Janine Antoni was born on January 19, 1964 in Freeport, Bahamas. She received her BA in 1986 from Sarah Lawrence College and her MFA from Rhode Island School of Design in 1989. She has received many awards including a MacArthur Fellowship, the Larry Aldrich Foundation Award, and the Irish Museum of Modern Art/Glen Dimplex Artist Award. Her work has been included in the Venice Biennial, the Whitney Biennial, the Johannesburg Biennial, the Instanbul Biennial, the Kwangju Biennial, the SITE Santa Fe Biennial, and the Prospect.1 Biennial in New Orleans.
Antoni’s artwork engages the viewer on a profoundly physical level. Her own body is present in relationship to extreme process and unusual materials. She engages the body as it is culturally defined, often in terms of gender and identity. Her new role as a mother has led her to explore the home as it relates to the interior architecture of the body. Janine Antoni lives in New York and is represented by Luhring Augustine Gallery.
The title of her lecture in March was ”Conduit.”
Thomas Crow is Rosalie Solow Professor of Modern Art History at the Institute of Fine Arts, New York University. He is the author of six books, including Painters and Public Life in Eighteenth-Century Paris, Modern Art in the Common Culture, The Rise of the Sixties, and The Intelligence of Art. He has more recently published essays on Robert Smithson, Gordon Matta-Clark, Robert Rauschenberg, Ed Ruscha, Jasper Johns, and the interchanges between Andy Warhol and Bob Dylan.
Crow’s lecture was entitled “Understanding Andy Warhol/Understanding Contemporary Art.” Crow notes that Andy Warhol has been perhaps the most thoroughly exhibited and discussed artist of the later twentieth century—as well as the most frequently cited antecedent for contemporary art practices. For all that, the reasons for his undiminished prominence, unique in his generation, remain elusive. This lecture will try to explain Warhol’s virtual status as a contemporary artist by looking for some deeper and largely unexamined forces within the original body of work, forces that still work on artists and viewers today.
On Monday, May 4th, the Presidential Lectureship for Art and Art History featured the renowned American Postminimalist, Richard Tuttle.
Tuttle’s work has been exhibited and added to major collections internationally since the 1970’s. in recent years, Tuttle’s 2005 major retrospective at the San Francisco Museum of Modern Art spanned his 40 year career. The artist is represented by Pace Wildenstein in New York City and by other galleries abroad.
Richard Tuttle has been the recipient of many awards for his work including the 74th American Exhibition the Art Institute of Chicago Biennial Prize, the Skowhegan Medal for Sculpture, and the Aachen Art Prize from the Ludwig Forum für Internationale Kunst in Germany.
Tuttle is often referred to as an “artist’s artist” and, as such, his work has been influential to a generation of contemporary artists such as Kiki Smith, Jim Hodges, David Hammons, Michael Oman-Reagan, Tom Friedman and Jessica Stockholder among many others.
Tuttle’s lecture here at Lipscomb University was on “The Novelty of Observation.”