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Exhibition | Diana Thater: Life is a Time-Based Medium

Posted in exhibitions by Editor on March 30, 2015

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Galtaji Temple, near Jaipur, India, from the video installation Diana Thater: Life is a Time-Based Medium, 2015, 3-channel projection, 3 lenses, 1 media player, and watchout system.

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Press release from Hauser & Wirth:

Diana Thater | Life is a Time-Based Medium
Hauser & Wirth, London, 26 March — 16 May 2015

Hauser & Wirth is pleased to present a new video installation by Diana Thater. The work comprises footage from the Hindu pilgrimage site, the Galtaji Temple, near Jaipur in India. Thater projects images of the 18th-century pavilions and pillars onto the walls and floor of the gallery to create an immersive environment depicting the many monkeys that inhabit the temple in their architectural habitat. The installation will be included in Thater’s mid-career retrospective, opening at LACMA in Autumn 2015. This year, Thater will also present exhibitions at the Aspen Art Museum in Colorado and at San Jose Museum of Art in California.

CBGjeidWYAAfKjKThater’s experiential video installations investigate the space between documentation and abstraction, sculpture and architecture, by presenting a mediated reality. In this new work, Thater choreographs an architectural reconstruction of the Galtaji Temple. Built by Diwan Rao Kriparam in the 18th century, in pink sandstone, amidst low hills, the temple is structured to look more like a palace or ‘haveli’ than a traditional place of worship. The buildings are positioned around a natural fresh water spring and seven holy ‘kunds’—or water tanks—and waterfalls that create two tiered pools. Within the gallery, projections of the lower pool onto the floor foreground the architectural structure and evoke a tranquil setting. Appearing blurred and faded as they are diffused from the wall, the pools of water occupy a liminal state between reality and imagination. Thater works with the existing architecture of the gallery, dividing the space into two halves and employing projections to suggest the physical structure of the temple’s domed ceilings, carved pillars and painted walls. In the second space, Thater recreates an area of the temple that is inaccessible to humans, using close-up video footage to bring the viewer into greater proximity with the monkeys. As in previous works, Thater herself features in the footage in order to make manifest an encounter between humans and animals.

The ancient Galtaji Temple is still an important pilgrimage site. Thater examines the reverence with which humans approach the location, in direct contrast to the informal, rampant activity of the monkeys. Thater explores both the tame and wild aspects of the monkeys’ lives and the co- existence of animals and humans. The work is inspired by the Hindu god Hanuman, who often takes the form of a monkey and is worshipped as a symbol of physical strength, perseverance and devotion. Through Hanuman, Thater layers historical, natural and religious references to explore the potentially spiritual relationship between humans and animals.

Thater is one of the most significant contemporary artists working in new media. Drawing on issues of conservation, natural and manmade ecosystems, and socially-engineered environments, she explores tensions between mankind and the animal kingdom. Her formal interest straddles both the spatial and temporal aspects of video. She presents non-linear footage that explores animal behaviour with what she describes as a ‘neo-narrative’ approach. The exhibition’s title, Life is a Time-Based Medium, draws attention to the parallels between reality and the construction of reality that Thater’s videos present.

Diana Thater was born in 1962 in San Francisco. She studied at New York University and Art Center College of Design, Pasadena, and lives and works in Los Angeles. Thater’s work has featured in numerous significant international exhibitions. Solo shows at major institutions include: Diana Thater: Delphine, Église Saint-Philibert Church, Dijon, France (2014); Peonies, Wexner Center for the Arts, Columbus, Ohio (2011); Diana Thater: Chernobyl, Institute of Modern Art, Brisbane, Australia (2011); Diana Thater: Between Science and Magic, Santa Monica Museum of Art, Santa Monica, California (2010); gorillagorillagorilla, Kunsthaus Graz, Austria (2009); Keep the Faith: A Survey Exhibition, Museum für Gegenwartskunst Siegen, Siegen, Germany and Kunsthalle Bremen, Bremen, Germany (2004); Knots + Surfaces, DIA Center for the Arts, New York (2001); Projects 64: Diana Thater: The best animals are the flat animals, Museum of Modern Art, New York (1998); Diana Thater: Orchids in the Land of Technology at Walker Art Center, Minneapolis (1997); and China, The Renaissance Society at the University of Chicago (1995). Thater has been the recipient of a number of awards. In 2014, she was awarded a California Community Foundation Fellowship for Visual Artists. She received the Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles in 2011 and a John Simon Guggenheim Memorial Foundation Fellowship in 2005.

