C. Borower: Portraits of Money
17, 2000 - February 18, 2001
many contemporary artists currently living in Vienna, Austria,
Djawid Borower adopts a critical relationship to the traditions
that have dominated the Austrian art scene for the past forty
years, rejecting trends influenced by both expressionistic and
pop ideas. Taking conceptual art as his point of departure, Borower
appropriates images in order to explore notions of style, representation,
and power. The resulting paintings have a rich and visceral presence
that tempers their discursive content.
beyond was something heaving, stirring, forever below, forever
before his words ...
of a Belgian Franc , Oil on Canvas, 78 x 70 inches
was glad that the truth was finally out in the open, and he
welcomed the upheavals and changes that followed as a consequence
of that truth.
Painting of a US Dollar, 2000, Oil on Canvas, 78 x 70 inches
imagery directly from bank notes, Borower's Portraits of Money
represent faces we know but rarely study. Each nation identifies
and represents itself through the continued reproduction of these
iconic faces on bank notes, yet their significance as images of
people disappears under the rubric of monetary denomination. After
meticulously copying these portraits onto a large scale, Borower
then scrapes away the surface of the paint, smearing it with a
squeegee. The finely crafted object is forced out of balance by
this process, creating a tension between the desire to read the
image as a recognizable portrait and the painting's endorsement
of its own material condition. The depicted individual is given
center stage in these works but the painting will not relinquish
its hold on the image as oil and pigment. This throws the certainty
of representation into question and destabilizes a reading of
the portrait as a true picture.
Although various, Borower's pictures are, in a certain way, always
the same. They appear as layers within which cultural signs are
broken, dissolved, and subjected to critical abrasion. As representations
they are fragile, floating on the edge of disappearance. But,
it is this very fragility that allows the viewer to engage both
formal and expressive issues in a dialogue about the meaning of
identity and representation.
C. Borower was born in Cologne, Germany, in 1958. He studied philosophy
and history at the Universities of Cologne, Germany, and Vienna,
Austria. He currently lives and works in Vienna. Featuring nine
large-scale paintings of such famous figures as George Washington,
Queen Elizabeth, and Alberto Giacometti, Portraits of Money will
be on view in the museum's Sculpture Court through February 18,
the Walls December 1, 2000 to January 31, 2001
The Speed is
launching a major new initiativeConnecting with the Community.
Connecting with Community programs transform the museum experience
and extend it outside of the museum. Beyond the Walls, our first
program, brings contemporary art of the highest caliber into the
community and integrates regional work with that of artists with
is a growing interest in the redeployment of styles of Pop and
decorative art within a post-modern framework. Younger artists
have been appropriating the style and look of Pop in order to
deal with issues of identity and have been producing works that
both depict and symbolize aspects of modern living. The four artists
selected for Beyond the Walls reflect this in differing ways.
While their works bear some resemblance to advertising, the images
remain ambiguous. Normally we expect advertising media to endorse
the consumption of certain products or enforce some partisan message.
The images in Beyond the Walls fulfill neither of these criteria.
Instead, they are images that use the medium of advertising to
question our expectations, encouraging us to explore how images
and representations influence our daily lives.
project uses four advertising mediums and each artist has been
assigned a particular format. Each artist's image appears on all
of the sites allocated for that format.
Hart is a New York artist who lived and worked in Berlin for many
years. Developing away from conceptual art, she started to become
interested in the way in which things like fairytales can be decoded
on a subliminal level, thus revealing the equivalent of the psycho
clown of popular culture Ð such as the Joker in Batman. Her book
project A Child's Machiavelli (1995) brought together fluffy
fairytale images with a new interpretation of the 16th-century
philosopher's notorious writings.
recently, Hart's work has become subtler with brightly colored
images of pigs, which are animated by a control button on the
computer. She has also been working on a series of long format
works that take the more demonic images of fairy tales and defuse
them through dislocation.
