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. |
 |
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. |
 |
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.
|
 |
Patricia Cronin : 'A silent protest can be quite powerful'
|
|
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.” |
 |
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. |
 |
Patricia Cronin: Shrine For Girls, Venice The New York-based conceptual artist Patricia Cronin is presenting a site-specific work in the church of San Gallo that addresses the issues faced by women around the world, especially in developing countries. For this work, Cronin has assembled hundreds of items of girls’ clothing to symbolize students kidnapped in Nigeria by Boko Haram and girls raped in rural India. |
 |
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.'"
|
 |
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.
|
 |
Subverting the "Girlie" Calendar A “girlie calendar” makes one think of men’s lockers, walls of auto repair shops or a military barracks: They’re typically collections of nude or scantily dressed women in provocative poses, designed for the male heterosexual gaze. But what if a girlie calendar is designed with a lesbian gaze in mind? That sort of subversion is what lesbian poet Mary Meriam has in mind with the title of her poetry collection, Girlie Calendar, and for the Ms. Blog she is excerpting from the book a poem-of-the-month (she began in October and continued in November, December, January, February and March). Meriam is also selecting accompanying artwork for each month from both historical and contemporary lesbian-related images. April’s artist, Patricia Cronin, creates compelling works in a variety of media, many with social-justice themes focusing on gender and sexuality. Slyly reinvigorating traditional images and art historical forms with contemporary content, her critically acclaimed statue “Memorial To A Marriage,” a three-ton Carrara marble mortuary sculpture of her partner (now wife) and herself, was first displayed before same-sex marriage was legal anywhere in the U.S. An art professor at Brooklyn College, CUNY, as well as a trustee of the American Academy in Rome, Cronin’s works are in numerous collections and she exhibits widely. Her solo show “Shrine For Girls, Venice” is a “collateral event” in the 2015 Venice Biennale. |
 |
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. |
 |
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. |
 |
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. |
 |
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.
|
 |
‘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.” |
 |
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. |
 |
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. |
 |
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. |
 |
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. |
 |
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. |
 |
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 . |
 |
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. |
 |
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.
|
 |
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.
|
 |
Memorial to a Marriage featured on Chelsea Handler Show |
|
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.” |
  |
The Last Brucennial Patricia Cronin included in The Last Brucennial Vito Schnabel & Bruce High Quality Foundation New York, NY March 7 - April 4, 2014 |
.jpg) |
Artist Patricia Cronin Confronts the Present with the Past |
|
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. |
 |
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. |
  |
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. |
 |
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.” |
 |
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. |
|
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.
|
 |
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”.
|
 |
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.
|
 |
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. |
 |
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. |
 |
In mostra Patricia Cronin
Con sei 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. |
 |
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). |
 |
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.
|
  |
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 |
 |
