This article has multiple issues. Please help improve it or discuss these issues on the talk page . (Learn how and when to remove these template messages)
|
Sue Spaid (born 1961) is an American curator and philosopher, currently based in Belgium.
Spaid’s thematic exhibitions feature all types of art, though she is most known for experiential exhibitions, such as “Action Station: Exploring Open Systems” (1995) at the Santa Monica Museum of Art; “Comestible Compost” (1998) at the Pavilions Marketplace in West Hollywood; “Cremolata Flotage” (1999) on the Andrew J. Barberi Staten Island Ferry; “An Active Life” (2000) at the Contemporary Arts Center, Cincinnati; [1] “Hovering Above” (2008) and “Endurance: Visualizing Time” (2009) [2] for the Abington Art Center Sculpture Park in Jenkintown, Pennsylvania; and “Microfibers” (2009) at Locks Gallery, Philadelphia. She has organized career surveys for Jim Isermann (1993, Sue Spaid Fine Art), Robert Overby (1994, Sue Spaid Fine Art), Lynne Berman/ Kathy Chenoweth (1997, Special K), Eileen Cowin (2000, Armory Center for the Arts) and Jim Shaw (2000, The Contemporary Arts Center, Cincinnati).[ citation needed ]
Spaid was born in Pittsburgh and grew up in Saudi Arabia, where her father George Spaid worked for Saudi Aramco as a petroleum engineer. Her interest in contemporary art began while living in Austin, during the early eighties, but intensified when she moved to New York City in 1984, affording her regular visits to East Village and Soho galleries.[ citation needed ]
Spaid earned a B.S. in Chemical Engineering from the University of Texas at Austin in 1983, an M.A. in Philosophy from Columbia University in New York City in 1999, and a PhD in Philosophy from Temple University in Philadelphia in 2013 for the dissertation Work and World: On the Philosophy of Curatorial Practice.[ citation needed ]
Since 1984, Spaid has lived in New York City, Los Angeles, Cincinnati, Philadelphia and Baltimore, where she has been active in the art world as a collector, art writer, curator and adjunct professor. While Curator at the Contemporary Arts Center, Cincinnati (1999–2002), she curated fourteen solo shows, organized five thematic exhibitions and authored the book Ecovention: Current Art to Transform Ecologies [3] to accompany the exhibition, co-curated with Amy Lipton. In 2010, she was awarded an Emily Hall Tremaine Exhibition Award to produce "Green Acres: Artists Farming Fields, Greenhouses and Abandoned Lots".[ citation needed ] In 2012, "Green Acres" opened at the Contemporary Arts Center, Cincinnati, Ohio, and traveled to the Arlington Art Center, Arlington, Virginia, and the American University Museum, Washington, DC.
Between 2010 and 2012, Spaid was Executive Director of The Contemporary, Baltimore. [4] While at the Contemporary Museum, she published A Field Guide to Patricia Johanson's Works: Built, Proposed, Collected & Published and edited Contemporary Museum: 20 Years.
Spaid has taught courses at Art Center College of Design (1993–1998), Otis College of Art and Design (1996–1998), University of Cincinnati (2004–2006), Temple University (2006–2008), and Drexel University (2010).[ citation needed ]
As an independent curator, Spaid has organized exhibitions for artist-run spaces, university galleries, commercial galleries and museums, including the Abington Art Center, Armory Center for the Arts, Bellevue Arts Museum, Los Angeles Contemporary Exhibitions, Mississippi Museum of Art, P*P*O*W, Santa Monica Museum of Art, SPACES in Cleveland, and The Suburban. In 2005, she and Patrizia Giambi discovered and documented the remains of Robert Smithson’s Asphalt Rundown (1969) in a quarry outside of Rome, Italy, an experience Spaid documented in Domus. [5] During her 2005-2006 “Yes Brainer Tour,” she traveled via car through 38 states presenting “The Gist of Isness,” based on an essay published in X-tra [6] and delivered at the 2006 Pacific Division Meeting of the American Philosophical Association in Portland, Oregon.
