Stars exhibits Pippa Garner: Act Like You Know Me September 24-November 13 at Kunstverein München, Germany.

Pippa Garner: Act Like You Know Me September 24-November 13 Kunstverein München Pippa Garner Un(tit)led (HE2SHE License Plate), 1995. Courtesy the artist and STARS, Los Angeles.   Act Like You Know Me is the first comprehensive solo exhibition of Pippa Garner in Europe which offers a necessarily fragmentary insight into an incredibly extensive body of work spanning more than 50 years. Born in a Chicago suburb in 1942, the artist and author formerly known as Philip Garner is pushing back against systems of consumerism, marketing, and waste and has created a dense body of work including drawing, performance, sculpture, video, and installation. Her uncompromising approach to life and practice has allowed her to interact with the worlds of illustration, editorial, television, and art without ever quite becoming beholden to them. After serving as a conscripted U.S. Army Combat Artist in the Vietnam War in the 1960s, Garner resumed her studies in the highly regarded Transportation Design department at ArtCenter, California, with plans to become a car stylist. Her circle during the ’70s and ’80s included Ed Ruscha, Chris Burden, and the radical art and design collective Ant Farm. The painter Nancy Reese—at once a creative collaborator and romantic partner—further introduced Garner to contemporary art institutions and communities, as well as to the idea that she might identify as an artist herself. Then known and identifying as Philip, Garner gained attention for her performance, design, and video work at galleries and museums, as well as the illustrations and editorials she placed in books and magazines, which segued into appearances on talk shows. In the mid 1980s, Garner began a decade-long feminization process that included hormone replacement therapy and eventually sex reassignment surgery. As an extension of her practice altering materials of mass production, Garner’s approach to gender transition demonstrated her experimental attitude, transpersonal identity, and way of queering everyday objects. When Garner first began hormone therapy there was no widespread concept of the in-betweens of gender. As the author and co-curator of the exhibition at Kunstverein München, Fiona Alison Duncan, says: “Her work is about gender expansiveness and gender as a commodity, you can customize your body, inside and out, so long as you can afford to do so.” Act Like You Know Me is a survey of Garner’s wild, extensive photographs that both have the status of autonomous works as well as documentation of her practice. Anti-materialist, most of her art objects were repurposed, recycled, or given away and lost, leaving these photographs as the central remaining elements of the work. The exhibition will travel to Kunsthalle Zürich where it will be on view from February through May 2023.   STARS  3116 N El Centro Avenue Los Angeles, CA 90028

#starspippagarner#fineartmagazine#fineartsustainability

AUSTRALIA’S ART GALLERY OF NEW SOUTH WALES UNVEILS OPENING PROGRAM

AUSTRALIA’S ART GALLERY OF NEW SOUTH WALES
UNVEILS OPENING PROGRAM
AS PART OF THE SYDNEY MODERN PROJECT
INCLUDING NEW BUILDING DESIGNED BY SANAA

• Opening program, featuring works by more than 900 Australian and international artists, to include Argentine-Peruvian artist Adrián Villar Rojas who receives the inaugural Tank gallery commission, to be presented in a 2,200-square-meter former World War II naval fuel tank, now a spectacular exhibition space in the new building
   
• Nine site-specific commissions displayed throughout the new building campus by international artists including Francis Upritchard, Jonathan Jones, Lisa Reihana, Richard Lewer and Yayoi Kusama
   
• Major display of Aboriginal and Torres Strait Islander art to welcome visitors on arrival at the new building
   

Press images available to download here
Detailed press kit about the opening program is available here
B-roll footage of construction of the Art Gallery's new building is also available here

Epic sculptures by international artist Adrián Villar Rojas installed in a vast underground former Second World War fuel tank, large-scale narrbong-galang (many bags) by Waradgerie artist Lorraine Connelly-Northeyand an exuberant floral sculpture by Yayoi Kusama are among the highlights of the opening program for the expanded Art Gallery of New South Wales.

The Art Gallery today unveiled its new exhibitions, collection displays and inaugural Tank commission as part of the Sydney Modern Project. The opening program, featuring works by more than 900 Australian and international artists, will be free to visitors when the transformed art museum opens on 3 December.

On Gadigal Country, overlooking Sydney Harbour, the expanded art museum comprises the new SANAA-designed building and the existing late-19th-century building, connected by an art garden.

President of the Art Gallery’s Board of Trustees David Gonski AC said: "Given the scale of our ambitions for the largest cultural project in Sydney in half a century, I’m very proud we’re delivering it on time and on budget with generous funding from the NSW Government and our longstanding community of donors."

