treatment of language in Gary Hill’s videotapes into the complex terrain of narrative, storytelling, and perception. The anticipation and remembrance of time and events through the conventions of storytelling, as we see in the Birds, also becomes a means to provide new insight into that film’s apocryphal vision of nature and human relationships. Early scenes are joined with later scenes, and it is almost as if the film itself is dreaming its own narrative as it unfolds. Birds is a brilliant choice, since it heightens the dramatic intensity of the narrative cinema and the nuance of the performances in a deconstruction of the meanings of the original film. It also places the viewer before the screen as an active participant. In a sense, the film haunts itself, as the action that unfolds anticipates its own conclusion, and the relationships between the characters become tragically predicted and realized. The destruction that is foreshadowed actually appears in the film at its beginning.
Igor and Svetlana Kopystiansky have created a dialectical process by integrating the point of view of the camera and the play of time. The viewer becomes engaged in active looking and creates meaning out of moving images through that cognitive process. These artists have created an aesthetic text that is haunted by memory, whether represented by found footage, by the chance recordings of plastic bags blowing along on the sidewalk or the movement of people on the street, or by the rediscovery of scenes from well-known movies. Time erases itself as scenes overlap and change, in the process refashioning the moving image into an aesthetic text of timeless fascination.”
Excerpt from: The Play of Time: The Art of Svetlana and Igor Kopystiansky
By John G. Hanhardt, (Senior Curator for Media Arts, Smithsonian American Art Museum)
Published in: 2010 Kopystiansky. Double Fiction/Fiction Double. Musée d”Art Moderne de Saint-Étienne. Texts by John G. Hanhardt, Philippe-Alain Michaud. Les Presses du Réel
Igor Kopystiansky. The Carpet. 1990
reproduced in: 1990 Igor and Svetlana Kopystiansky. DAAD/Martin-Gropius-Bau Berlin. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christine Tacke.
Exhibition view: "Construction in Process III," Lodz, Poland. Participating artists including: Rolf Julius, Ilan Averbuch, Jozef Robakowski, Karin Sander, Svetlana Kopystiansky, Igor Kopystiansky, Michael Snow, Barco Dimitrijevic, Les Levine, Sol LeWitt, Jonas Mekas, Francesco Torres, Endre Tot, Jochen Gerz, Micha Ullman, John Nixon, Ken Unsworth, Jerzy Grzegorski, Richard Nonas, Ian Wallace, Ryszard Grzyb, Marcia Hafif, Dennis Oppenheim, Ryszard Wasko, Lawrence Weiner, Emmet Williams.
Collection Muzeum Sztuki Lodz, Poland:
zasoby.msl.org.pl/arts/view/11631
Igor Kopystiansky The Carpet / Dywan
Datowanie: 1990
Technika: asamblaż
Materiały: farba olejna, płótno
Rozmiar:wymiary różne każdego ze 100 elementów od 192x9cm do 16,5x16cm cm
Sposób nabycia:dar
Numer inwentarzowy: MS/SN/M/2109/1-100
Back in Lodz - Construction in Process III
The third edition was organized in 1990 in Lodz.
Participants
Marcela Anselmetti
Rolf Julius
Daniel Reynolds
Ilan Averbuch
Wolf Kahlen
Rafael Rheinsberg
Janusz Baldyga
Elzbieta Kalinowska
Jozef Robakowski
Reiner Barzen
Andromahi Kefalos
Ingrid Roscheck
Terry Berkowitz
Edmund Kieselbach
Nicolas Rowan
Tom Bills
Marek Kijewski
Karin Sander
Monika Brandmeier
Adam Klimczak
Anthony Sansotta
Jean Pierre Brigaudiot
Svetlana Kopystiansky
Igor Kopystiansky
Eva Maria Schon
Wojciech Bruszewski
Philip Smith
Hartmut Boehm
Anna Kutera
Mikolaj Smoczynski
Peter D'Adostino
Romuald Kutera
Eric Snell
Jacqueline Dauriac
Emma J. Lawton
Michael Snow
Barco Dimitrijevic
Edward Łazikowski
Pawel Sobczak
Peter Downsborough
Les Levine
Marek Sobczyk
Kristian Dubbick
Sol LeWitt
Ann Thulin
Bernd Eickhorst
Emilio Lopez-Menchero
Hanne Tierney
Wendy Elliott
Milovan Markovic
Sissel Tolaas
Lilli Engel
Jonas Mekas
Francesco Torres
Gene Flores
Rune Mields
Tout
Michael Galasso
Antoni Mikolajczyk
Endre Tot
Klaus Geldmacher
Teresa Murak
Dagmar Uhde
Jochen Gerz
Giovanni Nicolini
Micha Ullman
Leszek Golec
John Nixon
Ken Unsworth
Jerzy Grzegorski
Richard Nonas
Ian Wallace
Ryszard Grzyb
Ann Noel
Maria Wasko
Marcia Hafif
Dennis Oppenheim
Ryszard Wasko
Tadashi Hashimoto
Erick Oppenheim
Lawrence Weiner
Wolfgang Hainke
Paul Panhuysen
Emmet Williams
Marygold Hodkinson
Luigi Pasotelli
Xawery Wolski
Alexander Honory
Beverly Piersol
Brigida Wrobel-Kulik
Peter Hutchinson
Anna Plotnicka
Marthe Wery
Taka Iimura
David Rabinowitch
Sofia Zezmer
Jean Luc Jehan
Margaret Raspe
Fonds Igor et Svetlana Kopystiansky/Archive Igor and Svetlana Kopystiansky
Centre Pompidou
Location: Bibliothèque Kandinsky - MNAM-CCI - Centre Pompidou, Paris
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
mcachicago.org/exhibitions/1999/examining-pictures-exhibi...