Spaid has curated shows within shows, “Migration Platform” within “Once Upon a Time in the West” (2007), curated by Mark Harris; “Artists’ Installation Instructions” appeared both in “appropriately enough” (2004) at Warsaw Projects, Cincinnati, OH and “view do” (2005) at the Suburban, Oak Park, IL. [7]
Spaid's performance career began at Beyond Baroque, Venice, CA; where she read “This Aint No Manifesta” during Manifesto Night (1992, interpreted “Vindicating the Vulva” during Erotica Night (1996), and Tree-Top awarded cultural heroes (1997) during July 4 Readings.[ citation needed ] Tree-top is one of several alter egos (plus Pippi and Dragon-Princess) who have performed and exhibited since the mid-1990s. Spaid modeled outfits designed by Antonio Gomez-Bueno during “The Gomez-Bueno Spiritual Fashion Show” (1993); Gomez-Bueno and Pippi during the "Food House Fashion Show" (1994) and Lun*na Menoh in "He(ad)dress" (1997). The Dragon Princess launched her "presidential campaign" at the Lotus Motel (1995). [8] In 1997, Spaid hosted the live talk-show “Trailblazing the Economies of Art” in the Barnsdall Art Park auditorium. She played a cameo role in Martin Durazo’s film Suck It Up (1998). [9] As "Olga the May-Day Nymph", she performed only once at Dirt (1998), Los Angeles, CA. Works created by Tri Via, a collaboration between her alter egos were exhibited in “Grouptopia” (2001) at Warsaw Projects, Cincinnati, OH; and “Tasty Buds” (2003) at The Work Space, New York City, NY. In the mid-1990s, Spaid co-wrote for Coagula under the pen name Miles Tut-Hill.[ citation needed ]
In addition to collaborating with Alysse Stepanian on the multi-media event scourge.org at OnetoManyThree (1999), Spaid performed “Suitably Contrite” (1998) (Socrates' The Apology & Dave Soldier soundtrack) at TwoMANYtwo. In 2000, Jan Baum Gallery presented “Used and Amused,” which featured works by twelve artists who had used Spaid as their muse. [10]
From 1990 to 1995, Spaid’s Los Angeles gallery presented shows by artists including Michael Joaquin Grey and David Schafer. [11]
The New York Times featured Spaid as the cover image that accompanied Roberta Smith’s story “The Art World’s New Image,” December 29, 1992. [12]
Spaid currently[ when? ] contributes to the Flemish art magazine H art. From 2003-2012, she was a member of the Contributors Board for artUS, having written regularly for this LA art publication and its predecessor ArtText since 1997.[ citation needed ] She has also written for Art issues, [13] Art in America, [14] LA Weekly, [15] Village Voice [16] and New Art Examiner . [17]
List of Books and Catalogues:
The Philosophy of Curatorial Practice, Between Work and World, (Bloomsbury Academic, 2020)
Ecovention Europe: Art to Transform Ecologies, 1957-2017 (Sittard: De Domijnen Hegendaagse Kunst, 2017)
Patricia Johanson's Environmental Remedies: Connecting Soil to Water (Millersville, Millersville University, 2016)
Green Acres: Artists Farming Fields, Greenhouses and Abandoned Lots (Cincinnati: Contemporary Arts Center, 2012)
A Field Guide to Patricia Johanson’s Work: Built, Proposed, Collected and Published (Baltimore: Contemporary Museum, 2012)
Ecovention: Current Art to Transform Ecologies (Cincinnati: Contemporary Arts Center, 2002)
Eileen Cowin: Work 1971-1998 (Pasadena: Armory Center for the Arts, 2000)
Under Construction: Rethinking Images of Identity (Pasadena: Armory Center for the Arts, 1995)
A curator is a manager or overseer. When working with cultural organizations, a curator is typically a "collections curator" or an "exhibitions curator", and has multifaceted tasks dependent on the particular institution and its mission. In recent years the role of curator has evolved alongside the changing role of museums, and the term "curator" may designate the head of any given division. More recently, new kinds of curators have started to emerge: "community curators", "literary curators", "digital curators" and "biocurators".
Renee Cox is a Jamaican-American artist, photographer, lecturer, political activist and curator. Her work is considered part of the feminist art movement in the United States. Among the best known of her provocative works are Queen Nanny of the Maroons, Raje and Yo Mama's Last Supper, which exemplify her Black Feminist politic. In addition, her work has provoked conversations at the intersections of cultural work, activism, gender, and African Studies. As a specialist in film and digital portraiture, Cox uses light, form, digital technology, and her own signature style to capture the identities and beauty within her subjects and herself.
Stephen Snoddy is a British artist and gallery director.
RoseLee Goldberg is an American-based art historian, author, critic and curator of performance art. She is most well known as being the founder and director of Performa, a performance art organisation. She is also currently a Clinical Associate Professor of Arts Administration at New York University.
Andrew Berardini is an American writer known for his work as a visual art critic and curator in Los Angeles. Described as "the most elegant of all art critic cowboys", Berardini works primarily between genres, which he describes as "quasi-essayistic prose poems on art and other vaguely lusty subjects."
Peter Sarkisian is an American video and multimedia artist who lives and works in Santa Fe, New Mexico.
Judith E. Stein is a Philadelphia-based art historian and curator, whose academic career has focused on the postwar New York art world. She has written a biography of the art dealer Richard Bellamy, as well as feature articles regarding artists including Jo Baer, Red Grooms, Lester Johnson, Alfred Leslie and Jay Milder.
