About Face: Stonewall, Revolt and New Queer Art This is an exhibition about metamorphosis. Fifty years after Stonewall, we’re still very much a community in progress. The traditional view, that Stonewall represents the birth of a gay and lesbian movement, couldn’t be further from the truth on at least two counts: it hardly represents the beginning and it was never just gay and lesbian. On the contrary, we have always embraced a transpolitics, in the sense of working to variously transgress, transfigure, transpose, transform, and finally, transcend a world of binary options, whether they be gay/straight, male/female, minority/majority, or conformist/nonconformist. Not for nothing were trans folk of various stripes the literal spark that ignited the Stonewall flame. This exhibition thus focuses on art in which boundaries blur, forms mutate, the natural is denaturalized, and the transgressive and transcendent are linked. In the works on view in About Face, sexuality, gender, ethnicity, and race—far from being clear categories—hybridize and overlap to the point that “queer” becomes a verb, not a noun. |
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Mark Robbins, Patricia Cronin, and Stefan Sagmeister – Visible Body Immediately preceding the opening of the exhibition The Academic Body, which tracks the transformation of the body in art and society from 1894 to the present, Mark Robbins, curator of the exhibition and President of the American Academy in Rome, will speak with two of the artists in the exhibition, Patrica Cronin (2007 Fellow) and Stefan Sagmeiter, current Henry Wolf Graphic Designer in Residence. The conversation will be held in English. |
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The Academic Body Since the origins of representation, the human body has been a vehicle for a variety of approaches to artistic expression. As a way of imagining the divine, as a site of ideal beauty and ruminations on mortality, or as the contested ground between nature and culture, bodies—and representations of bodies—index culture’s ideas about itself and mark the locus for the questioning and contestation of the human form. |
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Eye to I: Self-Portraits from 1900 to Today |
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How We Remember Today’s memorials are less about quiet contemplation of the past than direct confrontation with the present. |
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Gifts From The Gods
For the past ten years, Seth Pevnick has used his expertise in antiques to serve as the Tampa Museum of Art’s Richard E. Perry Curator of Greek and Roman art. He holds a Ph.D in archaeology from the University of California, Los Angeles. He came to the museum in 2009 from the prestigious J. Paul Getty Museum in L.A., where he was the curatorial assistant in the department of antiques. Pevnick eventually went on to become the museum’s chief curator, a job in which he strove to connect the museum’s collection of antiques with its modern and contemporary art. Pevnick recently accepted a position as the curator of Greek and Roman art at the renowned Cleveland Museum of Art in Ohio, so he’ll be leaving Tampa in March. During his time at the Tampa Museum, he’s overseen the acquisition of countless works of art and curated numerous exhibitions, including 2018’s “Patricia Cronin, Aphrodite and the Lure of Antiquity: Conversations with the Collection.” For that exhibit, Cronin created a monumental sculpture of Aphrodite, the goddess of love, inspired by a torso of Aphrodite from the museum’s collection. The museum has acquired Aphrodite Reimagined, so Pevnick’s legacy will live on. |
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How Artists See Themselves |
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How has the selfie evolved? This new Portrait Gallery exhibition charts its rise, from 1900.
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Shepard Fairey, Marilyn Minter, and Other Artists Share
Their Reactions to America's Divisive Midterm Elections |
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Patricia Cronin Elected to the National Academy of Design |
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Patricia Cronin Casts Aphrodite as a
Feminist Role Model |
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To Draw Viewers, Museums Show That What’s Old Is
New Again |
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Patricia Cronin : Design Matters Podcast |
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Visual Assault |
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Patricia Cronin brings a monumental Aphrodite
to the Tampa Museum of Art
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Tampa Museum of Art Kicks off the Season of Love! |
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Patricia Cronin, Aphrodite and the Lure of Antiquity:
Conversations with the Collection |
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Memorial to a Marriage |
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Patricia Cronin at The LAB Gallery |
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"Memorial To A Marriage: Museums, Equality, and Social Justice" Gallery Talk |
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Flag Art Foundation Celebrates Its First Decade For any successful venture, a decennial anniversary is a reflective occasion to take stock of achievements and honor the milestone, but also to ponder the future. The question often on everyone’s mind, and perhaps the most vexing for a high-caliber art venue: So what’s on tap for the next decade? |
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Annual Recent Acquisitions Exhibition The annual exhibition "Recent Acquisitions" at the Smithsonian’s National Portrait Gallery displays the latest portraits to enter into the museum’s renowned collection. Figures who have made lasting contributions in such areas as medicine, music, literature, art and social justice are represented in paintings, sculpture, prints, drawings, photographs and new media. The latest version of the installation will be on view from Nov. 17 through Nov. 4, 2018. |
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Prune, The Met, and BAM: Patricia Cronin's New York This week, Whitewaller New York launches for The Salon Art + Design (November 9-13). To help guide you to the best spots in town—where you can eat, drink, see art, and relax at, we hear from a group of insiders. Up next, we hear from Patricia Cronin Brooklyn College of the City University of New York. |
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Patricia Cronin at the LAB Gallery Dublin "Patricia Cronin: Shrine for Girls, Dublin" is on view at the LAB Gallery in Dublin, Ireland, through Sunday, August 20. The solo exhibition, the New York-based artist's first in Ireland, is a re-creation of her installation at the 2015 Venice Biennale. |
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Groups of garments go local and global
Glance through the plate glass window of the Lab on Foley Street and you’ll
find that New York-based artist Patricia Cronin has transformed the main
ground floor gallery space into a Shrine for Girls. |
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Regarding Women in the Acton Collection Inauguration of the art exhibition by Italian and international female artists Zoe Buckman, Alessandra Capodacqua, Patricia Cronin, Bärbel Reinhard, and Deb Willis, with poetry reading by Elisa Biagini, followed by a performance by Karen E. Finley, New York-based performance artist. |
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Patricia Cronin
Shrine For Girls,
Dublin The LAB Gallery is pleased to present, Shrine For Girls, Dublin, the first solo exhibition in Ireland of New York artist Patricia Croinin. One of the critically acclaimed highlights of the 2015 Venice Biennale, this site-specific installation is a meditation on the global plight of exploited girls and women. Moving from the sacred altars and architecture of Venice’s sixteenth-century Chiesa di San Gallo to the secular urban gallery context of The LAB, in the heart of Joyce's Nighttown and built in the shadow of the last Magdalene Laundry to close in Ireland in 1996, Cronin gathers hundreds of articles of women’s and girls’ clothing from around the world to represent three specific tragedies. Brightly-colored saris symbolize two Indian cousins who were gang-raped and lynched in 2014; somber hijabs signify 276 Nigerian Chibok schoolgirls who were kidnapped by the terrorist group Boko Haram in 2014 (109 of which are still missing); and pale aprons symbolize those worn by “fallen women” in forced labour at the Magdalene Asylums and Laundries in Ireland, the United Kingdom, Europe and the United States to act as relics of these young martyrs. |
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Patricia Cronin: Value, Justice, and Success Patricia Cronin likes to ask three questions through her work: Whose body has value?
