Jack Goldstein | e-flux
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Just days before turning sweet16, the Schinkel Pavillon celebrates a milestone 15th birthday in retrospect with an anniversary mailing.
It is with great joy that Nina Pohl and her team look back on 15 years of not only exhibitions and performances, but also lectures, screenings, concerts, talks, and interventions realized by over 400 artists and countless supporters.
Jack Goldstein | By James Russell | D Magazine
This summer, The Modern Art Museum of Fort Worth hosts two exhibitions highlighting the development of the twentieth century art scene in the Golden State. David Park: A Retrospective, which opened last weekend, and the highly conceptual Disappearing–California c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein, which opened last month, weave together two modern art movements from different parts of California.
Guest curated by Phillip Kaiser of Los Angeles, Disappearingoccupies 13,000 square feet of the museum’s entire first floor. It is thematically organized, exploring how the three artists stretched the limitation of disappearance through performance. The show gets its name from Burden’s 1971 work “Disappearing,” in which he vanished from December 22-24.
Only a few years before, Ader created the installation “Please don’t leave me,” the show’s earliest piece (1969). A messy, tangled cluster of light fixtures dangle in front of thin, capitalized letters demanding “PLEASE DON’T LEAVE ME.” Of course, you have to leave the piece to continue through the show. (You’re not left to languish for long: Burden’s “Survival Kit” has all the viewer needs to proceed: a joint, a fake $100 bill, a candle, an army knife, and other essentials.) Goldstein’s videos, which show him moving, sitting, and exploring, round out the three artists’ early works.
The Modern
Fort Worth, TX
10 May - 11 August 2019
In 1971, Chris Burden disappeared for three days without a trace. That work, entitled Disappearing, gives its name to this exhibition, which examines the theme of disappearance in the works of Burden and his contemporaries in 1970s Southern California, Bas Jan Ader and Jack Goldstein. Loosely affiliated, these three artists shared a common interest in themes of disappearance and self-effacement, which manifested in works that were daring and often dangerous. In 1972, Jack Goldstein buried himself alive during a performance, while Chris Burden’s often self-harming works explored the limits of pain. During Bas Jan Ader’s tragic last work, In search of the miraculous, 1975, the artist vanished while crossing the Atlantic in a small sailboat, never to be seen again. Responding to cultural pressures like the Vietnam War and the nascent field of feminist art, the artists poignantly used “disappearing” as a response to the anxiety of the 1970s.
Jack Goldstein, Under Water Sea Fantasy, 1983–2003, 16 mm, color, sound, 6 minutes 30 seconds.
By Jan Tumlir
Diana Thater, Wicked Witch, 1999; Video installation; Collection OCMA.
Pivotal: Highlights from the Collection
Orange County Museum of Art
850 San Clemente Dr
Newport Beach, CA 92660
On view through June 17th
OCMA has always championed artistic experimentation and innovation through a commitment to showing and collecting the work of dynamic and groundbreaking emerging artists. This installation will reveal how impactful OCMA has been in supporting the careers of some of the most influential artists from this region, often at pivotal moments in their careers.
This exhibition includes works by Diana Thater an Jack Goldstein.
Jack Goldstein, Untitled, 1984, acrylic on canvas, OCMA Collection
Jack Goldstein, "Untitled", 1983. Acrylic on canvas, 243.7 x 427 cm. Art Gallery Ontario & Estate of Jack Goldstein.
Jack Goldstein and Ron Terada
Jack and the Jack Paintings: Jack Goldstein and Ron Terada
Art Gallery of Ontario
317 Dundas Street West, Toronto, Ontario M5T IG4
A new exhibition at the AGO pairs contemporary Canadian artists Ron Terada and Jack Goldstein, whose own artistic struggle has been a source of inspiration for Terada.
Based in California, Jack Goldstein was a performance and conceptual artist who came of age in the 1960s and ‘70s; he was part of The Pictures Generation, an influential group known for their use of mass media imagery. He studied at the famed California Institute of the Arts, or CalArts, and became a painter during the art boom of the early 1980s. After some success, however, he became increasingly marginalized and slowly disappeared from the art world. Although a revival of interest in his work began in 2000, Goldstein took his own life in 2003.
Vancouver-based artist Ron Terada has worked in sculpture, photography, video, sound and graphic design; the Jack series marks his return to painting after a decade of exploring these other media. Terada was inspired by Goldstein’s powerful 2003 tell-all memoir, Jack Goldstein and the CalArts Mafia. Co-written with a colleague and published just before his death, Goldstein’s book speaks openly of the social dynamics at play in the art world at the time. Since 2011, Terada has meticulously created a series of Jack paintings corresponding closely to various chapters of the book, calling into question the tension between text and imagery, the dominance of painting in the art world, and the boundaries of authorial ownership.
The exhibition features 14 of Terada’s large-scale text-based paintings, shown for the first time. Terada’s final chapter, “New York Dealers and Collectors”, is on view with Goldstein’s sublime photorealistic image of a lightning storm. When compared, they address the different ways we read or respond to painting.
Jump into the future
Art from the 90’s and 2000’s. The Borgmann Donation
25 Nov 2017 till 4 Mar 2018
Stedelijk Museum
Museumplein 10
1071 DJ Amsterdam
The exhibition Jump into the Future – Art from the 90's and 2000's. The Borgmann Donation shows an extensive number of contemporary art works from the German collector Thomas Borgmann.