Born in 1979, Bryce Hudson moved from Cincinnati to Louisville
two years ago.
work achieves the look of formalism while suggesting that there
is more to representation than meets the eye. Each work displays
stylistic traits that place it within the framework of a certain
type of history, whether this be geometric forms that suggest
post-painterly abstraction and the influence of De Stijl, even
Zen, or a pixelated face that reminds us of Chuck Close's work.
What interests Hudson is the way that he can disrupt stylistic
recognition. His titles, such as Virus and Erica Squared suggest
that there is more to his iconography than pure formal construction.
Elizabeth Mesa-Gaido is from a Cuban family. Her father came to
the United States as a political exile in 1960.
works focus on the exploration of cultural identity and, most
recently, she has been making works which portray floral motifs.
These works she describes as the Cultural Migrations series, where
she uses flora to conceptually trace the cultural lineages and
migrations of diverse individuals.
Muntean and Adi Rosenblum
Markus Muntean and Adi Rosenblum live and work in Vienna. He is
Austrian and she is Israeli.
work of Muntean and Rosenblum explores teenage angst in a most
sympathetic way, juxtaposing images of young people with existentially
searching texts. Often adopting the poses that appear in fashion
magazines, these young people are troubled by a world that sees
them only as "image." Their representation in the drawings
generates a vulnerability that undermines the pose, so that what
they seem to be saying in the text becomes a questioning of who
they are. The drawings, of course, also speak out to the way in
which we are seduced by the photographed image and forget the
reality of the person depicted. The text reminds us of our relation
to youth and its insecurities, to the passing of time and memory.
Muntean and Rosenblum are adept at suggesting self-awareness of
their teenage subjects, in contrast to the way media images objectify
Moscoso, Neon Rose #12, The Chambers Brothers, 1967. Color
lithograph lent by Paul Prince © '67 Neon Rose.
More info is available at www.victormoscoso.com
on the Edge - Psychedelic Rock Graphics from the Paul Prince Collection,
September 19 - November 12, 2000
"summer of love" may have been a short-lived affair,
but it has certainly had a lasting effect upon our culture. Among
all the current debates about the values that the sixties generation
espoused, there is no denying that the music and art of that decade
displayed a dynamic that has found little match since. Dancing
on the Edge presents 60 posters and 22 album sleeves, belonging
to Santa Barbara collector Paul Prince, which demonstrate the
achievement of graphic art in the heyday of psychedelia.
most important sources for this dynamic graphic work were the
two major rock venues in the San Francisco area, the Avalon Ballroom
and the Fillmore, whose concert programs were run respectively
by Chet Helms and Bill Graham. By commissioning artists such as
Rick Griffin, Stanley "Mouse" Miller, Victor Moscoso,
Wes Wilson and Alton Kelley to create their publicity, they helped
to change the landscape of poster design. At the center of psychedelic
culture, these artists were able to invent and appropriate images
in combination with groundbreaking typographical ideas, creating
a visual world to match the music it accompanied.
covers include record sleeves from the music of The Beatles, Cream,
Crosby Stills & Nash, Bob Dylan, Spencer Davis Group, The
Grateful Dead, Arlo Guthrie, Jimi Hendrix, Janis Joplin, Manfred
Mann, Grace Slick, The Rolling Stones, Velvet Underground, The
Who, and Frank Zappa.
lectures, and adult classes are planned in conjunction with
these exhibitions, and the museum shop will offer related
items such as cookbooks by Linda McCartney, catalogs, books, posters,
and music compilations.
Levinthal, From the Series
Modern Romance, 1983-1985, Polaroid Land Film,
Courtesy of the artist.
Romance: Photographs by David Levinthal
18 November 26, 2000
as a pioneer of the constructed photograph, David Levinthal
has become an explorer of the darker side of the American psyche
through his atmospheric tableaux. The artists Modern
Romance series (1983-1985) is a watershed body of work.