Who gets to decide? And what are the consequences to the individual and to the
community? |
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"Patricia Cronin: Social Justice and Aesthetic Responsibilities" Lecture
Picturing Women Series New York based conceptual artist Patricia Cronin will discuss her work addressing social justice issues of gender, sexuality and class; including, marriage equality, feminist art history and the international human rights of women. This talk will detail three major bodies of work Memorial To A Marriage, Harriet Hosmer: A Catalogue Raisonné and Shrine For Girls. Cronin’s aesthetic strategy breathes new life into traditional art images and forms in time honored artists’ materials and injects her specific contemporary political content into them. |
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How Should Art Address Human Rights?
The American artist Patricia Cronin has used garments to make work about human-rights violations far from where she lives in New York. She’s also sensitive to her role as an outsider creating art about other people’s suffering. “I want people to see and care about what’s happening in these distant geographic areas through the clothes that women and girls wear every day. Just like the jeans and sweaters we put on every morning,” Cronin told me. For her installation Shrine for Girls, which debuted at the 2015 Venice Biennale inside a 16th-century church, she piled clothing on each of the venue’s three marble altars to symbolize three moments of gendered violence in history. One altar held brightly colored saris and a small photograph of two teenage cousins in India who were raped and lynched the previous May. Another altar held hijabs representing the 276 Nigerian schoolgirls kidnapped by Boko Haram in 2014. On the last altar was a heap of apron-type uniforms for the tens of thousands of Irish women forced into slave-labor conditions in Catholic Church-run laundries from the 18th-to-late-20th century. |
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Expanded Visions: Fifty Years of Collecting
Leslie-Lohman Museum of Gay and Lesbian Art
Our inaugural exhibition in the newly renovated and vastly expanded Museum space, Expanded Visions: Fifty Years of Collecting, is a historic collection show with approximately 250 works on view. Expanded Visions mines the rich cultural coffers of the Museum's collection to trace the evolution of our institution, amid decades of shifting social conditions. The exhibition presents a survey of the collection initiated by the Museum co-founders, Charles Leslie and Fritz Lohman, who have spent more than 50 years amassing artworks that speak directly to the LGBTQ experience. Their early efforts yielded one of the most unique archives of work that would have otherwise been lost or destroyed, which comprises the core of the Museum’s collection that now houses more than 30,000 objects. |
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Shrine For Girls is featured along with Olafur Eliasson, Krzysztof Wodiczko and Rachel Whiteread in Art History text book in the last chapter "The International Scene since the 1950s"
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Horsing Around: Patricia Cronin Restages "Tack Room" at The Armory Show Chaps, saddles, whips, back issues of Polo Magazine, oil paintings of horses, erotic pin-ups—this is the stuff inside artist Patricia Cronin’s Tack Room, 1997-98, a wooden barn-like installation and arch comment on horse culture, sex, and class. “With the Tack Room I simultaneously reimagine an adolescence I never had and fantasize about my future. Someday I’ll finally get to have a horse,” explains Cronin, wryly. Cronin will reprise this work at New York’s Armory Show, open March 2 through 5, where it will figure prominently in the fair’s new curated feature, Platform, which focuses on large-scale installations and site-specific works. The section is one of several fresh additions to the fair under new director Benjamin Genocchio. |
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Revamped Armory Show draws praise and crowds The Armory Show, opening to the public today and running through 5 March at Piers 92 and 94 on the west side of Manhattan, is the subject of scrutiny this year, the first fully under new executive director Benjamin Genocchio, and he has taken pains to distinguish the fair from its global competitors. “This is not a franchise fair,” Genocchio told assembled journalists as the doors opened on Wednesday. “This is a New York institution.” Gone is the tidy chronological separation between Modern and contemporary art. Pier 92, in addition to hosting the Insights sector for focused presentations of 20th century art, gains some buzz thanks to the curated Focus section and a revamped VIP lounge (de facto segregation remains, however, in that the bigger galleries retain the prime real estate on Pier 94). Observers commented that the overall layout felt more spacious, but it remained to be seen after the VIP opening whether attendees’ pockets were equally deep; many galleries coyly reported sales in the five and low six figures, without the fanfare of years past. |
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Women Artists to See Now It’s glorious, it’s gargantuan and it’s certainly not for the faint of (he)art. It’s Armory Week, which means New York City is awash with art fairs (including The Armory Show, for the which the week was named), as well as notable exhibitions in galleries and museums across the city. To navigate the onslaught of modern and contemporary works, we snagged one of the best guides in the biz, Bettina Prentice, founder of communications firm Prentice Cultural Communications. But no need to take our word for it. Her client list, which includes Tiffany & Co., Google, Bulgari and more, speaks for itself. Day job aside, Bettina, who is a founding member of The Artemis Council at The New Museum and who also helped produce a Vanity Fair piece on influential women gallerists, holds dear her work promoting gender equality in the art world. So in the same spirit of solidarity, here she presents four powerful women artists to watch during this week’s shows. |
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The Stories Behind 5 of The Armory Show’s Largest Artworks It’s hard to miss The Armory Show’s new Platform section of large-scale artworks and installations. Enter the fair on Pier 92 and you’ll walk straight into Abigail DeVille’s Sarcophagus Blue (2017), a worn, wooden boat overflowing with mannequin legs in ripped tights. Kick the day off on Pier 94 and you’ll see Sebastian Errazuriz’s The awareness of uncertainty (2017), an upright piano hoisted high in the air. These are just two of the 13 Platform works sprinkled across the two piers.
