PS1 三十岁了。。。
2006年10月29日至2007年1月8日
《John Latham: 时间起点和宇宙》
John Latham: Time Base and the Universe
2006年10月29日至2007年1月8日
Defamation of Character
2006年10月29日至2007年1月8日
金的标准 / The Gold Standard
2006年10月29日至2007年1月8日
音乐是个更好的声音 / Music is a Better Noise
2006年10月29日至2007年1月8日
《John Latham: 时间起点和宇宙》
John Latham: Time Base and the Universe
2006年10月29日至2007年1月8日
Defamation of Character
2006年10月29日至2007年1月8日
金的标准 / The Gold Standard
2006年10月29日至2007年1月8日
音乐是个更好的声音 / Music is a Better Noise
Street Mouth #5 – Eno Cruises the Big Apple (2005) by Thurston Moore
MUSIC IS A BETTER NOISE
音乐是个更好的声音
October 29, 2006 - January 8, 2007
《音乐是个更好的声音》包含一些做艺术的音乐家和做音乐的艺术家。
作品为绘画、录像、影和音乐。
(Long Island City, NY – September 15, 2006) Music is a Better Noise brings together musicians who make art and artists who make music, or for whom music is an integral part of their creative process. The exhibition, featured in two parts in P.S.1’s first floor Drawing and Painting Galleries, also includes a video program in the Vault. The title of the exhibition is taken from a 1979 song by the English post-punk group Essential Logic, led by teenage saxophonist Lora Logic. Music is a Better Noise is on view from October 29, 2006 through January 8, 2007.
The first part of the exhibition, organized by P.S.1 Curatorial Advisor Nick Stillman and featured in the Drawing Gallery, focuses on New York-based artists/musicians who emerged during New York’s remarkable mid-1970s to early 1980s period, and who continue to make music today. Artists included in this gallery are Barbara Ess, Rammellzee, and Alan Vega. Ess, a photographer who has made records with several bands, including Y Pants, the Static, Ultra Vulva, and Radio Guitar, will show a selection of her trademark photographs made with a pinhole camera, as well as a series of new works. Legendary rapper Rammellzee will include a group of his “Letter Racer” tanks made from scavenged trash, a doll representing the artist, and a variety of new works. Alan Vega, who formed the iconic electro-punk group Suicide with Martin Rev in the early 1970s, will unveil a suite of new sculptures from New York City’s detritus and discarded junk to accompany works from the 1990s
In the Painting Gallery, the second part of the exhibition focuses on works by a range of artists and musicians who have been active since the late 1980s and early 1990s. Organized by P.S.1 Curatorial Advisor Bob Nickas, this gallery includes works by Richard Aldrich, who also performs with Hurray; German artist Kai Althoff, a member of the Cologne-based Workshop; psych/folk singer Devendra Banhart; Bjorn Copeland, guitarist in Black Dice; Japanese artist Eye, of noise-punk legends The Boredoms; Kim Gordon from Sonic Youth; Vancouver-based Rodney Graham; Tim Kerr, a key figure in the Austin, Texas music scene of the 1980s; the German (New York-based) painter Jutta Koether, who has recorded and performed with Rita Ackermann, Electrophilia, and Kim Gordon; English artist Mark Leckey, well-known for his installations of sound systems, as well as for performances, videos, and records with donAteller; Christian Marclay, who has mixed art and music in his work since the 1980s; Thurston Moore from Sonic Youth; Chuck Nanney, who has created a site-specific sound piece for one of the building’s stairwells; the collaborative team of Delia Gonzalez and Gavin Russom; Meredyth Sparks, whose glitter photo portraits are inspired by performers such as Ian Curtis of Joy Division; and Don van Vliet, whose paintings gained attention in the mid-1980s as part of neo-Expressionism, and who, as Captain Beefheart, is widely regarded for the music he made between the mid-1960s and the late 1970s, an iconoclastic mix of psychedelic rock, Delta blues, and free jazz.
The video portion of the exhibition, presented in the Vault, includes an outrageous music video by Raw Sewage, a group led by the late Leigh Bowery, a performance artist active in London in the late 1980s and early 1990s; Swiss artist Olaf Breuning; Mark Leckey; Swedish artist Klara Liden; Christian Marclay; Ara Peterson, whose video is scored by former Spacemen 3 member Sonic Boom; Delia Gonzalez and Gavin Russom; and Mika Tajima, who regularly performs with the group New Humans.