Symposium | The Romantic Eye, 1760–1860 and Beyond

Posted in conferences (to attend) by Editor on March 30, 2015

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From the YCBA:

The Romantic Eye, 1760–1860 and Beyond
Yale University, New Haven, 17–18 April 2015

This two-day international symposium examines Romanticism as a shape-shifting cultural phenomenon that resists categorization. The symposium coincides with a major collaborative exhibition organized by the Yale Center for British Art and the Yale University Art Gallery, The Critique of Reason: Romantic Art, 1760–1860. Comprising more than three hundred works in a range of media, the exhibition features iconic artists including William Blake, John Constable, Honoré Daumier, Eugène Delacroix, Henry Fuseli, Théodore Géricault, Francisco de Goya, John Martin, and J. M. W. Turner.

The symposium is free and open to the public. Register online in advance (recommended) by April 15, or on-site at the event. For further information, contact ycba.research@yale.edu.

Cosponsored by the Yale Center for British Art, the Yale University Art Gallery, the Department of the History of Art at Yale University, and the Yale Student Colloquia Fund.

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9:00  Registration and coffee

9:30  Welcome and curatorial remarks

10:00  Panel I: British Romanticism
Chair: Tim Barringer (Yale University)
• Paul Fry (Yale University), Peele Castle, Hadleigh Castle: Romantic Poetry and Painting
• Esther Chadwick (Yale University), “Copper in the Manner of Wood”: An Experimental Vignette by Thomas Bewick
• Terry Robinson (University of Toronto), Sarah Siddons and the Mediation of Spectatorship

12:00  Lunch break

1:30  Breakout Sessions
• A. Cassandra Albinson (Yale Center for British Art), The Child, the Portrait, and the Artist in the Romantic Period
• Nina Amstutz (Yale Center for British Art), Nature between Spectacle and Specimen: Robert John Thornton’s Temple of Flora and James Ward’s Two Extraordinary Oxen
• Gillian Forrester (Yale Center for British Art): “The origin of my fame”: The Visualizing “I”
in John Constable’s English Landscape Scenery and J. M. W. Turner’s Liber Studiorum Print Series c
• Scott Wilcox (Yale Center for British Art), The Rise of Watercolor Painting in Romantic Britain

2:30  Break

3:00  Panel 2: French Romanticism
Chair: A. Cassandra Albinson (Yale Center for British Art)
• Valérie Bajou (Versailles), Insolence and Insurrection in Romantic French Painting
• Mikolaj Getka-Kenig (University of Warsaw), The Fall of Napoleon and the Romantic Crisis of Heroic Representation
• Tamar Mayer (University of Chicago), Romanticizing the Neoclassical: Loss of Gravity in Jacques-Louis David’s Late Drawings and Artistic Procedures

5:00  Break

6:00  Andrew Carnduff Ritchie Keynote Lecture
• T. J. Clark (University of California, Berkeley), “Attempting Impossibles”: Hazlitt on Turner and Blake

7:00  Reception

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10:00  Panel 3: Romantic Pictorial Innovations
Chair: Nina Amstutz (Yale Center for British Art)
•Richard Maxwell and Katie Trumpener (Yale University), Romantic Panoramas: Robert Barker, Marquand Wocher, Eduard Gaertner
• Allan Doyle (Princeton University), Théodore Géricault and the Lithographic Picturesque
• Izabel Gass (Yale University), Portrait of the Artist as a Young Narcissist

12:00  Lunch break

2:00  Panel 4: Baudelaire and Romanticism
Chair: Colin Foss (Yale University)
• Tobias Kämpf (Ruhr University Bochum), Poetry as Art Criticism: Baudelaire’s Romantic Quest
• Carol Armstrong (Yale University), Baudelaire: Looking Back from 1863

3:30  Break

4:00  Panel 5: Afterlives—Modern Art and the Romantic Tradition
Chair: Harry Adams (Yale University)
• AnnMarie Perl (Princeton University), Mysticism, Striptease, Iconoclasm: Yves Klein’s Debut Performance of the Anthropometries in 1960
• Daniel Spaulding (Yale University), Death Keeps Me Awake: Joseph Beuys and the Conclusion of Romanticism