After staging and lighting tiny figures in miniature sets, Levinthal
photographed them with a Polaroid Land Camera. The resulting
photographs represent small but pregnant moments in a fictional
urban narrativepeople in hotel rooms, in diners, on the
street. Familiar in many ways, the depicted individuals are
bathed in a light that leaves them unfocussed, suggesting the
alienation that a companies much city night-life. Sometimes
the works are photographed from video screens, so that they
become an image of an image, a hazy surface that suggests surveillance.
Here, Levinthal echoes the distancing that has already been
created by his use of models but elaborates it through the frame
of our own voyeuristic vision. Levinthals is a bleak outlook
that suggests the singularity of the individual urban experience,
where the soul seems lost in darkness, impenetrable. Yet the
weight of this feeling remains light in the recognition that
the images are only fictions.
McCartney's Sixties: Portrait of an Era
September 19 - November 12, 2000
of photographs by Linda McCartneyBeatle icon Paul McCartneys
late wife and an important photographer in her own rightwill
be on view at The Speed Art Museum September 19, 2000 through
November 12, 2000. The first comprehensive showing of Linda McCartneys
Sixties photography in the United States, the exhibition includes
images of such rock legends as The Rolling Stones, The Who, The
Rascals, B.B. King, Jimi Hendrix, Frank Zappa, Otis Redding, Janis
Joplin, Arlo Guthrie, Bob Dylan and, of course, The Beatles. The
timing of the show is meant both as a tribute to the artist as
well as a reminder of a defining
decade of the 20th century.
McCartneys Sixties: Portrait of an Era presents 47 of
McCartneys most recognizable rock n roll photographs.
Her spontaneous images chronicle an era that was defined in large
part by its popular music. The exquisite platinum, silvertone,
and color prints were prepared expressly for this exhibition.
Guest curator Gabriele Abbott states that "her keen eye for
the moment and her ability to capture it perfectly
with available light sources became the hallmark of her photographsa
talent demonstrated nowhere with more effect than in her photographs
of the sixties assembled in this exhibition."
career as a rock photographer began in 1966 with The Rolling Stones.
Her black and white and color shots of The Stones propelled her
to gigs as house photographer for New Yorks Fillmore East
and as first staff photographer for Rolling Stone magazine. Her
easy-going personality and candid photographic style gave her
access to most bands playing in New York and later led her to
jobs with major record labels on both coasts. Before her death
in 1998, Linda McCartney had earned notoriety as one of the most
distinguished women photographers of her time. Her work has been
exhibited in over fifty galleries worldwide, published internationally
in magazines and newspapers, included in such collections as the
Victoria & Albert Museum in London, Britains National
Portrait Gallery, the Royal Photographic Society in Bath, England,
the Reiss Museum in Mannheim, Germany, and the City Museum of
Leipzig, Germany. In 1987 she was voted "U.S. Woman Photographer
of the Year" by Women in Photography.
McCartney's Sixties: Portrait of an Era is organized by the
Estate of Linda McCartney in cooperation with the Bruce Museum
of Arts and Sciences, Greenwich, Connecticut.
The Speed Presents Two Early American Landscape Exhibitions June
summer, the Speed presents two marvelous exhibitions featuring
American landscapes from the 19th century.
and Nature: The Hudson River School
& Nature offers 27 beautiful landscapes representing all the
major artists associated with Americas first school of landscape
Hudson River School artists derived their inspiration from the
upper Hudson River valley and are known for their dramatic depictions
of nature and subjects ranging from sublime views of wilderness
to pastoral scenes and allegorical pictures with moral messages.
At the height of the movement, paintings were meant to celebrate
the presence of God in nature. In keeping with the tenets of Romanticism,
these artists saw the natural American environment as a source
expressions. This exhibition also focuses on the changing meaning
of Hudson River School paintings over time.
Gifford, Mt. Merino and the City of Hudson in Autumn,
Oil on canvas Albany Institute of History & Art
first school of landscape painting begins with Thomas Cole in
1825 and ends by the late 1870s. Toward end of the 19th
century interest in the Hudson River School declined and the paintings
were considered old fashioned.
the years, the school has witnessed three distinct revivals. Post-World
War I patriotism sparked an interest in the paintings, which were
viewed as evidence of the simplicity and independence of life
in the U.S. The environmental movement in the 1960s and 70s
often used the images as reminders of a lost, pre-industrial paradise.