MUSIC IS A BETTER NOISE
音乐是个更好的声音
October 29, 2006 - January 8, 2007
《音乐是个更好的声音》包含一些做艺术的音乐家和做音乐的艺术家。
作品为绘画、录像、影和音乐。
(Long Island City, NY – September 15, 2006) Music is a Better Noise brings together musicians who make art and artists who make music, or for whom music is an integral part of their creative process. The exhibition, featured in two parts in P.S.1’s first floor Drawing and Painting Galleries, also includes a video program in the Vault. The title of the exhibition is taken from a 1979 song by the English post-punk group Essential Logic, led by teenage saxophonist Lora Logic. Music is a Better Noise is on view from October 29, 2006 through January 8, 2007.
The first part of the exhibition, organized by P.S.1 Curatorial Advisor Nick Stillman and featured in the Drawing Gallery, focuses on New York-based artists/musicians who emerged during New York’s remarkable mid-1970s to early 1980s period, and who continue to make music today. Artists included in this gallery are Barbara Ess, Rammellzee, and Alan Vega. Ess, a photographer who has made records with several bands, including Y Pants, the Static, Ultra Vulva, and Radio Guitar, will show a selection of her trademark photographs made with a pinhole camera, as well as a series of new works. Legendary rapper Rammellzee will include a group of his “Letter Racer” tanks made from scavenged trash, a doll representing the artist, and a variety of new works. Alan Vega, who formed the iconic electro-punk group Suicide with Martin Rev in the early 1970s, will unveil a suite of new sculptures from New York City’s detritus and discarded junk to accompany works from the 1990s
In the Painting Gallery, the second part of the exhibition focuses on works by a range of artists and musicians who have been active since the late 1980s and early 1990s. Organized by P.S.1 Curatorial Advisor Bob Nickas, this gallery includes works by Richard Aldrich, who also performs with Hurray; German artist Kai Althoff, a member of the Cologne-based Workshop; psych/folk singer Devendra Banhart; Bjorn Copeland, guitarist in Black Dice; Japanese artist Eye, of noise-punk legends The Boredoms; Kim Gordon from Sonic Youth; Vancouver-based Rodney Graham; Tim Kerr, a key figure in the Austin, Texas music scene of the 1980s; the German (New York-based) painter Jutta Koether, who has recorded and performed with Rita Ackermann, Electrophilia, and Kim Gordon; English artist Mark Leckey, well-known for his installations of sound systems, as well as for performances, videos, and records with donAteller; Christian Marclay, who has mixed art and music in his work since the 1980s; Thurston Moore from Sonic Youth; Chuck Nanney, who has created a site-specific sound piece for one of the building’s stairwells; the collaborative team of Delia Gonzalez and Gavin Russom; Meredyth Sparks, whose glitter photo portraits are inspired by performers such as Ian Curtis of Joy Division; and Don van Vliet, whose paintings gained attention in the mid-1980s as part of neo-Expressionism, and who, as Captain Beefheart, is widely regarded for the music he made between the mid-1960s and the late 1970s, an iconoclastic mix of psychedelic rock, Delta blues, and free jazz.
The video portion of the exhibition, presented in the Vault, includes an outrageous music video by Raw Sewage, a group led by the late Leigh Bowery, a performance artist active in London in the late 1980s and early 1990s; Swiss artist Olaf Breuning; Mark Leckey; Swedish artist Klara Liden; Christian Marclay; Ara Peterson, whose video is scored by former Spacemen 3 member Sonic Boom; Delia Gonzalez and Gavin Russom; and Mika Tajima, who regularly performs with the group New Humans.
Bullion (2003) by Thomas Demand
THE GOLD STANDARD
金的标准
October 29, 2006 - January 8, 2007
展出的作品都是金色的，关注‘金’的复杂方面。
这个展览是关于物品能够刺激的欲望，表面化，金的象征：在宗教，科学，等领域里。
参加艺术家：John Armleder, Andisheh Avini, Barry X Ball, Marcel Broodthaers, Tim Davis, Thomas Demand, Jessica Diamond, Sylvie Fleury, Felisa Funes, Piero Golia, Wayne Gonzales, Kent Henricksen, Thomas Hirschhorn, Fred Holland, Alfredo Jaar, Annette Kelm, Terence Koh, Yayoi Kusama, Louise Lawler, Daniel Lefcourt, Sherrie Levine, John Miller, Geof Oppenheimer, Mai-Thu Perret, Paul Pfeiffer, Seth Price, Rob Pruitt, David Ratcliff, Tim Rollins and K.O.S., Haim Steinbach, Sturtevant, Vincent Szarek, Wolfgang Tillmans, Kelley Walker, James Welling, and Eric Wesley.