Jump into the Future - Art from the 90's and 2000's. The Borgmann Donation is a major exhibition that occupies no less than 2.540 m2 - all thirty of the first-floor galleries that surround the museum’s grand staircase. The group of works that will join the collection of the Stedelijk is made up of a donation, a purchase and long-term loan. The gift is the second largest in the history of the Stedelijk. The majority of The Borgmann Donation is included in Jump into the Future.
Jack Goldstein
Selectric Works
October 28 to December 16, 2017
Meliksetian | Briggs
313 North Fairfax Avenue
Los Angeles CA 90036 USA
A graduate assistant for John Baldessari's first class in his Post-Studio Artprogram at Cal Arts in the 1970s, Goldstein (1945-2003) became best known as a key figure of the Pictures Generation, a group of artists who came to prominence in the late 1970s and early 1980s, their practice characterized by the embrace of mass media imagery and what critic and curator Douglas Crimp called the "processes of quotation, excerptation, framing and staging."
The Selectric Works, made during a period between 1988 and 1990, are part of Goldstein' practice of writing and making text-based works, following the production of his one-line Aphorisms and the basis of his well-known typographic portfolio, Totems. The name Selectric given to these works refers to the '80s era IBM electric typewriter that Goldstein used to make them, a machine characterized by its rotating type mechanism, an interchangeable ball which gave one the ability to choose various font and type styles. These works centered on 17 x 11-inch sheets of paper introduced a graphic component into his textual work.
Field Guide
21 October 2017 - 25 February 2018
Remai Modern
102 Spadina Crescent East
Saskatoon SK S7K 0L3
Canada
Remai Modern's inaugural exhibition animates the entire museum with a spirit of active engagement, curiosity and disruption. Presenting a series of singular positions and coherent groupings of works, Field Guide introduces the museum's program philosophy and direction. Works from the permanent collection are placed in dialogue with contemporary projects, commissioned pieces and immersive installations. Through an open framework, Field Guide invites consideration of a network of issues and questions impacting art and society today.
Featuring leading artists from Saskatchewan, Canada, and the world, Field Guide rethinks the idea of "modern" from multiple cultural, geographic, historic and contemporary perspectives. Legacies play an important role and act as a formative nucleus for the exhibition—both the legacy of modernism and that of our predecessor the Mendel Art Gallery, from which Remai Modern inherited a collection of nearly 8,000 works. Field Guide also signals the start of a new chapter, debuting many key acquisitions that speak to the aspirations and future growth of the collection.
Art Center Talks: Graduate Seminar, The First Decade 1986-1995
Book launch & panel discussion on Sunday, December 11th at 365 Mission
3-5pm Panel Discussion / 5-6pm Public Reception
ArtCenter College of Design's Graduate Art MFA program announces the publication of the first of three volumes of ArtCenter Talks, a collection of transcripts of lectures given by artists, theorists and historians throughout the program's thirty-year history. For this inaugural volume, Stan Douglas, who joined the Graduate Art faculty in 2009, chose 13 lectures from among hundreds that he deemed best represented the scope and range of the first decade of the program and its guests.
To celebrate the book's publication, on December 11, Douglas will moderate a roundtable discussion at 356 Mission Rd. in Los Angeles that will include former faculty, alumni and visiting artists (Meg Cranston, Stephen Prina, Diana Thater, T.J. Wilcox) who participated in the "Graduate Seminar" during the decade covered by this first volume.
Contributions by: Beth B, Rosetta Brooks, Luis Castro Leiva, Meg Cranston, Charles Gaines, Jack Goldstein, Felix Gonzales-Torres, Susan Hiller, Roni Horn, Kellie Jones, Mike Kelley, Justen Ladda, Thomas Lawson, Sylvere Lotringer, John Miller, Constance Penley, Brian Routh, Mira Schor, Allan Sekula, Robert Storr, Lynne Tillman
Jack Goldstein, Burning Window, 1977/2015, wood, Plexiglas, acrylic paint, lights, dimensions variable.
Exhibiting three of Jack Goldstein's lesser-known works—his Burning Window installation, 1977/2015, and two sets of text-based Aphorisms (both dated 1982) painted on the gallery wall—this show distilled a tension within Goldstein's practice between mundane observation and metaphysical introspection. Burning Window consists of a single window frame containing four panes of textured Plexiglas placed in the center of a gallery wall that has been painted bloodred. Behind this window, flickering red lights give the appearance of fire. But this faux flame produces no heat. Instead, Burning Window effects an unsettling experience with its uneasy marriage of implied trauma and camp. No spectator of this installation would reasonably assume that Burning Window was intended to simulate an actual fire. Its reality is far more ambiguous. Goldstein commented in the compilation Portfolio Performance, 2001, that "the window functions as a 'safe' but fragile barrier in front of which the spectator is witness to the world outside as a measureless inferno." Burning Window evokes film but is not quite "cinematic"; suggestive of a narrative, in actuality it more acutely dramatizes the staged quality of its moving images. Per Goldstein, the spectacle "calls into question the 'truth' of visual experience."
Read MoreJack Goldstein, Ballet Shoe, 1974-5
SCREENING AND LIVE EVENT: Downtown New York Film: The 1970's and 1980's launches today with Amos Poe's "Unmade Beds" and short films by Jack Goldstein, Cindy Sherman, and Ericka Beckman at 3PM. With Amos Poe in person.
Tickets are $12 for adults, $9 for senior citizens, and students and $6 for children.
Museum of the Moving Image is located at 36-01 35th Ave. in Astoria.
via movingimage.us
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