Archive for the Bios P – T Category

Tom Sachs- Bio

Posted in Bios P - T on November 29, 2011 by artoutmiami

Tom Sachs

(Courtesy of Wilkipedia)
Born in New York City on July 26, 1966, Sachs grew up in Westport, Connecticut and attended Greens Farms Academy for high school. He attended Bennington College in Vermont. Following graduation, he studied architecture at London’s Architectural Association before deciding to return to the States, where he spent two years working in Frank Gehry’s L.A. furniture shop. It is here that he began using the term knolling.
Sachs moved from L.A. to New York City around 1990 and found a studio in the disappearing machinery district downtown. His studio, Allied Cultural Prosthetics, took its name from the previous tenant—Allied Machine Exchange—implying that contemporary culture had become nothing but a prosthetic for real culture.[1]
For a few years Sachs worked odd jobs, including lighting displays at Barneys New York. In 1994, he was invited to create a scene for their Christmas displays and titled it Hello Kitty Nativity, in which the Virgin Mary was replaced by Hello Kitty with an open Chanel bra, the three Kings were Bart Simpsons, and the stable was marked by a McDonald’s logo. This contemporary revision of the nativity scene received great attention (not all of it positive[2]) and demonstrated Sachs’ interest in the phenomena of consumerism, branding, and the cultural fetishization of products.

In the mid and late 1990s, Sachs’ career began to take off. His first major solo show, “Cultural Prosthetics”[1], opened at New York’s Morris-Healy Gallery in 1995. Many works from the show conflated fashion and violence, as with HG (Hermés Hand Grenade) (1995) and Tiffany Glock (Model 19) (1995)[2], both of which were models made with Hermes or Tiffany packaging. Although these sculptures were non-functional, another piece – Hecho in Switzerland (1995) – was an actual working homemade gun. Sachs and his assistants would make similar guns and sell them back to the city as part of New York’s gun buyback program (for up to $300 each).[3]
His next major show, “Creativity is the Enemy”, opened in 1998 at New York’s Thomas Healy Gallery and Paris’ Galerie Thaddaeus Ropac. It built on the discourse established in “Cultural Prosthetics” with sculptures like Chanel Guillotine (1998)[3] and Prada Deathcamp (1998). Other pieces, like Hermés Value Meal (1998)[4], moved away from explicit references to violence and paired fashion with other successful brands, like McDonald’s. Also included in the show were gaffer’s tape versions of Piet Mondrian’s famous compositions [5][6]. Like the Hermes sculptures, the Mondrian paintings were things Sachs desired but could not have. So he made them instead. As Sachs puts it, “making it is a way of having it.[4]”
Similar shows opened the following year at Galerie Thaddaeus Ropac in Salzburg, Austria and Mary Boone Gallery in New York, where Boone was famously arrested after Sachs allowed visitors to take live ammunition from an Alvar Aalto vase.[5] Around the same time, Sachs’ SONY Outsider (1998) opened at SITE Santa Fe in New Mexico. The sculpture was outwardly a full-scale model of the atomic bomb that was dropped on Nagasaki, and was a leap from handmade art into expensive outsourced fabrication. Ultimately, it was not well received by critics or even the artist himself – he later published a zine titled “The Failure of SONY Outsider”[6]). For many, including Roberta Smith, the well-known New York Times art critic, the piece “bore no trace of Mr. Sachs’s hand” and “could have been the work of several other artists.[7]” As Sachs says about the piece: “At the time I didn’t fully grasp the value of my handcrafted things… I should leave it to Sony or Motorola to make those perfect things.[8]”
Learning from this experience, Sachs fully embraced the practice of “bricolage”. For Sachs, a bricoleur is one “who hobbles together functional contraptions out of already given or collected materials, which he re-tools and re-signifies info new objects with novel uses, but more importantly, which he regenerates into a new, oscillating syntax: one of loss, gain, and more than anything, one of play.” After the failure of Sony Outsider, Sachs began to focus on leaving visible traces of his work, saying this a few years later:
“We have our system of making things out of certain materials… and of showing the scars of our labor and the history of our efforts… We have the ‘your way’, ‘my way’, and ‘the right way,’ and I must insist everything is done my way, even if it takes longer.[9]”
On a related note, Sachs organized an exhibition at Sperone Westwater in 2000 entitled “American Bricolage” that featured the work of 12 artists including Alexander Calder, Greg Colson, and Tom Friedman.
After several solo exhibitions in New York and abroad, “Nutsy’s” opened at the Bohen Foundation (New York City) in 2002 and Deutsche Guggenheim (Berlin) in 2003. The large-scale installation covered a whole floor, and invited viewers to interact by driving remote-controlled vehicles on asphalt tracks throughout the installation. Several of Sachs’ most famous works debuted at this exhibition, including Unité, Nutsy’s McDonald’s, and Barcelona Pavilion. Unité, in particular, is one of Sachs’ masterpieces—a 1:25 recreation of Le Corbusier’s Unité d’Habitation made completely out of foamcore. The Neistat Brothers, who began their careers working for Sachs, were instrumental in the operation of “Nutsy’s”.
In 2006, the artist had two major survey exhibitions mounted in Europe, first at the Astrup Fearnley Museet for Moderne Kunst and next at the Fondazione Prada, Milan. His work can be found in major museum collections worldwide, including the Metropolitan Museum of Art, New York, The Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art and the Centre Georges Pompidou, Paris.
As Germano Celant writes in his monograph on the artist published by the Fondazione Prada, Milan, “The images and objects that make up the militarized space of consumption and fashion are at the very heart of Tom Sachs’s visual passion.”
The Des Moines Art Center and Rose Art Museum hosted a solo exhibition titled Logjam featuring the artist in 2007.