(Long Island City, NY – September 14, 2006) P.S.1 Contemporary Art Center is pleased to present The Gold Standard, on view in the Kunsthalle from October 29, 2006 through January 8, 2007. All of the works in the exhibition are gold in color, and deal with the iconographic complexity of gold. The exhibition examines the idea that otherwise uninflected objects, through material and surface transformation, become objects of desire, expanding upon and negotiating the chimerical presence—both materially and symbolically—of gold. Themes such as alchemy and religion, symbols of power and wealth, the ostentatious and the sublime, are also of chief concern. The exhibition includes historical figures alongside younger artists, and numerous works commissioned especially for The Gold Standard.
The formal groundwork or strategies that seem most urgent for these artists raise questions of substitution, doubling, copying, decoys, and spectacle in relation to a material that has, as its base, a sense of unrelenting authenticity and power, a fantastical foundation for exchange—both literally in an economic sphere, and in a more general social sense.
The artists in the exhibition include: John Armleder, Andisheh Avini, Barry X Ball, Marcel Broodthaers, Tim Davis, Thomas Demand, Jessica Diamond, Sylvie Fleury, Felisa Funes, Piero Golia, Wayne Gonzales, Kent Henricksen, Thomas Hirschhorn, Fred Holland, Alfredo Jaar, Annette Kelm, Terence Koh, Yayoi Kusama, Louise Lawler, Daniel Lefcourt, Sherrie Levine, John Miller, Geof Oppenheimer, Mai-Thu Perret, Paul Pfeiffer, Seth Price, Rob Pruitt, David Ratcliff, Tim Rollins and K.O.S., Haim Steinbach, Sturtevant, Vincent Szarek, Wolfgang Tillmans, Kelley Walker, James Welling, and Eric Wesley.
The Gold Standard is organized by Walead Beshty and P.S.1 Curatorial Advisor Bob Nickas.
THE GOLD STANDARD
金的标准
October 29, 2006 - January 8, 2007
展出的作品都是金色的，关注‘金’的复杂方面。
这个展览是关于物品能够刺激的欲望，表面化，金的象征：在宗教，科学，等领域里。
参加艺术家：John Armleder, Andisheh Avini, Barry X Ball, Marcel Broodthaers, Tim Davis, Thomas Demand, Jessica Diamond, Sylvie Fleury, Felisa Funes, Piero Golia, Wayne Gonzales, Kent Henricksen, Thomas Hirschhorn, Fred Holland, Alfredo Jaar, Annette Kelm, Terence Koh, Yayoi Kusama, Louise Lawler, Daniel Lefcourt, Sherrie Levine, John Miller, Geof Oppenheimer, Mai-Thu Perret, Paul Pfeiffer, Seth Price, Rob Pruitt, David Ratcliff, Tim Rollins and K.O.S., Haim Steinbach, Sturtevant, Vincent Szarek, Wolfgang Tillmans, Kelley Walker, James Welling, and Eric Wesley.
(Long Island City, NY – September 14, 2006) P.S.1 Contemporary Art Center is pleased to present The Gold Standard, on view in the Kunsthalle from October 29, 2006 through January 8, 2007. All of the works in the exhibition are gold in color, and deal with the iconographic complexity of gold. The exhibition examines the idea that otherwise uninflected objects, through material and surface transformation, become objects of desire, expanding upon and negotiating the chimerical presence—both materially and symbolically—of gold. Themes such as alchemy and religion, symbols of power and wealth, the ostentatious and the sublime, are also of chief concern. The exhibition includes historical figures alongside younger artists, and numerous works commissioned especially for The Gold Standard.
The formal groundwork or strategies that seem most urgent for these artists raise questions of substitution, doubling, copying, decoys, and spectacle in relation to a material that has, as its base, a sense of unrelenting authenticity and power, a fantastical foundation for exchange—both literally in an economic sphere, and in a more general social sense.
The artists in the exhibition include: John Armleder, Andisheh Avini, Barry X Ball, Marcel Broodthaers, Tim Davis, Thomas Demand, Jessica Diamond, Sylvie Fleury, Felisa Funes, Piero Golia, Wayne Gonzales, Kent Henricksen, Thomas Hirschhorn, Fred Holland, Alfredo Jaar, Annette Kelm, Terence Koh, Yayoi Kusama, Louise Lawler, Daniel Lefcourt, Sherrie Levine, John Miller, Geof Oppenheimer, Mai-Thu Perret, Paul Pfeiffer, Seth Price, Rob Pruitt, David Ratcliff, Tim Rollins and K.O.S., Haim Steinbach, Sturtevant, Vincent Szarek, Wolfgang Tillmans, Kelley Walker, James Welling, and Eric Wesley.
