| VEDUTE
Een aanzicht van de stad.
| DERIVE
Een ongeplande of onuitgestippelde route door een stad of landschap. Zie kaarten van 'de stad'.
| CONCEPTUELE KUNST
Conceptuele kunst kan in verschillende vormen. Het kan gepresenteerd worden als installatie, in de vorm van een performance, als object, als foto of door middel van videokunst. Bij conceptuele kunst gaat het om het idee en niet om hoe het kunstwerk eruitziet.
| RATIONEEL (AUTHOR BASED ART)
Rationeel is een manier van denken waarbij niet enkel rekening houdt met logische principes, inhoud en uitgangspunten, maar ook met het Effect van het denkproces, d.w.z. de mate waarin men zijn doel bereikt de ongewenste maar reële neveneffecten van het denkproces.
| IRRATIONEEL (DESIGN VS RULE BASED ART/DESIGN)
Werk maken zonder je verstand erbij te gebruiken.
| APPROPRIATION
Bijvoorbeeld: Iets op een gebouw zetten en dan is het van jou.
| MARCEL DUCHAMP
Duchamp was de eerste die een alledaags voorwerp presenteerde als een kunstwerk. Zijn werken behoren tot het Dadaïsme, Surrealisme en Conceptuele kunst.
| JENNY HOLZER
For more than thirty years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Reichstag, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, and the Whitney Museum of American Art. Her medium, whether formulated as a T-shirt, as a plaque, or as an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and up to her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and moral courage. Holzer received the Leone d'Oro at the Venice Biennale in 1990 and the Crystal Award from the World Economic Forum in 1996. She holds honorary degrees from Ohio University, Williams College, the Rhode Island School of Design, The New School, and Smith College. She received the Barnard Medal of Distinction in 2011. Holzer lives and works in New York.
| CY TWOMBLY
Cy Twombly (1928–2011) was born in 1928 in Lexington, Virginia. He studied at the School of the Museum of Fine Arts, Boston (1947–49); the Art Students League, New York (1950–51); and Black Mountain College, North Carolina (1951–52). In the mid-1950s, following travels in Europe and Africa, he emerged as a prominent figure among a group of artists working in New York that included Robert Rauschenberg and Jasper Johns. In 1968, the Milwaukee Art Center mounted his first retrospective. This was followed by major retrospectives at the Kunsthaus Zürich (1987) travelling to Madrid, London and Paris; the Museum of Modern Art, New York (1994) (travelling to Houston, Los Angeles, and Berlin) and the Pinakothek der Moderne in Munich (2006). In 1995, the Cy Twombly Gallery opened at The Menil Collection, Houston, exhibiting works made by the artist since 1954. The European retrospective "Cy Twombly: Cycles and Seasons" opened at the Tate Modern, London in June 2008, with subsequent versions at the Guggenheim Bilbao and the Museum of Modern Art in Rome in 2009. Recent exhibitions include "Cy Twombly: The Natural World, Selected Works 2000-2007," The Art Institute of Chicago (2009) and "Sensations of the Moment," the Museum Moderner Kunst Stiftung Ludwig, Vienna, (2009). In 2010, Twombly’s permanent site-specific painting, Ceiling was unveiled in the Salle des Bronzes at the Musée du Louvre. At the same time he was made Chevalier of the Légion d’Honneur by the French government.
Twombly died in 2011 in Rome, Italy.
Now in its 30th year, the Bill T. Jones/Arnie Zane Dance Company was born out of an 11-year collaboration between Bill T. Jones and Arnie Zane (1948Ð1988). During this time, they redefined the duet form and foreshadowed issues of identity, form and social commentary that would change the face of American dance. The Company has performed worldwide in over 200 cities in 40 countries on every major continent and is recognized as one of the most innovative and powerful forces in the dance-theater world. Touring projects for the 2013-2014 season include major new work, repertory classics, minimal duets and Bill T. Jones's return to the stage.
The repertory of the Bill T. Jones/Arnie Zane Dance Company is widely varied in its subject matter, visual imagery and stylistic approach to movement, voice and stagecraft and includes musically-driven works as well as works using a variety of texts. The Company has been acknowledged for its intensely collaborative method of creation that has included artists as diverse as Keith Haring, Cassandra Wilson, The Orion String Quartet, the Chamber Society of Lincoln Center, Fred Hersch, Jenny Holzer, Robert Longo, Julius Hemphill and Daniel Bernard Roumain, among others. The collaborations of the Bill T. Jones/Arnie Zane Dance Company with visual artists were the subject of Art Performs Life (1998), a groundbreaking exhibition at the Walker Art Center in Minneapolis, MN.
Unlike visual artists from the Dadaists to Cy Twombly or Robert Indiana, for whom writing and calligraphic elements are design features, Grigely’s words are drawn from actual conversations. His scribbled messages are not invented but rather collected by him, displayed like archaeological finds whose genetic origins are obscure. Occasionally he adds descriptive plaques--what he calls “story lines”-- to explain circumstances of various meetings, creating a mock docent quality to his survey of ephemeral pieces of paper. As a collector he is interested in the materiality of ephemerality, the textures and color of paper, pen and handwriting, as they instantiate a moment of sociality. That such moments are often about Grigely’s deafness is never far from their materiality: “Do you read lips?” one slip says, followed in the same hand by “Do you prefer written words?” Another reads, “I guess it’s an Economy of Words that I’d like.” Such meta-textual remarks remind us that however immediate the exchange of conversation papers might be, the fact of one interlocutor’s difference from the other can never be dissevered from the conversation.