The ambitious project celebrates several firsts for the Art Gallery. The expansion creates a prominent new destination for Aboriginal and Torres Strait Islander art, and the new building opens with gender parity in the collection and temporary exhibition displays. The Art Gallery is also setting new benchmarks in sustainability as the first public art museum in Australia to be awarded a 6-star Green Star design rating by the Green Building Council of Australia.

Proposing the world seen from Sydney, the opening program contributes to important global conversations. Visitors will encounter works across the campus that engage, inspire, provoke and delight.

Recent acquisitions and commissions by artists on display for the first time include Khadim Ali, Karla Dickens, Jeffrey Gibson, Samara Golden, Barkley L Hendricks, Kimsooja, Simone Leigh, Sanné Mestrom, Elizabeth Pulie, Shireen Taweel, Howie Tsui and Justene Williams. 

Art Gallery of New South Wales director Dr Michael Brand said: "My vision for the Sydney Modern Project has been to transform the Art Gallery into an art museum campus with seamless connections between art, architecture and landscape; a generous and intelligent art museum that believes the art of the past is crucial to understanding the art of our own times.

"The new building, designed by Pritzker Prize–winning architects SANAA, almost doubles our exhibition space and, with a more porous connection between indoors and outdoors, delivers new types of spaces for new thinking and new forms of art.

"It is through a series of creative transformations – such as the centrality of Indigenous Australian voices, SANAA’s elegantly restrained but technically complex design, site-specific commissions from some of the leading artists of our time, and new cultural juxtapositions in the display of art in both buildings – that will better connect the voices of artists past and present with our audiences."

Inaugural Tank commission

View from live environmental simulation generated by 'Time Engine' software © Adrián Villar Rojas, 2022

Minister for the Arts and Tourism Ben Franklin today announced Argentine-Peruvian artist Adrián Villar Rojas as the inaugural artist commissioned for the underground gallery known as the Tank, located on the lowest level of the new building.

Villar Rojas’ The End of Imagination will take over the 2,200-square-meter former oil tank, now a spectacular exhibition space. The installation is the culmination of a four-year long engagement with the Art Gallery for Villar Rojas, who is known for collaborative, site-specific sculptures, including on the roof of the Metropolitan Museum of Art in New York in 2017.

"The completion of the Art Gallery of New South Wales’ expansion not only offers more art for more people but also unveils a hidden treasure – a former Second World War naval fuel tank masterfully repurposed as a world-class exhibition space, where visitors will be able to view this first Tank commission, The End of Imagination," Franklin said.

"Adrián is internationally renowned for his vast, site-specific installations that offer immersive art experiences. On behalf of the NSW Government, it is with great pleasure that I welcome you to experience his work from 3 December. Great global cities encourage experimentation and adventure in art and The End of Imagination is a new exhibition staged in an exciting new space for Sydney, presented by the state’s tourism and major events agency, Destination NSW, in collaboration with the Art Gallery of New South Wales.

"I look forward to the expanded Art Gallery attracting visitors from across the state, the nation and from around the world as we open this must-see destination for art in the nation’s cultural capital."

Michael Brand added, "It’s a rare experience for a museum director to open an art space as distinctive architecturally and as redolent historically as the Tank. I am thrilled that we will be displaying the work of Adrián Villar Rojas as our inaugural commission for this art experience that is unique to Sydney."

Villar Rojas, who first visited the Art Gallery in 2018, said: "The project that has grown in the four years following is the product of many hands, many minds, many conversations, many questions, and many mediums including the virtual and physical. And one of the most important mediums has been time – the time to dwell in a space, to talk with everyone from archivists to Indigenous curators to conservators, to push ideas and technologies, and to draw into the project the conditions of a world that has changed massively.

"Although I have been lucky to work in many cities and unique sites and remarkable museums, from the rooftop of The Met in New York to an island off the coast of Istanbul, this project in Australia is a special one, not only because I have been trusted with a space of such uniqueness on Gadigal Country, but because it reminds me of many conversations with many caring and generous people across four years in remarkable places in your country. My team and I hope it is evident, from the incredible amount of love and labor that has gone into the project you will eventually see, how honored we are to be hosted here in this exceptional new art space for our first project in Australia."