The Gold Standard is organized by Walead Beshty and P.S.1 Curatorial Advisor Bob Nickas.
Matthew Barney's Vaseline portrait of Julianne Moore as a Mirabella magazine zombie
DEFAMATION OF CHARACTER
人物的诽谤
October 29, 2006 - January 8, 2007
PS1的群展跟三十个艺术家左右。
展览主题为偶像破坏者的趋势：后朋可的作品关于‘脸’、名声、泄露和消灭的关系。
(Long Island City, NY – August 11, 2006) P.S.1 Contemporary Art Center is pleased to present Defamation of Character, an international group exhibition exploring the iconoclastic impulse as an engine of recent creative progress. It draws primarily from work created in the post-punk era by approximately thirty artists, and explores the relationships between face and fame, notoriety, disclosure, and erasure. Some of the artists mine popular culture to produce scathing or defamatory indictments of consumer mores; others take the moral corruptions of public and political acts as their defamed subject; and others practice detournement—using elements of well-known media to create new work with a different or opposing message—to elevate injury and injustice into the realm of high art. Defamation of Character will be on view in the first floor Main Gallery from October 29, 2006, through January 8, 2007.
The cradle of much of this aesthetic impulse is England, where pop culture and anti-establishment attitudes have thrived concurrently. The progenitor of this position may be the British artist Richard Hamilton (b. 1922) whose body of work created in response to the so-called dirty protests in Northern Ireland speaks to the political defamations of the notorious Maze prison in the stylized language of pop. Fed through the language of punk and the graphic design of Jamie Reid (b. 1947) such attitudes became the form of the Young British Artists generation, represented here by works from Jake and Dinos Chapman (b. 1966/62), Sarah Lucas (b. 1962), and recently Adam McEwen (b. 1965).
In America much of this confrontation took place with modernism itself. Key moments include Andy Warhol’s oxidation paintings which had the artist literally taking a piss on the flat mantle of Modernist abstraction, Richard Prince’s (b. 1949) painted jokes which literally made a clichéd joke of painting, and Christopher Wool’s (b. 1955) self-effacing erasures of his own facility. Incorporating the perspective of feminism in their work Sue Williams (b. 1954), Kathe Burkhart (b. 1958), and Karen Kilimnik (b. 1962) take celebrity and the name of the celebrated father in vain.
Defamation of Character also features Matthew Barney’s (b. 1967) Vaseline portrait of Julianne Moore as a Mirabella magazine zombie, Hélio Oiticica’s (1937-80) cocaine Hendrixes and Glenn Ligon’s (b. 1960) dead neon America. Documented actions and interventions such as Gordon Matta-Clark’s (1943-78) BB gun window blow out, Gianni Motti’s (b. 1958) appearance at the VIP box of the French Open wearing an Abu Ghraib-style hood, Chris Burden’s (b. 1946) TV hijack, and the K Foundation’s (1993-95) legendary burning of a million pounds, royalties from their successes with the KLF, will be seen alongside works by Dan Colen (b. 1979) and Nate Lowman (b. 1979) whose hijacked landscapes have become vehicles for the slanders and libels of a malignant culture of pollution, racial slurs, and tarnished reputations.
Defamation of Character is organized by P.S.1 Curatorial Advisor Neville Wakefield.
DEFAMATION OF CHARACTER
人物的诽谤
October 29, 2006 - January 8, 2007
PS1的群展跟三十个艺术家左右。
展览主题为偶像破坏者的趋势：后朋可的作品关于‘脸’、名声、泄露和消灭的关系。
(Long Island City, NY – August 11, 2006) P.S.1 Contemporary Art Center is pleased to present Defamation of Character, an international group exhibition exploring the iconoclastic impulse as an engine of recent creative progress. It draws primarily from work created in the post-punk era by approximately thirty artists, and explores the relationships between face and fame, notoriety, disclosure, and erasure. Some of the artists mine popular culture to produce scathing or defamatory indictments of consumer mores; others take the moral corruptions of public and political acts as their defamed subject; and others practice detournement—using elements of well-known media to create new work with a different or opposing message—to elevate injury and injustice into the realm of high art. Defamation of Character will be on view in the first floor Main Gallery from October 29, 2006, through January 8, 2007.