Sue de Beer is a contemporary artist who lives and works in New York City. De Beer's work is located at the intersection of film, installation, sculpture, and photography, and she is primarily known for her large-scale film-installations.
Ecological art is an art genre and artistic practice that seeks to preserve, remediate and/or vitalize the life forms, resources and ecology of Earth. Ecological art practitioners do this by applying the principles of ecosystems to living species and their habitats throughout the lithosphere, atmosphere, biosphere, and hydrosphere, including wilderness, rural, suburban and urban locations. Ecological art is a distinct genre from Environmental art in that it involves functional ecological systems-restoration, as well as socially engaged, activist, community-based interventions. Ecological art also addresses politics, culture, economics, ethics and aesthetics as they impact the conditions of ecosystems. Ecological art practitioners include artists, scientists, philosophers and activists who often collaborate on restoration, remediation and public awareness projects.
Amy Feldman is an American abstract painter from Brooklyn, New York.
Ecovention was a term invented by Amy Lipton and Sue Spaid in 1999 to refer to an ecological art intervention in environmental degradation. The Ecovention movement in art is associated with land art, earthworks, and environmental art, and landscape architecture, but remains its own distinct category. Many ecoventions bear tendencies similar to public works projects such as sewage and waste-water treatment plants, public gardens, landfills, mines, and sustainable building projects.
Phyllis Baldino is an American visual artist whose art engages in a conceptual practice that merges performance art, video art, sculpture, and installation in an exploration of human perception. Her single-channel videos are distributed by Electronic Arts Intermix in New York, NY. She currently lives and works in Brooklyn, New York.
Joyce J. Scott is an African-American artist, sculptor, quilter, performance artist, installation artist, print-maker, lecturer and educator. Named a MacArthur Fellow in 2016, and a Smithsonian Visionary Artist in 2019, Scott is best known for her figurative sculptures and jewelry using free form, off-loom beadweaving techniques, similar to a peyote stitch. Each piece is often constructed using thousands of glass seed beads or pony beads, and sometimes other found objects or materials such as glass, quilting and leather. In 2018, she was hailed for working in new medium — a mixture of soil, clay, straw, and cement — for a sculpture meant to disintegrate and return to the earth. Scott is influenced by a variety of diverse cultures, including Native American and African traditions, Mexican, Czech, and Russian beadwork, illustration and comic books, and pop culture.
Helen Anne Molesworth is an American curator of contemporary art.
Natasha Boas is a French-American contemporary art curator, writer, and critic. She has taught art history and curatorial studies at Yale, Stanford, and the San Francisco Art Institute. Her exhibition on the Modernist Algerian artist, Baya Mahieddine Baya: Woman of Algiers in 2018 at the Grey Art Gallery at New York University garnered her international critical attention. In 2017 she was featured in Lynn Hershman Leeson's Vertighost, playing the role of herself as an art historian. She also authored the Facebook Artist in Residence book on the recent history of Art and Technology in the Bay Area for the 5th anniversary of Facebook's artist-in-residency program. An adjunct professor at the California College of the Arts, she is an expert in the art of California countercultures, the modernist avant-garde, the Mission School and Outsider artists.
Moira Dryer (1957–1992) was a Canadian artist known for her abstract paintings on wood panel.
Maya Hayuk is an internationally exhibited American artist living and working in Brooklyn, New York. She is best known for the bold geometric patterns she employs in large-scale murals.
Paul Henry Ramirez is an American contemporary artist known for his biomorphic abstractionist paintings. As his figural based paintings evolved to include geometrics, in 2010, Ramirez coined the term "biogeomorphic abstraction" to describe his own bold painting style, a fusion of biomorphic and geometric forms. He also gained notability for his site-specific installations as his paintings began to expand outside the confines of the canvas edges onto the walls of the gallery space. These site-specific installations gradually evolved to encompass the whole gallery space, creating a full environmental experience. Donald Kuspit, scholar and art critic, describes Ramirez as “an important new kind of abstract painter. .. an abstractionist playing with color and form to exciting imaginative effect.”
Rachel Foullon is an American artist and curator. Foullon has exhibited her works in galleries and museums nationally and internationally in addition to organizing and curating multiple exhibitions across the United States. She is also the Director of Operations at Monkeypaw Productions.
Jane Hart is an American curator, gallerist and artist in New York City. She has worked as an art curator since 1993, having been a gallery owner in Los Angeles and Miami, and a contemporary art professional in Manhattan and London. As an artist she has exhibited internationally, with solo exhibitions in South Florida and Cleveland, Ohio. Her specialty is contemporary collage, with works in private collections in the United States and abroad.