Site-specific commissions

Nine bold and compelling new commissions that will be on display both inside and outside the new building include Francis Upritchard’s Here Comes Everybody, a trio of playful pairs of bronze beings that will greet visitors in the Welcome Plaza; Jonathan Jones’s bial gwiyuŋo (the fire is not yet lighted), a living artwork at the heart of the expanded Art Gallery;  Lisa Reihana’s (Ngāpuhi, Ngāti Hine, Ngāi Tū) moving-image work GROUNDLOOP, overlooking the central atrium; Richard Lewer’s multi-panel painting Onsite, construction of Sydney Modern which resides on the lands of the Gadigal of the Eora Nation, which records some of the individuals involved in constructing the new building; and Yayoi Kusama’s Flowers that bloom in the cosmos, which will be prominently positioned on the stepped terrace overlooking Woolloomooloo Bay.

"The works resonate with, and sit within, the strong and continuous Aboriginal history of this place," said deputy director and director of collections Maud Page. "They variously humour, confront, prod and delight, drawing on a myriad of narratives, from sci-fi to particular histories from this part of the world. A number of them privilege First Nation knowledges. Asian voices also loom large, as do, of course, Australian perspectives.

"Each commission was chosen to respond to our collection, to SANAA’s lyrical architecture or to simply document the building site. Many of the commissions engage with urgent social issues: migration, displacement, labour value and climate change. They are as aesthetically varied as they are rigorous, and powerfully herald new art histories to be written from here."

Opening exhibitions and collection displays

When visitors enter the new building, they will be welcomed by the inaugural display of Aboriginal and Torres Strait Islander art in the newly relocated Yiribana Gallery. The display is inspired by ideas of generosity and care and emphasizes connections between people.

Installation view of the Yiribana Gallery photo © Art Gallery of New South Wales, Jenni Carter

Other exhibitions in the new building include:

• Dreamhome: Stories of Art and Shelter – artists reflect on ’home’ from their own richly local perspectives, while also registering shared hopes and anxieties that are felt in many places at this time
• Making Worlds – features ideas of mapping, time, creation and connection centered around Kimsooja’s monumental participatory work Archive of mind in the large column-free gallery
• Outlaw – celebrates the antiheroes of popular culture in the Art Gallery’s first purpose-built new media gallery

The much-loved existing building has been revitalized with beautifully refurbished spaces restoring architectural features, and a fully re-installed collection across all galleries. Visitors can journey through time, ideas, human stories and contested histories, including:

• From Here, for Now – a new exhibition which presents works in 10 curated rooms that begin with Australia’s outback as a signifier of national identity, connecting this with American stereotypes of outsiders, and hidden histories, through works by Charlene Carrington, Rosemary Laing, Robert MacPherson, Richard Prince and Kaylene Whiskey. The exhibition also features a new commission, Simryn Gill’s major new work Clearing, responding to elements of the natural history of the new building’s site.
• 20th-century galleries – featuring works from the Art Gallery’s Australian and international collections that highlight the connections and distinctions between local artists and broader global developments over some of the most tumultuous, exciting and innovative decades in art and human history. This new display includes the restaging of Ken Unsworth’s Suspended stone circle II, with 103 river stones each weighing around 15kg suspended by 309 wires, now hanging over two levels for the first time in the newly unveiled atrium.
• Asian Lantern – featuring the exhibitions Correspondence, where visitors will find works of art marking important moments in Asian art and history, and Elemental, which investigates the natural elements of earth, water and fire.
• Grand Courts – with a focus on the Art Gallery’s historical collections, enlivened by contemporary voices that encourage moments of pause and reflection.

Media Contacts:

AMERICAS
Polskin Arts & Communications Counselors (New York, Los Angeles and Seattle)
Alison Buchbinder
alison.buchbinder@finnpartners.com | +1 646 688 7826
Natalie Miller
natalie.miller@finnpartners.com | +1 917 856 9382 

AUSTRALIA
Art Gallery of New South Wales (Sydney)
Sophie Tedmanson
Communications manager
sophie.tedmanson@ag.nsw.gov.au | +61 434 996 833
Stephanie Pirrie
Communications specialist
stephanie.pirrie@ag.nsw.gov.au | +61 430 517 722
James Ricupito
Communications advisor
james.ricupito@ag.nsw.gov.au | +61 466 894 044

About the Art Gallery of New South Wales 
On Gadigal Country    

The Art Gallery of New South Wales acknowledges the traditional custodians of the Country on which it is located, the Gadigal of the Eora nation, and recognises their continuing connection to land, waters and culture. From its magnificent site in Sydney, the Art Gallery is one of Australia’s flagship art museums and the state’s leading visual arts institution. Its mission is to serve the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. As the Art Gallery prepares to open its significant expansion on 3 December this year, it remains committed to making art a vital part of everyday life.   