The cradle of much of this aesthetic impulse is England, where pop culture and anti-establishment attitudes have thrived concurrently. The progenitor of this position may be the British artist Richard Hamilton (b. 1922) whose body of work created in response to the so-called dirty protests in Northern Ireland speaks to the political defamations of the notorious Maze prison in the stylized language of pop. Fed through the language of punk and the graphic design of Jamie Reid (b. 1947) such attitudes became the form of the Young British Artists generation, represented here by works from Jake and Dinos Chapman (b. 1966/62), Sarah Lucas (b. 1962), and recently Adam McEwen (b. 1965).
In America much of this confrontation took place with modernism itself. Key moments include Andy Warhol’s oxidation paintings which had the artist literally taking a piss on the flat mantle of Modernist abstraction, Richard Prince’s (b. 1949) painted jokes which literally made a clichéd joke of painting, and Christopher Wool’s (b. 1955) self-effacing erasures of his own facility. Incorporating the perspective of feminism in their work Sue Williams (b. 1954), Kathe Burkhart (b. 1958), and Karen Kilimnik (b. 1962) take celebrity and the name of the celebrated father in vain.
Defamation of Character also features Matthew Barney’s (b. 1967) Vaseline portrait of Julianne Moore as a Mirabella magazine zombie, Hélio Oiticica’s (1937-80) cocaine Hendrixes and Glenn Ligon’s (b. 1960) dead neon America. Documented actions and interventions such as Gordon Matta-Clark’s (1943-78) BB gun window blow out, Gianni Motti’s (b. 1958) appearance at the VIP box of the French Open wearing an Abu Ghraib-style hood, Chris Burden’s (b. 1946) TV hijack, and the K Foundation’s (1993-95) legendary burning of a million pounds, royalties from their successes with the KLF, will be seen alongside works by Dan Colen (b. 1979) and Nate Lowman (b. 1979) whose hijacked landscapes have become vehicles for the slanders and libels of a malignant culture of pollution, racial slurs, and tarnished reputations.
Defamation of Character is organized by P.S.1 Curatorial Advisor Neville Wakefield.
Philosophy and the practice of (1960)
JOHN LATHAM: TIME BASE AND THE UNIVERSE
October 29, 2006 - January 8, 2007
(Long Island City, NY ?August 10, 2006) P.S.1 proudly presents Time Base and the Universe, an exhibition of approximately thirty works by the late British artist John Latham (1921-2006). Conceived with the artist prior to his death in January 2006, the show surveys the major stages of his career, spanning over fifty years. Time Base and the Universe is on view in the second floor Main Gallery from October 29, 2006 through January 8, 2007.
"John Latham is an artist's artist," notes David Thorp, curator of the exhibition. "His significance places him between Joseph Bueys and Robert Rauschenberg as someone whose ideas and influence have helped to shape late twentieth century art."
With his uncompromising endeavor to explore some of the most complex cosmological ideas through art, and due to his criticism of the art market, he was both acclaimed and vilified in his lifetime. Visceral and enigmatic, his work encompassed sculpture, performance, installation, film, conceptual, and book art. Creating a unified theory of existence, Latham combined art, science, and philosophy, thus challenging the views of professionals in each field. "event structure" was the main sustaining principle of his art and suggests that the most basic component of reality is not the particle, as understood through physics, but a "least event" ?or the shortest departure from a state of nothing.
The works in Time Base and the Universe investigate these ideas. In 1954, Latham was the first painter in England to use spray paint, a method that signified a “least event” on canvas (representing nothingness). In the early 1960s, Latham began working with books as a medium, creating relief structures emerging from plaster on canvas. This series of Skoob – "books" spelled backwards – works suggest a human presence and portray the divisions in knowledge that can emerge from a single source. Later works incorporated glass (the transparency of which renders it more minimal than a white surface), while the more recent cosmological A Cluster of 11, features exploding, globe-like masses of books, plaster, and wire.
Time Base Roller forms the centerpiece of the exhibition, and directly illustrates Latham’s concept of "Flat Time." Comprising a rotating cylinder, a striped canvas strip unrolls via a motor to demonstrate the continuing passage of time. Inscriptions on the back of the roller represent the memory of the past, akin to a musical score. Other works in the exhibition include N U Niddrie, God is Great, and a selection of short films made throughout Latham’s career.