Bernice Steinbaum, Bernice Steinbaum Gallery

Posted in Bios P - T on September 27, 2011 by artoutmiami

Bernice Steinbaum

BORN: January 3, 1944, Flushing, NY
EDUCATION:Bachelor of Arts – Queens College, New York, 1961
Master of Arts – Hofstra University, New York, 1965
Ph.D. Art Education – Columbia University, New York, 1977
TEACHING EXPERIENCE: 19 YEARS
Iowa Public School System
Associate Professor – Drake University, Iowa
Professor – Hofstra University, New York
Educational Television – “Art Time with Mrs. Steinbaum”, KDPS, Iowa
GALLERY DIRECTOR:
27 years in SoHo, New York and 11 years in Miami, FL (Bernice Steinbaum Gallery)
CURATOR OF EXHIBITIONS AND TRAVELING MUSEUM SHOWS2009 The Art of Fashion and the Fashion of Art, Bernice Steinbaum Gallery, Miami, FL
2008 Progeny, Bernice Steinbaum Gallery, Miami, FL (travelling through 2011)
2007 In Your Face, Bernice Steinbaum Gallery, Miami, FL
2004 It’s for the Birds (traveling tour through 2007)
2003 Affordable Art: Save Your Pennies, Bernice Steinbaum Gallery, Miami, FL
39th Annual Art Faculty Exhibition, University of Florida, Miami, FL
2001 A Painting Over the Sofa (that’s not necessarily a painting); (traveling tour through 2004)
1999 There but for the Grace of…Temporary Shelters, Here Here. A Shelter for ideas in art, architecture & design Gallery, Cleveland, OH
1997 Crossing The Threshold (31 women artists ages 70 to 105), Steinbaum Krauss Gallery, NYC (traveling tour through 2001).
1994 Memories of Childhood..so we’re not the Cleavers or the Brady Bunch, Steinbaum Krauss Gallery, NYC (travel tour through US)
1993 93 Holiday Greetings & Wishes for 94, Steinbaum Krauss Gallery, NYC
1992 Floored Art, Bernice Steinbaum Gallery, NYC (travel tour through US)
The Rocker, Bernice Steinbaum Gallery, NYC
Obsessive Compulsive, Bernice Steinbaum Gallery, NYC
1991 Collage Unglued, North Miami Museum of Contemporary Art, North Miami, FL
The New West, Bernice Steinbaum Gallery, NYC
1990 The Definitive Contemporary American Art Quilt, Bernice Steinbaum Gallery, NYC (travel tour through US)
The Art of Fashion, Bernice Steinbaum Gallery, NYC (travel tour U.S.)
1989 Gardens Real & Imagined, Bernice Steinbaum Gallery, NYC (travel tour through US)
American Resources: Selected Works of African American Artists, Bernice Steinbaum Gallery, NYC (travel tour through US)
Beyond the Tradition of Rocking Chairs (On and Off Your Rocker), Bernice Steinbaum Gallery, NYC
1988 Alice and Look Who Else, Through the Looking Glass, Bernice Steinbaum Gallery, NYC (travel tour through US)
Pioneer & Pioneering 20th Century Women Furniture Designers & Furniture Designer/Makers, Curated by Nina Stritzler, Bernice Steinbaum Gallery, NYC
1986 Elders of the Tribe, Bernice Steinbaum Gallery, NYC (travel tour through US)
1985 Adornments, Bernice Steinbaum Gallery, NYC (travel tour U.S.)
Staged/Stages, Co-curated with Judy K. Collischan Van Wagner, Bernice Steinbaum Gallery, NYC (travel tour through U.S.)
1984 1 + 1 = 2, Co-curated with Paul Brach, Bernice Steinbaum Gallery, NYC
(travel tour U.S.)
Common Ground
Cowboys and Indians
Fiber Arts, guest curator for the gov of Monaco