Cronin’s contribution to Platform is her own take on the tack rooms found in horse stables; the installation is lined with bridles and saddles, paintings, and accessories, some more sexually suggestive than others. “You smell leather, wood, a few bales of hay; you see the riding crops, whips, chaps—it’s all there, and your mind’s eye will just fill in the rest,” Cronin said with a laugh. |
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Horsing Around: Patricia Cronin Presents ‘Tack Room’ at the Armory Show After exiting the elevator and walking past one of the fair’s many V.I.P. lounges (this one presented by the German furniture designer Rolf Benz, for those keeping score), the first piece of art I encountered at the Pier 92 section of this year’s Armory Show was the fantastic Tack Room—a fantasy replica of the storage part of a horse stable created nearly 20 years ago by the artist Patricia Cronin and shown as part of the fair’s Eric Shiner-curated Platform section. “I was trying to be prophetic about my future—someday I’ll be a successful artist and I’ll get to finally have a horse,” Cronin, who was on hand today, said of the piece, which was first shown almost two decades ago at White Columns. When asked if she ever got that dream horse, she answered with a resounding “no,” going on to further explain that Tack Room was, among other things, a way to “relive an adolescence that I never had. I didn’t grow up with horses. Anyone who grew up with horses doesn’t need to make this,” she said with a hearty laugh. |
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Patricia Cronin’s acclaimed 1997-8 Tack Room included in
An Incident, Eric Shiner’s curated Platform Section at The Armory Show Debuting in 2017, Platform stages large-scale artworks, installations and site-specific commissions across Piers 92 & 94. Artists and galleries are invited by an appointed curator to realize ambitious projects that activate the fair’s unique industrial space. The 2017 edition of Platform, entitled An Incident and curated by Eric Shiner, features twelve internationally acclaimed artists: Participating artists include: Abel Barroso, Patricia Cronin, Douglas Coupland, Abigail DeVille, Sebastian Errazuriz, Dorian Gaudin, Jun Kaneko, Per Kirkeby, Yayoi Kusama, Iván Navarro, Evan Roth, Fiete Stolte, Lawrence Weiner and Ai Weiwei. Patricia Cronin will restage her acclaimed 1997-98 mixed media installation, Tack Room, which presents equestrian equipment and paraphernalia with oil paintings and bronze sculptures creating an erotically charged environment that addresses female autonomy, desire, power and class. |
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Panel Discussion | A Conversation on Tack, Whack and Quack
PARTICIPANTS: MODERATOR: |
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Eric Shiner Curates Large-Scale Installations and Site-Specific Commissions for The Armory Show The Armory Show returns to Pier 92 & 94 this week, open to the public from March 2-5. With 210 exhibitors, the fair will debut a new series entitled “Platform,” a staging of large-scale works, installations, and site-specific commissions curated by Eric Shiner, the Senior Vice President of Contemporary Art at Sotheby’s. Whitewall spoke Shiner about curating the Platform exhibition “An Incident” for The Armory Show, which includes art from Abel Barroso, Patricia Cronin, Douglas Coupland, Abigail DeVille, Sebastian Errazuriz, Dorian Gaudin, Jun Kaneko, Per Kirkeby, Yayoi Kusama, Iván Navarro, Evan Roth, Fiete Stolte, Lawrence Weiner and Ai Weiwei. |
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Sotheby's Eric Shriner to Curate Section of Large-Scale Works at Armory The 2017 edition of the Armory Show is going big. The fair will see the launch of a new, curated exhibitor section called Platform dedicated to large-scale artworks and installations, and site-specific commissions installed across Piers 92 & 94. The inaugural edition of Platform, titled “An Incident,” is curated by Eric Shiner, senior vice president of Contemporary Art at Sotheby’s. Shiner, an expert on Andy Warhol and Asian contemporary art, served as director of the Andy Warhol Museum in Pittsburgh from 2010 to 2016. The first edition will feature works by 12 renowned artists: Abel Barroso, Patricia Cronin, Douglas Coupland, Olga de Amaral, Dorian Gaudin, Jun Kaneko, Per Kirkeby, Yayoi Kusama, Iván Navarro, Fiete Stolte, Lawrence Weiner, and Ai Weiwei. |
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What Artists Can Learn From Teaching There’s a mountain of evidence that arts education is valuable, even transformational, for all sorts of students, from young children to inmates at Rikers. It has been shown to improve emotional regulation, teamwork, and academic performance. Under the right circumstances, it can even act as a catalyst for social justice. But flip the script: How does teaching influence teachers? Whether it’s critiquing an MFA painting class, giving a museum tour to a group of six graders, or leading a drawing workshop for developmentally disabled adults, working artists are often at the front lines of arts education. Many see teaching as a valuable practice, beyond simply a means of financial support. It may even shape how they approach their art practices. Below, six artists weigh in with the lessons they’ve learned from their work as educators. Patricia Cronin, artist and professor at Brooklyn College, teaches undergraduates from all over the world. “Ninety percent are immigrants or first-generation Americans, living in multigenerational households, and almost all are the first person in their families to go to college,” Cronin says via email. “Their stories of struggle, commitment, and courage really move me.” It follows that Shrine For Girls, her installation that began at the 2015 Venice Biennale, was a meditation on the global exploitation of girls and women. In many ways, courage is Cronin’s watchword, which she passes on to her students: “No one ever talks about how brave you have to be every day in your studio.” Leading by example, her own work often boldly addresses female sexuality. “Making radical, singular works is what art is about,” she says. “Artists aren’t supposed to be herd animals; that’s for accountants.” |
