Casanova Seduction of Europe Review Art Show Lance Esplund

Dan Cameron, the Founder and Primary Curator of Prospect Biennial, the largest international biennial in the U.s.a. (in New Orleans), and erstwhile Senior Curator at the New Museum of Contemporary Art in New York (1995-2006), has been named Chief Curator at the affluent Orange County Museum of Art. The museum is now in Newport Beach, California, and will move into a Thom Mayne designed new building on the Segerstrom Middle for Performing Arts in Costa Mesa, California, near Southward Declension Plaza, one of the almost luxuriously cool and fabulous vast shopping centers in America

Prospect 1 New Orleans welcome sign

Dan Cameron

With Orange County Museum of Art's hire of Cameron, this brings in yet another world-class curatorial personage into the Southern California region, and specifically and definitely adds to the already heady cultural thrust of the Los Angeles Artworld. Already the now electrified field that will exist the 2013 California Biennial and future Cameron curated shows will cause a dramatic shift in the ability structure now shared between LACMA, MoCA, The Hammer, and in 2013, the Broad in downtown LA directly beyond from LA MoCA on Grand Avenue. I can hands foresee Cameron  organizing massive international shows in Los Angeles and Orangish County warehouses that garner global media attention.

Update: The California Biennial has been re-envisioned as the California Triennial. It will debut at the OCMA in June of 2013. It will include nearly i-third California Artists, and 2-thirds artists from the entire Pacific Rim, meaning all of Asia and all of Latin America. This is a tremendous leap from showcasing only artists in California, and at once separates this new exhibition from the new LA Biennial, which opens June 2, 2012, equally information technology is international in context and focus. Information technology should exist the almost rewarding art show in California, as information technology seeks to appoint countries and backers of art, to present a true world class Pacific Rim biennial that is sure to describe global media coverage. The artist list will exist announced side by side year.

OCMA refashions biennial into triennial: (OC Register, May 12, 2012)

Cameron said he'due south using the Asia-Pacific Triennial from Brisbane, Commonwealth of australia, every bit his model. "It actually has get the nearly important recurring Asian art exhibition. I've seen it twice. Information technology'southward an absolutely vivid show."

"The Pacific has replaced the Atlantic as where global commerce and global international substitution happens," said Cameron, 55. "We really wanted to enhance the bar for art happening in California and run across the work in an international context."

Dan Tague

Leandro Erlich

Chief Curator Dan Cameron'south date starts in Jan of 2012. Already on the table is the California Biennial for 2013 (which initially seemed to lose its place when the inaugural LA Biennial that opens in 2012 and will showcase only young art was announced). According to the Orange Canton Register, Cameron will curate the first e'er large-scale exhibition showcasing the private collections of Mod and Gimmicky Art in Orange Canton , one of the most affluent regions of the U.S. This event solitary volition identify the now repose Orangish Canton art collecting activities in both the international spotlight and in direct competition with the private fine art collections in Los Angeles. I cannot wait to read the catalog for this exhibition when it becomes available.

Cameron'southward curatorial history is long and powerful. In 1982 he curated the get-go ever museum exhibition of gay and lesbian art in the U.S. at the New Museum, in an exhibition entitled Extended Sensibilities.

In 1986 Cameron curated the exhibition entitled Art & Its Double at the Fundacion 'la Caixa." The exhibition was held in both Barcelona and Madrid and was the first European museum exhibition of the works of Jeff Koons, Phillip Taafe, Haim Steinbach and Peter Halley. (I call back that Halley had critical theory reading group during the 1980'south in New York.)

Co-ordinate to the Orange County Museum of Art's press release, Cameron was as well at this fourth dimension researching contemporary Spanish Art, and was the get-go international critic to write virtually artists such every bit Susana Solano and Juan Munoz and Juan Ulse.

In 1988 Cameron curated an exhibition that introduced several artists into the global context of the Venice Biennale. These artists included Mike Kelly, Ilya Kabakov, Barbara Flower, Carroll Dunham, Yasumasa Morimura and Tatsuo Miyajima, and many others.

According to the museum's printing release, Cameron and then embarked upon a research campaign into the cultures of South America and the Carribean. He so presented room scale installations in 1991 in an exhibition entitled The Fell Garden , which included works by Charles Ray, Ann Hamilton, Christian Marclay and Barbara Bloom, besides as projects past Cuban built-in Felix Gonzalez-Torres and Venezualian born Meyer Vaisman. Cameron's 3rd curatorial expression on Spain was at the Museo Renia Sophia in Madrid. Entitled Cocida y Crudo, information technology entailed displaying the works and working closely with lxx artists in 40 different countries. Appearing in this exhibition included artists such every bit Martin Kippenberger, Gabriel Orozco, Marlene Dumas and Rirkit Tirvanija. The printing release states that in 2010, on the 25th anniversary of the (300,000 foursquare foot) museum'south début, Spanish critics hailed this show as the most important one in the museum's entire history.