Today, Hudson River School artists are appreciated on many levels
for their meanings related to American art, history, and culture.
addition to Cole, the exhibition features works by Asher B. Durand,
Frederic E. Church, Jasper Cropsey, Sanford R. Gifford, James
Hart, William Hart, John Kensett, Homer D. Martin, David Johnson,
John Casilear, and George Inness.
exhibition was organized by the Albany Institute of History and
Art in Albany, New York and is being circulated to seven museums
in the United States by Smith Kramer, Inc., a fine art service
company located in Kansas City, Missouri.
Bodmer's Eastern Views: A Journey in North America
Bodmers Eastern Views showcases the works of this 19th-century
Swiss artists career and his views of the eastern United
States from 183234. Featuring nearly 100 watercolors, drawings,
prints, and documents, Karl Bodmers Eastern Views depicts
views from the eastern segment of Bodmers 1832-34 expedition
to North America from Boston to St. Louis with the German Prince
will be drawn to Bodmers images about this part of the country.
Bodmer stopped in Louisville, was in New Harmony, Indiana, for
several months, and recorded his impressions of Louisville, Portland,
and nearby towns and countrysides.
Maximilian and Bodmer steamed into Louisville on October 14, 1832,
they would have been welcomed by a thriving city. Indeed one 1830s
visitor called Louisville "...the greatest place of business
upon the western waters."
impressed many visitors from the Eastern cities as well as Europe.
Caleb Atwater, traveling through Louisville in 1829, found a robust
economy. "Main Street, for the distance of about one mile,
presents a proud display of wealth and grandeur. Houses of two
and three lofty stories in height, standing upon solid stone foundations,
exceed any thing of the kind in the Western States. The stores
filled with the commodities and manufactures of every clime, and
every art, dazzle the eye. The ringing of the bells and the roaring
of the guns, belonging to the numerous steam boats in the harbor,
the cracking of the coachmans whip, and the sound of the
stage drivers horn, salute the ear."
Louisville on October 15, 1832, Maximilian and Bodmer made their
way to New Harmony, Indiana, where they stayed through the winter.
Nestled along the Wabash River, New Harmony was founded in 1814
by members of the Rappite Society. While the intention of creating
a communal society ultimately failed, New Harmony did become a
great scientific center in America, with most of the research
being conducted there between 1824 and 1856. At one time, the
U.S. Geological Survey was even headquartered there.
exhibition is part of the Maximilian-Bodmer collection at Joslyn
Art Museum in Omaha, Nebraska, which is internationally recognized
as a priceless record of early 19th-century America.
and Cultural Contexts of Karl Bodmers Eastern Views"
conjunction with the exhibition Karl Bodmers Eastern Views,
John Sears will present a lecture on Thursday, August 24 at 6
Bodmer arrived in the United States in 1832 with his employer,
Prince Maximilian von Wied-Neuwied, a German naturalist on an
expedition to study the flora, fauna and native peoples of the
American West. They found themselves in a developing country poised
for rapid takeoff into industrialization, urbanization, and agricultural
development, but still, in many respects unspoiled and unrecorded.
Sears will discuss Bodmers role as an artist on a scientific
expedition, his manner of depicting the American landscape and
the transformations taking place in it, and the differences between
his work and the paintings of 19th-century American landscape
wrote one of the primary essays for the exhibition catalog and
is a renowned expert on the history of American tourism. His publications
include Sacred Places: American Tourist Attractions in the 19th
Century, and he served as editor for the Penguin Classic edition
of Henry James American Scene. Dr. Sears received his Ph.D.
in American Studies from Harvard and has taught at Tufts, Boston
University and Vassar College. He was most recently the Executive
Director of the Franklin and Eleanor Roosevelt Institute in Hyde
Park, New York.