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Here’s What Artists Have to Say About the Future of America Under Donald Trump In the wake of the election of Donald Trump to the US presidency, artnet News has reached out to a number of artists for their thoughts on the event and its potential effects—within the arts, the nation, and the world at large. For some artists, the election’s unexpected outcome was still too raw, the perceived wound too fresh, for them to put their emotions into words. For others, the chance to reflect on Hillary Clinton’s loss and its ramifications was a chance for catharsis. This means that, for many, the healing power of the arts can offer a way forward as we look to fix a deeply divided and possibly broken nation. Here is what they had to say. |
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The Women Who Championed Sexually Explicit Art in the '90s Are Relevant as Ever They returned to New York that fall and scoured the city for fellow female artists working in the same vein. Two years later, their efforts culminated in a 1993 group show at David Zwirner, “Coming to Power: 25 Years of Sexually X-Plicit Art By Women.” This fall, the pioneering feminist show is seeing a revival, with new curators, Pati Hertling and Julie Tolentino, a new gallery, Maccarone in New York, and a fresh performance program of queer and trans artists. Did the show have an impact in its own time? And how has creating sexually explicit art changed for women artists in the 23 years since? |
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How X-Rated Feminist Art Came Into Power Slick, drooping phallic forms by Louise Bourgeois hung from the ceilings, while Joan Semmel’s psychedelic-colored sex paintings were mounted on the walls. Wads of rolled-up gum arranged by Hannah Wilke resembled disembodied vaginas, while Nancy Fried’s sculpted scenes of erotically charged lesbian domesticity, upon closer look, revealed themselves to be carved out of bread. |
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Coming To Power: 25 Years of Sexually X-plicit Art by Women
Instigated by Cantor’s vision, COMING TO POWER reflected the bold voices and urgency of iconic female artists’ work from the 60-70’s, pop and porn of the 80’s, and collided with early 90’s sex positive, queer, BDSM, and sex radicals of performance and video art culture. |
MACCARONE |
Kansas City's Grand Arts Releases a Book on 20 Years of Art, Science, and Tech
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PATRICIA CRONIN
Shrine for Girls, New York |
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Patricia Cronin: Shrine for Girls, New York An exhibition whose subject matter is the “global plight of exploited girls and women who have been victimized, brutally silenced, and written out of history simply because of their gender” is, from a moral point of view, beyond criticism. |
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Talk: Patricia Cronin and Maura Reilly at FLAG Art Foundation At this talk, artist Patricia Cronin will discuss her current show at the FLAG Art Foundation with curator Maura Reilly. Cronin’s FLAG show, “Shrine for Girls, New York,” is an installation that was initially shown at the 2015 Venice Biennale. In it, piles of clothes on wood crates represent various exploited women—hijabs symbolize the 276 girls that Boko Haram kidnapped in 2014, for example. Though specifically referring to events around the world, the works also more universally allude to the abused, “fallen women,” in the artist’s words, that appear in almost every country, on every continent. |
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Patricia Cronin in conversation with Maura Reilly Please join us for a conversation with Patricia Cronin Creator of Shrine for Girls, on view at The FLAG Art Foundation & Maura Reilly Director of the National Academy Museum, and Co-curator with Linda Nochlin of Global Feminisms at the Brooklyn Museum, 2007. RSVP REQUIRED: rsvp@flagartfoundation.org |
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MUST SEE NEW YORK |
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18 Female Artists Give Advice to Women Starting Out in the Art World The gap in gender equality ranges from the not-so-subtle dominance of male artists at gallery and museum shows to the outright misogyny of an artist like Georg Baselitz, who has openly stated, “it’s a fact that very few of them succeed,” when referring to female artists. Amid much-hyped headlines about works that have broken the $100-million mark at auction—10 artworks to date—not a single one is by a female artist. “Unfortunately, there is no gender equity anywhere right now—and the art world is no exception,” said Janice Sands, executive director of Pen and Brush, a nonprofit space started in 1893 that offers female writers and artists a space to create and show their work. “Many young women artists who are going out there and really trying to make a living at this may not be thinking about gender at all,” said Sands. “They are thinking about whether they can find a gallery to show their art, get representation, sell their work.” With this often discouraging contemporary art world backdrop in mind, we sought the advice—and inspiration—of a group of established female artists to see what crucial wisdom and tips they would impart to the next generation. |
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The Cultivist : Summer Soltice with Shrine for Girls