The Museum of Contemporary Art (MCA), Chicago, presents Examining Pictures, a provocative analysis of international contemporary painting through September 19, 1999. Examining Pictures presents the work of 56 artists - including Laura Owens, Gary Hume, Richard Prince, Damien Hirst, and Udomsak Krisanamis - within an historical context, establishing links with works by artists of earlier generations, such as Andy Warhol, Sigmar Polke, Anselm Kiefer, Francis Bacon, and Ilya Kabakov. Each artist is represented by one work in the exhibition.
Establishing points of convergence and disruption between works separated by time, Examining Pictures presents the viewer with a maze of memories, concepts, stories, and flashbacks on the subject of painting. Organized by the Museum of Contemporary Art and Whitechapel Art Gallery in London, the exhibition was curated by the MCA’s Manilow Senior Curator Francesco Bonami and the Whitechapel’s Head of Programming Judith Nesbitt.
"Examining Pictures looks at painting as the ultimate virtual space that in the last four decades has been challenged, attacked, dismissed and subverted, but never abandoned or forgotten," said Bonami. "At the heart of this exhibition is the conviction that painting has a particular importance, not just to artists, but within Western culture as an encounter with reality; a way of establishing a relationship between ourselves and the world around us."
The first work viewers will encounter in the exhibition is John Baldessari's text painting Examining Pictures (1967) from which the exhibition borrows its title. Its text asks: "What do pictures consist of?" and "What are they all about?" While basic, these questions are the starting point for an exhibition that analyzes the subject of painting and its evolution over the last four decades.
Bringing together a range of work from the 1960s to the present, Examining Pictures allows the viewer to see a butterfly painting by Damien Hirst presented alongside Electric Chair by Andy Warhol. Both Hirst and Warhol’s paintings re-work the traditional still life, freezing the moment of death in the form of a painting.
The exhibition also brings together the work of the young Thai artist Udomsak Krisanamis and the Japanese painter On Kawara. Krisanamis' paintings are slow accretions of black ink over news print in which everything is shrouded except the "O's." Kawara's canvas simply states the date it was painted: "29 Feb 1989." Both artists use the medium of painting to reflect on time and duration.
Examining Pictures is presented in the North Exhibition Gallery on the second floor of the Museum. The exhibition is accompanied by an 80-page full-color illustrated catalogue with essays by Bonami and Nesbitt. The catalogue is available now at culturecounter, the MCA’s store and bookstore.
List of Artists
Francis Bacon David Hockney Laura Owens
John Baldessari Gary Hume Elizabeth Peyton
Georg Baselitz Jorg Immendorff Vanessa Phaff
Vanessa Beecroft Ilya Kabakov Lari Pittman
Simone Berti On Kawara Sigmar Polke
Glenn Brown Anselm Kiefer Richard Prince
Eric Boulatov Martin Kippenberger Michael Raedecker
Vija Celmins Toba Khedoori David Rayson
John Currin Imi Knobel Gerhard Richter
Ian Davenport Svetlana Kopystiansky Ed Ruscha
Peter Doig Janis Kounellis Robert Ryman
Marlene Dumas Udomsak Krisanamis Rudolf Stingel
Carroll Dunham Sean Landers Thomas Scheibitz
Franz Gertsch Sherrie Levine Luc Tuymans
Joanne Greenbaum Margherita Manzelli Cy Twombly
Philip Guston Brice Marden Andy Warhol
Peter Halley Carsten Nicolai Royce Weatherly
Richard Hamilton Nader Sue Williams
Svetlana Kopystiansky
About the work “Shadow of Gravitation”
I worked on this series several years from 1990 and it was accomplished in a number of 40 collages in 1993.