Adam and Eve to Bubbleboy: Selections from the Collection
28, 1999 - May 2000
exhibition features more than seventy works of art from the Speeds
permanent collection. Works included in the exhibition span the
18th, 19th, and 20th centuries, ranging from
French artist Jean-François De Troys painting Adam
and Eve of 1730 to contemporary American glass artist
Richard Marquiss dMarquis Bubbleboy #2 of
1998. Representing a wide range of subjects and styles, this exhibition
includes painting, sculpture, and decorative arts by such artists
as: François Boucher, Thomas Gainsborough, Thomas Lawrence,
Mary Cassatt, Auguste Rodin, Claude Monet, Constantin Brancusi,
Augustus Saint-Gaudens, Marc Chagall, Robert Rauschenberg, John
De Andrea, and Barbara Kruger.
22, 1999 July 23, 2000
Tapestry installed in the Tapestry
Gallery of the Satterwhite Wing.
Untitled (Cambodia: Splendor and Darkness) #12, 1999,
C-print and linen tape, 58 1/4 inches x 40 1/4 inches, Courtesy
of Shoshana Wayne Gallery
Splendor and DarknessPhotographs by Dinh Q. Lê
9 July 5, 2000
exhibition features six large-scale photographs by Vietnamese
artist Dinh Q. Lê, whose photographic artworks combine two
major events in Cambodian history: the Angkor period (9th through
12th centuries), when hundreds of monuments were built and then
left as ruins for 400 years, and the autogenocide committed by
the Khmer Rouge between 1975 and 1978 under the dictatorship of
Pol Pot. By combining these events, the artist collapses the distance
between the historical monuments and social abuses that were committed
and, as a result, creates memorials in the remembrance of its
victims. Lê photographs decorative details from the Angkor
Wat and the Bayon monuments in Cambodia and appropriates images
of the Khmer Rouge's victims from the notorious Tousleng death
camp in Phnom Phen. He then slices the images into thin strips
and weaves the strips together. Depending on the observer's viewpoint,
the images merge or disappear. The edges of the photographs are
burned, melting the separate strips together, giving the piece
a weathered appearance, as if it had survived a catastrophic event.
This exhibition is organized in collaboration with the Houston
Center for Photography and Shoshana Wayne Gallery in Santa Monica.
exhibition features a selection of masterworks from Dulwich
Picture Gallery, England's oldest public art museum and
one of the most magnificent collections of Old Master paintings.
Rembrandt to Gainsborough highlights 90 of the gallery's
most famous paintings many of which have never been
seen in the United States by such artists as Canaletto,
Gainsborough, Poussin, Rembrandt, Van Dyck, Rubens, Tiepolo,
and Watteau. The exhibition and its national tour are made
possible by Ford Motor Company. The exhibition is organized
by The American Federation of Arts (AFA) and Dulwich Picture
Gallery. The exhibition is presented in Louisville by Brown-Forman
Corporation's Woodford Reserve. Accompanying Rembrandt
to Gainsborough is a small exhibition focusing on the
unique architectural history of Dulwich Picture Gallery
and the career of its renowned architect, Sir John Soane.
Picture Gallery and Sir John Soanes Poetry of Architecture
25 - April 9, 2000
OVER TO APRIL 23!
the Speeds blockbuster exhibition Rembrandt to Gainsborough:
Masterpieces from Englands Dulwich Picture Gallery,
this exhibition of nearly twenty photographs focuses on the
unique architectural history of Dulwich Picture GalleryEnglands
oldest public art museumand the creative genius of its architect,
Sir John Soane (1754-1837). The exhibition examines Soanes
innovative design for the picture gallery and how the picture
gallery continues to influence museum design today. In addition
to photographs of Dulwich Picture Gallery, the exhibition features
other noteworthy projects by Soane, including the architects
fascinating house and museum at 13, Lincolns Inn Fields.
The exhibition is sponsored by AIA Central Kentucky, a Chapter
of The American Institute of Architects.