Museum for African Art
Arts Alliance
College Art Association, NY
Cooper Union
Equity Life
Fashion Institute of Technology
Fine Arts Museum of Long Island
New York University
School of Visual Arts
Teacher’s College, Columbia University (panel) 1996
Whitney Extension

SELECTED LECTURES
The Little Black Dress, Florida Institute of Technology, Melbourne, FL
Harvard University, International Fellows, Cambridge, MA
Looking at Contemporary Art from a Chinese Perspective, in conjunction with an exhibition of the work of Hung Liu, The Gallery of Contemporary Art, Sacred Heart University, Fairfield, CT, May 14, 1999, in conjunction with Crossing the Threshold, Spencer Museum of Art, University of Kansas, Lawrence, KS October 8, 1998
Thelma & Louise Ride through Crossing The Threshold, New Jersey State College, Ewing, NJ, March 4, 1998.
Museum for African Art, NYC – Textiles Study Group of NY, December 17, 1998
Muscarelle Museum of Art, College of William & Mary, Williamsburg, VA;
Main Line Art Center, Haverford, PA;
Peninsula Fine Arts Center, Newport News, VA;
Tampa Art Museum, Tampa, FL;
Abilene, TX;
Cheekwood Fine Arts Center, Nashville, TN;
Arizona State University;
High Museum of Art, Atlanta, GA;
Yellowstone Arts Center, MT;
Erie Arts Museum, Erie, PA;
Millpond House, Smithtown Township Arts Council,St.James, NY;
New Jersey State Museum, Trenton, NJ;
Albright-Knox Art Museum, Buffalo, NY;
Tate Gallery, London, England;
Fort Wayne Museum of Art, Fort Wayne, IN;

Anne Tschida, Art Writer

Posted in Bios P - T on August 23, 2011 by artoutmiami
Anne Tschida (right) and Juan Carlos Rodriguez

Anne Tschida was born in San Francisco, a little while after a Grace Slick lounge performance. After moving around, the family finally landed in Minneapolis, where she went to high school and became editor of the school newspaper, starting a career in the unprofitable world of journalism. She attended Northwestern University in Chicago and graduated from the Medill School of Journalism there. She then took a job with a British magazine in Hong Kong, where she spent several years. During that time, she traveled through China and Southeast Asia, writing about these burgeoning dragons. She then became editor of an Asian-focussed magazine in Los Angeles, before following her partner to Berlin, Germany. In the years after Eastern Europe was freed, it was an area blossoming in cultural arts, and therefore a place rich with fascinating stories. Eventually she returned to the United States, and took a job as an editor at the Miami New Times, overseeing all the cultural coverage along with investigative news reporters. Since the mid-21st century, she has been a freelance writer and editor for various publications, including the Miami Herald, Biscayne Times, Ocean Drive, Miami New Times, and KnightArts.org.

Os Gemeos- Otavio and Gustavo Pandolfo

Posted in Bios K - O, Bios P - T on May 22, 2011 by artoutmiami

Os Gemeos

Os Gemeos- Otavio and Gustavo Pandolfo

Posted in Bios K - O, Bios P - T, Graffiti Art on May 22, 2011 by artoutmiami

Os Gêmeos (Portuguese for The Twins) are  identical twin brothers (born 1974)  from Sao Paolo, Brazil, whose real names are Otavio and Gustavo Pandolfo. They started painting graffiti in 1987 and gradually became a main influence in the local scene, helping to define Brazil’s own style. Their work often features yellow-skinned characters – taken from the yellow tinge both of the twins have in their dreams – but is otherwise diverse and ranges from tags to complicated murals. “ Para nos o graffiti brasileiro e o que gostamos realmente de ver e de fazer parte dessa historia. A cidade de Sao Paulo é dos escritores, existe muito respeito entre os escritores de graffiti, a diferença de estilos e os objetivos de se superar entre os pixadores é o que moviva o graffiti aqui esta vivo. O mundo fora do graffiti, a população que vai “ao parque”, aqui é que não dorme com tanta tinta nas ruas.”

Stelios Faitakis

Posted in Bios P - T on May 22, 2011 by artoutmiami

Stelios Faitakis

Stelios got his start in the art world on the streets of Athens, the ancient but notoriously ugly town whose walls, according to Faitakis, “literally beg to be painted.”

“Art should be used as a tool for human beings to educate themselves – it opens us up to the use of capabilities that our modern civilization has shrunk such as intuition and inspiration.” – Stelios Faitakis

Shepard Fairy, Futura, Kenny Scharf, Iggy Pop, Wynwood Walls Project, 2009

Posted in Bios F - J, Bios P - T on May 21, 2011 by artoutmiami

Wynwood Walls Project- Art Basel 2009

Call it tagging, urban, street, low brow, or criminal, Graffiti art has reached new levels of sophistication from its gritty beginnings in the hood- or for that matter, how about 30,000 years ago in caves. This month we showcase the great and not so well known masters of the aerosol.