Time Base and the Universe is organized by P.S.1 International Adjunct Curator David Thorp, and is done in collaboration between P.S.1 Contemporary Art Center and the John Hansard Gallery in Southampton, UK, where it was exhibited from July 4 through August 26, 2006. A catalogue published by the John Hansard Gallery will feature a joint foreword by P.S.1 Director Alanna Heiss and John Hansard Gallery Director Stephen Foster, with essays by Mr. Thorp and John Latham’s son, Noa Latham, Associate Professor of Philosophy at the University of Calgary. Also included are a selection of interview excerpts, including highlights from an interview between the artist and Heiss.
John Latham (1921–2006) created influential artworks throughout his career which spanned more than five decades. Latham has had numerous international exhibitions at institutions including the Barbican Art Gallery and Lisson Gallery, London; Kunsthalle, Bern; Städtische Kunsthalle, Düsseldorf; and Musée d’Art Moderne, Paris. Latham’s work is in the collections of The Museum of Modern Art, New York; and the Tate Gallery, London; among other major museums. He was featured in the 2005 Venice Biennale and was the subject of a recent retrospective at the Tate Britain in London.
JOHN LATHAM: TIME BASE AND THE UNIVERSE
October 29, 2006 - January 8, 2007
(Long Island City, NY ?August 10, 2006) P.S.1 proudly presents Time Base and the Universe, an exhibition of approximately thirty works by the late British artist John Latham (1921-2006). Conceived with the artist prior to his death in January 2006, the show surveys the major stages of his career, spanning over fifty years. Time Base and the Universe is on view in the second floor Main Gallery from October 29, 2006 through January 8, 2007.
"John Latham is an artist's artist," notes David Thorp, curator of the exhibition. "His significance places him between Joseph Bueys and Robert Rauschenberg as someone whose ideas and influence have helped to shape late twentieth century art."
With his uncompromising endeavor to explore some of the most complex cosmological ideas through art, and due to his criticism of the art market, he was both acclaimed and vilified in his lifetime. Visceral and enigmatic, his work encompassed sculpture, performance, installation, film, conceptual, and book art. Creating a unified theory of existence, Latham combined art, science, and philosophy, thus challenging the views of professionals in each field. "event structure" was the main sustaining principle of his art and suggests that the most basic component of reality is not the particle, as understood through physics, but a "least event" ?or the shortest departure from a state of nothing.
The works in Time Base and the Universe investigate these ideas. In 1954, Latham was the first painter in England to use spray paint, a method that signified a “least event” on canvas (representing nothingness). In the early 1960s, Latham began working with books as a medium, creating relief structures emerging from plaster on canvas. This series of Skoob – "books" spelled backwards – works suggest a human presence and portray the divisions in knowledge that can emerge from a single source. Later works incorporated glass (the transparency of which renders it more minimal than a white surface), while the more recent cosmological A Cluster of 11, features exploding, globe-like masses of books, plaster, and wire.
Time Base Roller forms the centerpiece of the exhibition, and directly illustrates Latham’s concept of "Flat Time." Comprising a rotating cylinder, a striped canvas strip unrolls via a motor to demonstrate the continuing passage of time. Inscriptions on the back of the roller represent the memory of the past, akin to a musical score. Other works in the exhibition include N U Niddrie, God is Great, and a selection of short films made throughout Latham’s career.
Time Base and the Universe is organized by P.S.1 International Adjunct Curator David Thorp, and is done in collaboration between P.S.1 Contemporary Art Center and the John Hansard Gallery in Southampton, UK, where it was exhibited from July 4 through August 26, 2006. A catalogue published by the John Hansard Gallery will feature a joint foreword by P.S.1 Director Alanna Heiss and John Hansard Gallery Director Stephen Foster, with essays by Mr. Thorp and John Latham’s son, Noa Latham, Associate Professor of Philosophy at the University of Calgary. Also included are a selection of interview excerpts, including highlights from an interview between the artist and Heiss.
John Latham (1921–2006) created influential artworks throughout his career which spanned more than five decades. Latham has had numerous international exhibitions at institutions including the Barbican Art Gallery and Lisson Gallery, London; Kunsthalle, Bern; Städtische Kunsthalle, Düsseldorf; and Musée d’Art Moderne, Paris. Latham’s work is in the collections of The Museum of Modern Art, New York; and the Tate Gallery, London; among other major museums. He was featured in the 2005 Venice Biennale and was the subject of a recent retrospective at the Tate Britain in London.