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POIGNANT & POWERFUL: TOME RESORT 2017 Ryan Lobo and Ramon Martin of TOME first saw artist Patricia Cronin’s Shrine for Girls at the Venice Biennale in 2015. The powerful installation commemorates three tragedies in recent times where women fell victim to suffering and exploitation. Honouring the female lives lost in India, Nigeria and Ireland, the piece arranges the colourful saris, hijabs and uniforms of these victims of murder, kidnapping and forced labour into piles on stone alters at Venice’s 16th century Church of San Gallo. Paying tribute to Cronin’s poignant work, the TOME design duo drew inspiration from the installation to create a metaphorical interpretation of the three shrines in homage to the women through ‘abstraction of details and exploration of colours representative of different cultures and believes.’ |
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Yale University School of Art at Norfolk 2016 Lecture Series |
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TOME Ramon Martin and Ryan Lobo typically look to a female artist for inspiration when they’re designing their collections for Tome; it’s much rarer that the artist looks back. But such was the case on Tuesday, when Lobo took this reviewer on a tour of The FLAG Art Foundation’s exhibition of Patricia Cronin’s “Shrine for Girls,” which he and Martin had initially seen at the 56th International Art Exhibition at the Venice Biennale. Cronin, who was on hand at the gallery (and later at Tome’s studio) to discuss her work, was inspired by three recent tragedies that had to do with the global plight of exploited women—the 276 Nigerian Chibok schoolgirls who were kidnapped by Boko Haram in 2014; two teenage Indian girls who were gang-raped, and lynched at the edge of their village, Katra Sahadatganj, in 2014; and the “fallen” women who worked in forced labor during the 20th century at Ireland's Magdalene asylums and laundries (memorably shown in the 2013 film Philomena). |
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TOME Ryan Lobo and Ramon Martin first laid eyes on Patricia Cronin’s heartbreaking installation, “Shrine for Girls,” at the Venice Biennale last year. (It just opened at New York’s Flag Art Foundation, just a few blocks from Tome’s studio.) The work, a meditation on trafficked women, features three fabric sculptures on top of shipping crates, with piles of clothes representing missing victims. “The emotional weight of clothing is something that Ryan and I always talk about,” said Lobo during a walk-through of the exhibit. “And to see an artist elevate that beyond what fashion can do is a really inspiring thing.” |
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Fashion label TOME's Resort '17 line inspired |
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Patricia Cronin's Complications |
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MUSEUM ACQUISITION |
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Editors' Picks: 10 Art Events to See in New York This Week |
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The Mark Grote Annual Artist Lecture Series Patricia Cronin’s dramatic sculptures, paintings and installations subvert art historical images and forms with contemporary political content. Cronin’s artwork and writing examine issues surrounding gender, sexuality and social justice. Most recently her project Shrine For Girls, Venice, a reflection on the global plight of exploited women and girls, attracted both huge crowds and widespread critical praise at the 56th international Venice Biennale in Venice, Italy. Cronin’s work has been widely exhibited both in the United States and abroad, and examples may be found in the permanent collections of major museums, including the Perez Art Museum in Miami and the National Gallery of Art in Washington, DC. Recipient of numerous prestigious awards and fellowships, including the Rome Prize of the American Academy in Rome and the Anonymous Was A Woman Award, Cronin is also the author of Harriet Hosmer: Lost and Found, A Catalogue Raisonne (Charta, 2009) and The Zenobia Scandal: A Meditation on Male Jealousy (Zing Books, 2013). |
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Artwalk NY The 21st annual ARTWALK NY took place November 17, 2015. We were thrilled to honor Artist Honorees Deborah Kass and Patricia Cronin and Philanthropic Honorees Alec and Hilaria Baldwin and Richard Gere. |
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Catalogue Launch: Shrine for Girls, Venice To celebrate the publication of Shrine for Girls, Venice, a Rail Curatorial Project and Collateral Event of the 56th Venice Biennale, artist Patricia Cronin will be in conversation with Maura Reilly, art historian and Chief Curator at the National Academy Museum in New York.
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Shrine for Girls, Venice
Although the United Nations passed the Universal Declaration of Human Rights in 1948, women and girls around the world continue to be among the most vulnerable members of our global society. Often facing violence, repression, and enforced ignorance, this young female populace is subjected to a horrifying existence on earth. |
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11 Artists Who Helped Pave the Way to Marriage Equality Exploring her own homosexuality as a theoretical concept, Cronin took on her experience as a married lesbian for her tender and bold Memorial to a Marriage (2002). The bronze sculpture features her and her wife, artist Deborah Kass, locked in an eternal embrace, memorializing their marriage that occurred the day same-sex marriage was legalized in New York. The title qualifies the monument: opposing those that might argue if this is a marriage at all, this is not a memorial to marriage, itself, but to a marriage; the individualization of Cronin and Kass’s lived experience is instrumental to understanding the emotional and potentially political impact of the work. |
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Marriage Equality for All! #LoveWins Today is a wonderful day for equality, as LGBTQ couples are now able to marry anywhere in the United States just like their heterosexual peers. It is no longer “gay marriage” but simply marriage, which is how it should’ve always been.