8th International Istanbul Bienal: From left to right: Gorgun Taner Full general Managing director, Istanbul Foundation for Civilisation and Arts (organising institution of the Biennial), Sevisimin Comert Birced General Manager, Japan Tabacco International, Turkey (main sponsor of the 8th Istanbul Biennial), Dan Cameron Curator, 8th International Istanbul Biennial, Emre Baykal Manager, International Istanbul Biennial

In 2005 Cameron curated the Istanbul Biennial. The artists under his wing in this enterprise include such world-form fine art stars such as Practise-Ho Suh, Fiona Tan, Mike Nelson, Doris Salcedo, Monika Sosnowska Kendal Geers, Monica Bonvinici, David Almejd, Trenton Doyle Hancock, Jorge Macchi, and Pascale Martine Tayou.

Do-Ho Suh

Mike Nelson

Subsequently this heady curatorial effort Cameron curated an edition of ev+a in Limerick, Ireland. Then Cameron followed this upwardly by serving equally curator for the 2006 Taipei Biennial, entitled Muddy Yoga.

Hither is Dan Cameron'due south CV from the 2006 Taipei Biennial website:

"Dan Cameron

Since 1995, Dan Cameron has been Senior Curator at the New Museum of Contemporary Art in New York, where he has organized exhibitions of William Kentridge, Paul McCarthy, Rivane Neuenschwander, Francesco Vezzoli, Cildo Meireles, Faith Ringgold, Pierre et Gilles, Doris Salcedo, Carolee Schneemann, Carroll Dunham, David Wojnarowicz, and Martin Wong, along with such grouping exhibitions as Living inside the Grid and East Village Usa.

A specialist in global art, Cameron served equally curator for the eighth Istanbul Biennial in 2003, and is currently curator of the Tapei 2006 Biennial, which opens at the Taipei Museum of Fine Arts in Nov 06. He has also organized international contemporary art exhibitions throughout the earth, including Austria, Brazil, Ireland, United mexican states, Portugal, Espana, Russia, and Sweden.

A frequent essayist for museum and trade publications on contemporary fine art, Cameron'due south almost recent publications include an exhibition catalog essay on Cai Guo-Qiang for the Deutsche Guggenheim Berlin (Aug 06) and a fictional memoir for a volume based on the work of Stephen Dean (Sept 06).

Cameron teaches critical theory as a member of the graduate faculty of the School of Visual Arts' MFA program, and at New York University'due south Steinhardt School of Educational activity.

© 2006 TAIPEI BIENNIAL. All Rights Reserved."

5th Edition of the Taipei Biennial, curated by Dan Cameron

Taipei Biennial

Taipei Biennial

Here is an excerpt from Dan Cameron'due south essay entitled Poetic Justice for the Istanbul Biennial:

http://www.postmedia.net/04/cameron.htm

"One World

What is the purpose of art inside today's conflicted and fragmented societies? Tin art'due south meanings have a significant impact across its self-divers customs of supporters and practitioners? Does society'due south demonstrated need to protect and preserve art for future generations reveal a much deeper need to understand and share the workings of another'southward consciousness, and to experience firsthand the struggles of human consciousness to push beyond the restraints of given realities? Does the art of today, and past extension poetry, music and other creative forms, reflect more profound aspirations that extend beyond the realms of beauty, pleasure and affinities of gustatory modality? Can art provide a model for inter-cultural communication and exchange that tin be applied, even indirectly, to situations of greater and more urgent political import? Are contemporary artists and their creations harbingers of an budgeted historic period in which the demand to move beyond the express definitions of self, nation, gender, form and race essential to the survival of the human being species as a whole?"

After this Cameron was founding artistic managing director of Prospect New Orléans, the outset edition of which featured eighty artists from 40 countries. Cameron well-nigh recently turned over the reigns to Prospect New Orléans to LACMA Master Contemporary Art Curator Franklin Sirmans.

Louise Ehrlich

Dan Cameron'southward career equally an fine art critics and art writer spans over several hundred essays in books, magazines and catalogs. He was contributing editor to Arts Magazine from 1983 to 1990, and wrote a widely read column for Fine art & Auction from 1990 – 1995 chosen The Disquisitional Border.