The transformation of the Art Gallery – the Sydney Modern Project – will create a new art museum experience across two buildings connected by a public art garden in one of the world’s most beautiful cultural precincts. The Art Gallery’s new building, designed by Pritzker Prize–winning architects SANAA with Architectus as executive architect, brings together art, architecture and landscape in spectacular new ways with dynamic galleries and seamless connections between indoor and outdoor spaces. It will be a new prominent destination for Aboriginal and Torres Strait Islander art and culture. Together with the NSW Government’s $244 million in funding, the Art Gallery has raised more than $100 million from donors to support the project, which is being delivered by Infrastructure NSW and built by Richard Crookes Constructions. The Art Gallery remains open during this time. artgallery.nsw.gov.au    

#artgallerynewsouthwales#fineatmagazine#fineatinternationalfun

Call for artists: 19th Annual Artisphere, Greenville, SC, Application Deadline 10/3/22

19th Annual Artisphere (SC) May 12-14, 2023 Application Deadline 10/3/22 APPLY HERE WHAT: 19th Annual Artisphere     WHERE: Main Street, Downtown Greenville, SC DATES: May 12-14, 2023 | Fri. Noon - 8 | Sat. 10-8 | Sun. 11-6 NOTEWORTHY: 135-150 participating artists  Cash awards totaling $15,000  Convenient & easy load-in/load-out Free artist parking 24-hour security 500+ volunteers Booth sitters Reduced hotel rates  Purchase Awards Program average of $10,000 - $15,000 each year Complimentary meals, snacks & beverages at Artist Hospitality    Jury Fee $45  Booth Fee $475 (10'x10'), Corner Booth $575, Electric $40   NOW ACCEPTING APPLICATIONS on ZAPP Application Deadline: October 3, 2022 Artist Notification: December 2, 2022 Booth Fee Due; January 6, 2023 For more information visit www.artisphere.org Contact: Robin Aiken, Visual Arts Programs Manger at robin@artisphere.org or call 864-915-8732. 2022 Artisphere Video 2023 marks the nineteenth annual event for the top ranking Artisphere festival in Greenville, SC. Despite its short history, Artisphere has distinguished itself as both a regional and national highlight. A supportive, art-loving community, beautiful setting, notable on-site artist amenities and hospitality, and over 500 volunteers make the Artisphere three-day event an enjoyable experience for exhibiting artists and the public alike.  Artisphere's multi-media advertising campaign markets the festival throughout the Southeast region in print ads, radio, and television ads. Artisphere is also marketed through digital promotional materials, festival brochures, social media, the Artisphere website, and billboards.  Apply now to exhibit in the 2023 festival and to experience firsthand why Artisphere has been ranked a TOP 10 Fine Art and Fine Craft festival by the Art Fair Sourcebook and #3 out of 20 finalists in USA Today's Reader's Choice Award for Best Art Festival. Additionally, the festival is recognized annually as a Top 20 Event in the Southeast by the Southeast Tourism Society.  ‌  ‌

Art-Linx | PO Box 2141, Rockville, MD 20847 #artisphereartistscall#fineartmagazine#fineartshows

Sanchit Art opening September 21, 2022 , Singapore

Group show of 19 master and senior artists

Satish Gujral | Untitled | Acrylic on Canvas | 42in x 42in | 2011

#sanchitartopening#fineartmagzine#fineartshow

he Sylvia Wald & Po Kim Gallery, Jung Hee Choi in conversation with La Monte Young and Megan Witko, Friday, September 30th, 6pm