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Patricia Cronin : 'A silent protest can be quite powerful'
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Venice Biennale Expands Its Scope “In New York, everyone is distracted by the art market and the auction houses,” said the American artist, Patricia Cronin, whose installation, “Shrine for Girls,” is on view in the deconsecrated church of San Gallo, near the San Marco square. “Once you get into the international art world, political art is important.” |
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Patricia Cronin And The Body Politic About a year ago, artist Patricia Cronin was on a plane bound for Italy when she found herself sobbing through Philomena, the 2013 biopic starring Judi Denchas a woman searching for her son, whom she was forced by nuns at an Irish convent to give up for adoption. Once in Italy, she read about the mass kidnapping of Nigerian schoolgirls by the Islamic extremist group Boko Haram, and, a short time later, about two young female cousins in India found hanging from a mango tree. |
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Heartbreaking 'Shrine For Girls' Pays Tribute To Young Female Martyrs Around The World "At first, it's deceptively simple," artist Patricia Cronin explained to The Huffington Post. "But then you start to think 'Oh, there really should be a girl inside this hijab.'"
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Artist Patricia Cronin Dedicates Altars to Suffering Girls at Venice Biennale During the Venice Biennale, a special project by the New York-based artist Patricia Cronin will commemorate the women and young girls around the world who face constant violence and repression, especially—but not only—in India and Nigeria.
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National Gallery of Art Announces Historic Acquisition of More Than 6,000 Works of Art from the Corcoran Gallery of Art
Includes two Cronin watercolors from her Hosmer Lost and Found Series Earl A. Powell III, director, and Franklin Kelly, deputy director and chief curator, National Gallery of Art, announced today that 6,430 works of art have been selected initially from more than 17,000 Corcoran works in the Gallery's custody to join the nation's collection of European and American art. As curators continue to review the collection of the Corcoran Gallery of Art, the newly accessioned objects will have an immediate impact across NGA's collections and will be particularly transformative for its holdings of American art in all media. |
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Global Positioning Systems Global Positioning Systems is the second iteration of Pérez Art Museum Miami’s Overview Galleries, in which selections from PAMM’s permanent collection are displayed alongside loans from important private collections. Consisting of six interrelated parts (titled History Painting, Visual Memory, The Uses of History, Urban Imaginaries, The Contested Present, and Forms of Commemoration), this thematic group presentation explores the intersection between globalization and history. Since the late 1980s, the political and economic forces unleashed at the close of the Cold War have combined with dramatic advances in transportation and digital communications to create an unprecedented degree of interdependency among the nations of the world. |
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The Classical Nude and the Making of Queer History The Classical Nude and the Making of Queer History, curated by scholar Jonathan David Katz, investigates the continued centrality of the classical nude over centuries of art making. This exhibition explores how images of the classical past have acted as recurring touchstones in the historical development of same-sex representation, and as such, constitute a sensitive barometer of the shifting constructions of what we today call gay and lesbian or queer culture. The classical past is thus gay culture’s central origin myth, and its representation offers far more information about the culture that appropriates the classical past then it does about that past itself. In tracing this trajectory of the classical nude across history, this show concentrates on four major periods: Antiquity, the Renaissance, the eighteenth and nineteenth centuries, and the modern/contemporary periods. |
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Jeffrey Deitch Has Big Plans Now That He's Left Los Angeles In the years before the Manhattan galleries left the quaint cobblestones of SoHo and moved north like so many displaced people to the wide streets of West Chelsea, Deitch Projects was a one-of-a-kind gallery. It opened in 1996 in a garagelike space on Grand Street, and its exhibitions seemed less about the quest for masterpieces than about mashing up art with graffiti, cartooning, video, punk rock and especially performance. In 1997, the Ukrainian artist Oleg Kulik lived in the gallery for two weeks as a caged dog, wearing nothing but a studded dog collar and crawling around on all fours.
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‘Crossing Brooklyn,’ Local Talent at Brooklyn Museum From left, Austin Fremont, Patricia Cronin, and Deborah Kass, all of Brooklyn, dancing to Nina Katchadourian’s video installation “In a Room Full of Strangers.” |
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Sylvan Cemetery: Architecture, Art & Landscape at Woodlawn Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn coincides with Woodlawn's 150th anniversary celebration, and is an outgrowth of the Cemetery's 2006 gift of its archive—the most complete set of 19th– and 20th–century cemetery records held in the public trust–to the Avery Architectural and Fine Arts Library at Columbia University. The exhibition marks the first time selections from this archive will be displayed. |
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Exhuming the Artistic Afterlife
from One of NYC’s Historic Cemeteries Up in the Bronx, at the end of the line of the 4 train, is a “remarkable museum of American funerary art,” as the wall text for Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn at Columbia University’s Miriam and Ira D. Wallach Art Gallery puts it. That “remarkable museum” is Woodlawn Cemetery, and the exhibition makes a case for it as a major resource of architecture and decorative arts history in New York City. |
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Til Death Do Us Part "This is the first piece of real estate I bought, and it will be my last,” says artist Patricia Cronin, referring to the plot she purchased at Woodlawn Cemetery in the Bronx. “I have it into perpetuity.” When Cronin and her spouse, artist Deborah Kass, are eventually laid to rest, they—or at least, the walking living—will be within strolling distance of J. P. Morgan, Miles Davis, Duke Ellington, and Celia Cruz. |
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Designs That Outlived Their Benefactors Woodlawn Cemetery, a national historic landmark in the Bronx that turned 150 last year, is celebrating with an exhibition on its spectacular Gilded Age tombs. “Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn,” which opens on Sept. 3 at the Miriam and Ira D. Wallach Art Gallery at Columbia University, will offer a display of ironwork, sculpture, stained glass and furniture from the mausoleums along with records from the cemetery’s voluminous archives, which were transferred to Columbia in 2006. |
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It Begins With Paper Its debut exhibition It Begins on Paper, will feature a group show drawn from artists on the gallery’s roster and beyond, featuring exclusively, and examining the nature of works on paper: its status as the typical first medium employed by an artist, its fragility, its historic use for disseminating ideas and information. Selected works include two large watercolors by Patricia Cronin (a mother of the relationship between feminism and contemporary art) from a series inspired by Dante’s Inferno, in which human figures, made organic by the watercolor process, portray agony and ecstasy in purple and crimson washes. |
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Look At Me: Portraiture From Manet to the Present The inaugural exhibition, Look at Me: Portraiture from Manet to the Present, spans a vast historical period of 150+ years from Manet to the present, and explores perhaps the broadest and most practiced genre in art history. Throughout time, mankind’s preoccupation with the self - one’s appearance, perception and ultimate identity ‐ has influenced artists to create, and individuals to commission, portraits. Portraits have been an indispensable way of communicating identity, with real as well as symbolic meaning for centuries of art audiences. Look At Me celebrates and explores portraiture in recent history and investigate how artists today are engaging with the broad spectrum of descriptive strategies . |
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Deja Zing : Patricia Cronin Takes A View From Above In "Luxury Real Estate Paintings" Where is the boundary between art and voyeurism? Patricia Cronin launched a career based on the inquiry of power and gaze when she first showed her “Erotic Polaroids” at David Zwirner in a group exhibit in 1993. The photos depicted various X-rated scenes including men subjugated as erotic objects in S&M games in one sequence as well as queer women engaged in sexual acts with a Madonna cardboard cutout, from the perspective of the artist herself as a participant. |
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Ghosts in the Machine Lecture New York based artist Patricia Cronin will present a lecture on her recent work titled Ghosts in the Machine. Event is open to the public.