For the Orange County Museum of Art, the New York and International Artworld accept been brought to its doorstep. All it needs to do now is build its new cultural palace and follow through with its plans to work with visionary artists and institutions on projects worldwide, and Southern California is in for a great risk into avant-garde art indeed.

—

I found this interview with Dan Cameron on Art & Its Double online:

Dan Cameron

In 1986 Dan Cameron curated Art and its Double in Madrid, i of the first exhibitions of the new Manhattan art to be shown in Europe. Like work was later seen in the Saatchi'south bear witness in London. Here Cameron discusses the rise of this new consumer fine art.

Peter Hill: The art of the early eighties belonged to the painter, peculiarly the new figurative painters such equally Schnabel, Kiefer, Clemente, and a few years later Campbell, Wiszniewski, Currie and a battalion of Scots, many unsure of their direction, if not of their motivation. Do the tardily eighties vest to the sculptor?

Dan Cameron: I would give a qualified 'yes' to that question, because in addition to
sculpture we are seeing whole new areas being opened upward in photography, we are seeing the re-birth of installation work and the advent of neo-conceptualism. Europe and America appear to exist jointly leading the fashion in all of these developments. Louise
Lawler, for example, I would come across as a sculptor, or an creative person who thinks like a sculptor but is also involved in documentary procedures. Bernhard Prinz fits this category also. I would say that 2 thirds of what is exciting only at present is non-pictorial. A list
of artists working in these areas would have to include Julian Opie, Hamilton Finlay,
Rosemarie Trockel, Katharina Fritsch, Grenville Davis, Mucha, Koons, Steinbach,
McCollum, Flower, Holzer and Gober. The painting that is going on is more
involved with exploring projects equally with Sherrie Levine or one of the nearly talented young Spanish artists Frederico Guzman whose studio I visited recently.

PH: What parallels do y'all draw between the piece of work of today's cribbing
artists, such as Sherrie Levine or Louise Lawler, and their precursors?

DC: Duchampian appropriation was never identified every bit a separate stylistic do until
the late 70s considering it was previously considered – in the piece of work of Rauschenberg or
Duchamp, for instance – only a tool within a much broader technical repertoire. If
artists like Sherrie Levine or Richard Prince are to exist separated from their predecessors
it is because they take narrowed in on the re-represented image as the bespeak of departure for their work. It is this investigative trend within their fine art which I believe links them more than directly with Pop and Conceptual art than with cribbing'due south 'pioneers'
(a term which I notice to be somewhat contradictory in the start place).

PH: What artists are you lot currently looking at who may not yet have exhibited exterior
America?

DC: From my perspective, the primary distinguishing characteristic betwixt
American artists who are successful in Europe versus those who are not is that
the former have gone to Europe to promote themselves. Consequently, artists that I'yard
thinking near, but who have not exhibited outside America and who should be
better known would include the 19th century landscapists like Albert Pinkham Ryder as well as pioneer abstractionists such every bit Burgoyne Diller and John McLaughlin.
In contemporary terms, I would like to meet two unabridged schools of American fine art
more recognised abroad. One is the abstract painterly tradition represented by
Elizabeth Murray or David Reed (and artists much less known than they are) and the other would be the Pop/folk iconoclastic figurative vein, running from imagists like
H.C. Westermann, Karl Wirsum or Peter Saul, through more than freeform work like that of Mike Kelley or Archie Rand. I think that both genres represent a significant development peculiar to American art, and which are a far cry from the diet of American art to which nearly Europeans are exposed.

PH: Regionalism, from the Manhattan to the Australian or the Scottish diverseness is a
widely debated consequence. I am wary of easy terms such as international or regionalism which oftentimes overlap I m of language rather than art?

DC: On the most basic level all art is regional and all art is international. I've get
accustomed in contempo years towards thinking of groups of artists in terms of cities
rather than countries, because I think that many cities – Berlin or Amsterdam, Los
Angeles or Melbourne – Barcelona or Glasgow – have qualities which are more
credible in their artists than those aspects which could exist ascribed to a national style.
Otherwise, I think the merely true provincialism belongs to cities that had had it and lost
information technology, and so to speak – Paris is always the classic example of that. New York hasn't reached that point, at least not yet. Otherwise, seeing that the international art world is becoming decentralised as opposed to recentralised it is as important to look at
regional work as that which has not been correctly appreciated by the globe
outside.

PH: Practise you lot run across the New York Bad Painters of 1980, such as Richard Bosman, and
the Manhattan neo-geo artists – Halley, Bickerton, Koons – equally belonging to the
same movement, ie a movement of quotation?