Jung Hee Choi in conversation with La Monte Young and Megan Witko EVENT DETAILS Friday, September 30th, 6pm SWPK The Sylvia Wald & Po Kim Gallery 417 Lafayette Street, 2nd Floor, NYC   RSVP here    Jung Hee Choi will discuss her work and process with the legendary artist La Monte Young and Dia curator Megan Witko, who has worked closely with both Choi and Young on all of their Dia projects since 2015. For over twenty years, Choi has studied and collaborated with La Monte Young and Marian Zazeela on many art, music and life studies projects. Choi states, "This conversation will provide insight into our unique and life-long collaboration, which is a profound means of continuing our art practice into the future beyond the lifetime of the artist." The talk will contextualize Choi’s sound work and music practice, providing an in-depth focus on her long series of Environmental Compositions, presented with various media including video, evolving light-point patterns, drawings, incense, performance and sound, invoking the concept of Manifest Unmanifest.  This conversation is organized in conjunction with Jung Hee Choi's current exhibition Manifest, Unmanifest XII, on view at SWPK through September 30, 2022. Jung Hee Choi is an artist and musician who works in video, performance, sound and multimedia installations. Her work has been presented in the United States, Europe, and Asia including FRAC Franche-Comté, France; Berliner Festspiele, Bundeskunsthalle, Germany; Dia Art Foundation, Guggenheim Museum and MELA Foundation Dream Houses, NYC; FRESH Festival, Bangkok; Korea Experimental Arts Festival. Choi is the senior disciple of La Monte Young and Marian Zazeela with the traditional Kirana gandha bandh red-thread ceremony taking place in 2003. In 2002 she co-founded, with Young and Zazeela, The Just Alap Raga Ensemble and has performed as a vocalist in every concert. Choi’s electroacoustic and modal improvisation ensemble, The Sundara All Star Band, premiered in 2015. The members include Young, Zazeela, Choi, Jon Catler, Hansford Rowe and Naren Budhkar. The New York Times listed Choi’s Tonecycle for Blues performed by her Sundara All Star Band as one of The Best Classical Music Performances of 2017. Since 2009 Choi’s long-term multimedia installations have been presented both solo and simultaneously with Young and Zazeela’s sound and light in the MELA Dream House creating a continuous collaborative environment.    La Monte Young pioneered the concept of extended time durations in 1957 and for over 60 years contributed extensively to the development of just intonation and rational number-based tuning systems in his performance works and the periodic composite sound waveform environments of the Dream House collaborations formulated in 1962 with Marian Zazeela. Presentations of his work in the U.S. and Europe, as well as his theoretical writings gradually had a wide-ranging influence on contemporary music, art and philosophy, including Minimalism, concept art, Fluxus, performance art and conceptual art. In L.A. in the '50s, Young played jazz saxophone, leading a group with Billy Higgins, Dennis Budimir and Don Cherry. He also played with Eric Dolphy, Ornette Coleman, Terry Jennings, Don Friedman, and Tiger Echols. At Yoko Ono’s studio in 1960 he was director of the first New York loft concert series. He was the editor of An Anthology, which with his Compositions 1960 became a primary influence on concept art and the Fluxus movement. In 1962 Young founded his group The Theatre of Eternal Music and embarked on The Tortoise, His Dreams and Journeys, a large work involving improvisation within strict predetermined guidelines. Young and Zazeela helped bring renowned master vocalist Pandit Pran Nath to the U.S. in 1970 and became his first Western disciples. Described by Mark Swed in his October 2009 Los Angeles Times blog as "pure vibratory magic," Young’s Just Alap Raga Ensemble, founded in 2002 with Zazeela and their senior  disciple Jung Hee Choi, has become his primary performance vehicle. "For the past quarter of a century he has been the most influential composer in America.  Maybe in the world." (Los Angeles Herald Examiner, 1985).  "As the acknowledged father of minimalism and guru emeritus to the British art-rock school, his influence is pervasive" (Musician magazine, 1986).  "Young is now widely recognized as the originator of the most influential classical music style of the final third of the twentieth century." (Strickland, Minimalism:Origins, 1993).  "La Monte Young:  Le Son du Siècle." (L’Express L’An 2000 Supplement, 1999).   Megan Holly Witko is an external curator at Dia Art Foundation and currently working on an exhibition of work by the artist Chryssa. She recently organized presentations of works by Marian Zazeela at Dia Beacon, as well as Keith Sonnier and Jacqueline Humphries at the Dan Flavin Art Institute in Bridgehampton, NY. She was assistant curator of François Morellet at Dia Chelsea in New York (2017–18), as well as Robert Ryman (2015-16), and La Monte Young, Marian Zazeela and Jung Hee Choi’s Dia 15 VI 13 545 West 22 Street Dream House (2015). She joined Dia Art Foundation in 2012.    Manifest, Unmanifest XII is produced in collaboration with the Donghwa Cultural Foundation and is sponsored in part by the MELA Foundation. Header image: La Monte Young and Jung Hee Choi at Jung Hee Choi’s Ahata Anahata, Manifest Unmanifest XI, MELA Foundation Dream House, New York, 2020. jungheechoi#fineartmagazie#fineartfun