Collages were made from postcards with reproductions of landscape paintings and photographs. I was doing photographs of the ground and water surfaces mostly in the Upstate New York and was buying in various museum shops postcards with reproductions of landscape paintings by different artists mainly from XVIII and XIX century.
The landscape (reproduction from the existing painting) was “enlarged” by an addition of a new space at the foreground and by that an edition (postcard) was turned into a unique object.
Postcards are contemporary produced reproductions from landscape paintings created at least a hundred years ago or more and photographs made by myself at the moment of production were records from the very recent moment in time
(approaching the end of the XX century).
In each collage one reality is chosen from my surroundings and documented with the photographic technique. The second reality is created by an artist, who shaped it in a very different period of time.
Each of these realities had it's own space and their combination creates a tension between material and spiritual substance and at the same time originates a totally new visual space.
It is never known to which extend original landscape paintings represent a reality and to which extend they are results of construction of an imaginary reality by the artist.
Title: Shadow of Gravitation
Date: 1993, Unique. Collage
Color photograph/Postcard, Dimensions: 18.3 x 14.3 cm. (7 3/16 x 5 5/8 in.)
Works from the series “Shadow of Gravitation” are represented in museum collections:
Metropolitan Museum, New York, USA
Art Institute of Chicago, Chicago, USA
Museum of Fine Arts, Houston, Texas, USA
Exhibition History of “Shadow of Gravitation”
The complete series of more then 40 works was exhibited at individual projects:
1994 Igor Kopystiansky “The Museum. Svetlana Kopystiansky. “The Library," (cur. Jürgen Harten). Kunsthalle Düsseldorf, Germany. (cat.)
"Svetlana Kopystiansky," (cur. Timo Valjakka). Kunsthalle Helsinki, Finland.
"Svetlana Kopystiansky." Oulu Art Museum, Finland (solo)
1996 "Some Assembly Required." The Art Institute of Chicago, USA (cat.)
The series was represented at individual exhibitions:
1997 "Collages," Thomas Schulte Gallery, Berlin, Germany
"Fiction," Wooster Gardens Gallery, New York
Works from the series Shadow of Gravitation were exhibited at group exhibitions:
2010 “Between Here and There: Passages in Contemporary Photography,” July 2, 2010–February 13, 2011(Curator Douglas Eklund) Metropolitan Museum, New York
2009 "Boule to Braid," (Curator Richard Wentworth). Lisson Gallery London
Boule to Braid: Curated by Richard Wentworth, June 24-Aug 15, Lisson Gallery London. Participating artists: Art and Language, Bob Law, Giuliano Paolini, Hans Haacke, Donald Judd, Yoko Ono, Dan Graham, Daniel Buren, Terrence Bond, Bernard & François Baschet, On Kawara, Lee Ufan, Marcel Broodthaers, Gordon Matta-Clark, Igor & Svetlana Kopystiansky, Tony Cragg, Scott Burton, Terrence Bond, Richard Deacon, John Latham, Julian Opie, James Casebere, John McCracken, Liam Gillick, Tony Oursler, Franz West, Paul McCarty, Jonathan Monk, Sharon Ya'ari.
2004 "Pieced Together: Photomontage From the Collection," May 22–September 19, (Curator Elizabeth Siegel, Galleries 3 and 4)
Art Institute of Chicago.
2002 “Regarding Landscape,” Participating artists: Roni Horn, Rodney Graham, Igor and Svetlana Kopystiansky. Art Gallery of York University, Toronto, Canada
“Au regard du paysage. Regarding Landscape II,” Galerie Liane et Danny Taran du Centre des Arts Saidye Bronfman, Montréal (Québec), Canada
2001 "Places in the Mind. Photographs from the Collection." The Metropolitan Museum of Art, New York
1997 "From the permanent collection," Metropolitan Museum, New York.
“New Faces and Other Recent Acquisitions," (cur. David Travis and Sylvia Wolf). Art Institute of Chicago
1995 "Memento," Haus am Wannsee, Berlin, traveled to Stadtgalerie im Sophienhof, Kiel, Germany, State Gallery, Prague (cat.).