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Patricia Cronin's Recent Publications Honored Patricia Cronin's two recent publications were honored at the Brooklyn College Library's Annual Book Party celebrating Brooklyn College faculty authors.
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Memorial to a Marriage featured on Chelsea Handler Show |
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Ghosts in the Machine Please join us at Noon on Thursday, March 20, in the National Portrait Gallery’s boardroom for a presentation by New York based conceptual artist Patricia Cronin. She will be speaking about her latest body of work “Ghosts in the Machine.” |
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The Last Brucennial Patricia Cronin included in The Last Brucennial Vito Schnabel & Bruce High Quality Foundation New York, NY March 7 - April 4, 2014 |
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Artist Patricia Cronin Confronts the Present with the Past |
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Patricia Cronin and Deborah Kass were Honored
Patricia Cronin and Deborah Kass were honored at a Benefit Baby Shower for Paula Vogel's "And Baby Makes Seven", a comedy opening soon at the New Ohio Theatre. |
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The Fine Art of Collecting Demystified We're not far into the new year, but by now many people's resolutions, including mine, have fallen apart. Yet there's one I always make, and keep: to buy at least one piece of art during the year. That might seem oh-so-easy for someone who writes about and makes art. It's not. |
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Patricia Cronin : Croninatrix New Yorker Patricia Cronin is a rare example of a female artist. We have discussed with her why such women are indeed a rare example and besides have talked about Riot Grrrl movement, about the role of the creative heritage and about life of a housewife as a comprehended choice. Having started to remember all the creative units among women, one can quickly exhaust his or her memory without even leaving the circle of musicians: Yoko Ono, Kim Gordon, Laurie Anderson - and the memory is beginning to slip . Persistently tries to challenge the status of our world as the men’s world - even in the aspect of art - Patricia Cronin , an artist, photographer , sculptor, Bachelor of Rhode Island College , Master (and now - a teacher) of Brooklyn College and former student of a few other schools. Dominant direction of her work is questioning the place of women in contemporary art, the role of her body, her sexuality and homosexuality. |
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Jeffrey Deitch Curates Jeffrey Deitch: “This is a crazy thing we did with Patricia Cronin,” he says, turning to a sculpture of two women in bed. “She wanted to have a show here. I said, ‘I’ve got a better idea. It shouldn’t be a show in a gallery. Let’s buy a cemetery plot.’ She said, ‘Well, I want a gallery show.’ ‘Trust me,’ I said. ‘This is much more interesting. It’s permanent.’ ” It’s a grave site for her and her partner in Woodlawn Cemetery. “It’s really transgressive to have in a cemetery. And this is now like one of the major stops on the Woodlawn Cemetery tour, with Miles Davis’s grave.” |
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Selections from the Sara M. & Michelle Vance Waddell Collection The Art Academy is proud to announce a survey of work from the acclaimed and generous Sara M. Vance Waddell Collection. This exhibition is constructed to depict the main focus of their collection: challenging international work with political conviction. |
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Patricia Cronin elected President of the Society of Fellows Patricia Cronin elected President of the Society of Fellows and is now a trustee of the American Academy in Rome.