DC: Really, the "Bad Painting" movement never seemed to exist so much nearly quotation as it was near a generic arroyo to fashion, or painting as a type of social contract. The current crop of painters and sculptors seem to be more interested in art equally a type of public linguistic communication which tin can theoretically be understood by big numbers of people at the same time. Nevertheless, the difference to me between the early 80s
and the late 80s has been the shift from a microcosmic approach ( traditional fine art value
insularity, politics) to a macrocosmic approach (sociocultural values, legibility,
de-mythification).

PH: The exhibition ART AND ITS DOUBLE which yous curated and brought to
Spain last year was one of the most heady to exist seen in Europe, certainly
in terms of paradigm change, since A NEW SPIRIT or ZEITGEIST. Are you currently
working on any other exhibitions?

DC: I was the American curator for Aperto 88 section at the Venice Biennale this year, a project that I'm nonetheless recovering from. I am a musician on top of everything else, so I've actually used this summer to tape the demo for my band'due south 2d record. A lot of exhibiting proposals are in the works, simply nothing which has been absolutely confirmed. As far as writing is concerned I'm going to lay lower than I take been for the last couple of years, because I've felt a flake overextended.

PH: How important are marketplace forces on the collector and on the creative person,
especially in relation to the "consumer mirror" that many immature artists are holding upwards to
their public. Where does irony brainstorm and art cease?

DC: The boom in the contemporary art market has been phenomenal during the Historic period
of Reagan, as everyone expected it to exist. This has lead to a heightened
number of opportunists, like advisors and so-chosen independent curators, besides as a
lot more galleries and individual curators, than in that location were before. Certainly, the change in aesthetics over the past few years take been in role an try to grapple with our
sensation that the art-ownership public has all of a sudden become its most conspicuous audience. This is a full turn away from the street orientated aesthetics of
graffiti and the Due east Village look which preceded it, and which in hindsight may turn out to have been somewhat I in its outlook. Whether well-nigh collectors are aware of the ideological subtext to this shift or not is abreast the point, because there are merely a
small minority of collectors who buy for other than investment purposes anyway. I recall the artists are hyper-aware of this situation, and are making a examination case out of
having their cake and eating it, too.

—

Los Angeles based artist Vincent Johnson at the Spice Table in Little Tokyo, downtown Los Angeles

Vincent Johnson is an artist and author in Los Angeles

Curtains – film prop for sale (2001)

Motel pool – Cabin Tangiers

http://vincentjohnsonart.com/ my ArtCat website

Johnson will be participating in The Bearden Project at the Studio Museum in Harlem, with a cutout-collage piece of work created especially for the exhibition.

http://www.studiomuseum.org/exhibition/the-bearden-project

Johnson most recently participated in the début Pulse Fair Los Angeles, with Las Cienegas Projects

Feel gratis to contact me at LANYArtiststudio@gmail.com

Vincent Johnson Biography as of November 2011

Vincent Johnson lives and works in Los Angeles. His work has been exhibited at Soho Business firm, Los Angeles, Palihouse, West Los Angeles, Las Cienegas Projects, LAXART, the P.S. 1. Museum, the SK Stiftung, Cologne, the Santa Monica Museum of Art, the Museum of Contemporary Art, Chicago, the Studio Museum in Harlem, the Adamski Gallery of Gimmicky Fine art, Aachen, Locust Projects, Miami, the Sacramento Eye for Gimmicky Art, 18th Street Arts, Santa Monica and the Boston University Art Gallery. His photographic works appoint both significant and neglected historical and gimmicky cultural artifacts and is based on intensive research of his subjects. Upcoming are projects in Europe and Los Angeles. His virtually recent work, a series of 9 grayscale paintings, was shown at the Beacon Arts Center in Los Angeles in the group show entitled The Optimist's Parking Lot. He will accept a new cutout collage work in the upcoming The Bearden Project at the Studio Museum in Harlem, opening in New York on November ten, 2011. He participated in the countdown edition of Pulse Fair Los Angeles with Las Cienegas Projects. He is also participating in Locust Projects Miami's annual do good exhibition in the late autumn of 2011.

Johnson received his MFA from Art Center College of Design in 1997 and his BFA from the School of the Art Plant of Chicago in 1986. He is a 2005 Creative Upper-case letter Grantee, and was nominated for the Baum: An Emerging American Photographer'due south Award in 2004 and for the New Museum of Contemporary Arts Aldrich Art Honour in 2007 and for the Art Matters grant in 2008, and in 2009 nominated for Foundation for Contemporary Art Fellowship, Los Angeles. In 2010 he was named a United States Artists project artist. His piece of work has been reviewed in ArtForum, The New York Times and the Los Angeles Times, Art in America, Art Camber and many other publications.

hobbsandneas.blogspot.com

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