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I fantasmi di Patricia Cronin
alla Centrale Montemartini
L’ultima ghostbuster è un’artista Americana del Massachusetts, venuta a Roma a miracol mostrare negli importenti spazi museali della Centrale Montemartini. Patricia Cronin non ha il fisico statuario di Sigourney Weaver ma una grazia luminoso e gentile e i misteriosi ectoplasmi lei non li cattura con raffinate tecnologie custodite nel suo zaino protonico; no, li dipinge e stampa su pannelli di seta translucida esibiti sui fondo nero dei giganteschi motori diesel dell’ex fabbrica. E, come se non bastasse, li fa dialogare nella Sala Macchine con le statue neoclassiche di un’altra artista americana scomparsa all’inizio del ‘900, Harriet Hosmer, da lei riscoperta e autrice della Tomba di Judith Falconnet nella Chiesa di Sant’ Andrea delle Fratte. È un salto mortale triplo, per esser chiari, questa personale Patricia Cronin. Le Macchine, gli Dei e I Fantasmi mirabilmente curata da Ludovico Pratesi e promossa da Roma Captiale (Musei Capitolini, Centrale Montemartini, in via Ostiense 106 fino al 20 novembre) sia per l’idea audace e insolita che per l’esito della relizzazione che, anziché degenerare in un clamoroso quanto probabile fiasco, le dà lo status del delitto perfetto. Sottolinea Pratesi “Queste opere sono fantasmi, hanno una presenza immateriale. Le immagini fluttuano nello spazio, creando e proponendo un nuovo dialogo tra il tempo, la memoria e il desiderio. La loro collocazione in tutto il museo crea un forte dialogo tra passato e presente, l’archeologia e l’industria e, naturalemente, l’arte contemporanea”.
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Come Together: Surviving Sandy
To commemorate the one year anniversary of Hurricane Sandy—and the resiliency of New York City’s arts community, which was hit especially hard by the storm—the Dedalus Foundation, the Brooklyn Rail, and the Jamestown Charitable Foundation join with Industry City Associates to present a nearly 100,000 square foot exhibition entitled Come Together: Surviving Sandy, Year 1. The exhibition will take place at Industry City, a hub of creative manufacturing and innovation in Sunset Park, Brooklyn. Centered on the work of artists directly affected by Sandy, the exhibition will also feature work inspired by and referring to the storm, along with work by artists who were invited to participate in the spirit of solidarity. In addition, the two-month exhibition will include musical performances, poetry readings, film screenings, and other cultural events. The Brooklyn Rail’s radio partner, ARTonAIR.org (the radio station of the Clocktower Gallery), will provide official radio coverage and music selections for the exhibition.
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The Unsinkable Art World
Interview Magazine
Around this time last year, Hurricane Sandy struck New York, causing massive, well-documented devastation. The art world was hit particularly hard. Water rose up to Chelsea, flooding galleries and decimating irreplaceable archives and artworks. Red Hook, a Brooklyn neighborhood dense with artists' studios, was almost completely submerged. Artists lost their space, their tools, and their work. But no one gave up—or even considered that an option. |
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Patricia Cronin and the Ghosts of Rome Past
Patricia Cronin, FAAR’07, was back in Rome this month for the opening of her new exhibition, Machines, Gods and Ghosts, at the Centrale Montemartini Museum on via Ostiense. The show, which runs from October 10 to November 20, was curated by Ludovico Pratesi and constitutes the first exhibition of contemporary art to be held in this remarkable space. A panel discussion, hosted by the American Academy on October 7, offered important critical perspective on the show and members of the academy community turned out to demonstrate their support for the initiative at its opening reception two days later. Cronin is a Professor of Art at Brooklyn College City University of New York whose work has been exhibited widely in Europe and America. She is an artist with a strong commitment to social justice issues, particularly gay marriage rights and women’s history. Much of her work engages with memory or contemplates the role of remembrance and memorial. Her work has found its way into several permanent collections including the Corcoran Gallery in Washington, DC, Deutsche Bank in New York, and the Gallery of Modern Art in Glasgow. Most recently she has had solo exhibitions at the Ford Project Gallery in New York and the Newcomb Art Gallery of Tulane University in New Orleans. |
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I sein mostra Patricia Cronin
Con opera monumentali
Sei opera monumentali, stampate su dei pannelli di seta traslucida inseriti, in modo suggestive, nello spazio di archeologia industrial della Centrale Montemartini. La mostra dell’artista Americana Patricia Cronin “Le Macchine, Gli Dei e I Fantasmi”, curate dal critic Ludovico Pratesi, si potrà vistare fino al 20 novembre. Le sie immagini, create appositamente per lo spazio industrial del museo, sono ispirate alla recente serie realizzata dall’artista e dedicate all rescoperta dell’artista neo classica Harriet Hosmer, autrice della tomba di Judith Falconnet nella chiesa di Sant’ Andrea delle Frattea Roma. |
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Dedicato a te, Harriet Hosmer
Operazione artistica concettualmente interessante, e oltretutto
realizzata in un ambiente, la vecchia e dismessa centrale elettrica
Montemartini di via Ostiense, da tempo trasformata in museo di
sculture antiche, talm ente straordinario che qualsiasi cosa ci
metti, di contemporaneo o meno, farebbe, come si dice in questi
casi, un figurone (il primo a consacrarla cinematograficamente,
l'ex Centrale, fu il regista turco Ferzan Ozpetek nel suo film «Le
fate ignoranti», dopodiché fu/è una sequela pressoché ininterrotta
di set, location, operazioni site specific ecc). |
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Patricia Cronin "Machines, Gods and Ghosts" From October 9th to November 20th 2013 in the suggestive rooms of the Centrale Montemartini in Rome will be held an exhibition of Patricia Cronin, "Machines, Gods and Ghosts": a new collection of works of the American artist, specially created for the museum.
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Patricia Cronin, FAAR'07, Ludovico Pratesi and Peter Benson Miller
discussion in English and Italian
Christopher S. Celenza, FAAR'94 requests the pleasure of your company at a conversation between Patricia Cronin, FAAR'07, Ludovico Pratesi and Peter Benson Miller discussion in English and Italian Monday 7 October 2013 at 6:30pm American Academy in Rome, Via Angelo Masina, 5 www.aarome.org on the occasion of the exhibition Le Macchine, Gli Dei e I Fantasmi at the Musei Capitolini Centrale Montemartini on 9 October 2013 at 6pm |
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