BGuthrie Photos: DC -- American University -- Katzen Arts Center -- 2019A Winter Exhibit: The Gifts of Tony Podesta

DC -- American University -- Katzen Arts Center -- 2019A Winter Exhibit: The Gifts of Tony Podesta:

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Description of Pictures: The Gifts of Tony Podesta
Curated by Klaus Ottmann and Jennifer Sakai
January 26-March 17, 2019
This first major exhibition drawn from our Corcoran Legacy Collection features strong and provocative photography and sculpture donated by Tony Podesta over the past decade to the Corcoran Gallery of Art, now part of the American University Museum’s holdings. Podesta has earned the reputation of being a fearless supporter of challenging contemporary art by women. He is an important patron of the arts nationally and internationally, with an outsized impact all across the Washington art world.

Featuring Artists
Darren Almond, Jake & Dinos Chapman, Jenny Gage, Mads Gamdrup, Anna Gaskell, Margi Geerlinks, Siobhán Hapaska, Mwangi Hutter, Justine Kurland, Jone Kvie, Clare Langan, Barbara Liotta, Malerie Marder, Ottonella Mocellin, Anneè Olofsson, Gyan Panchal, Nira Pereg, Patricia Piccinini, Torbjørn Rødland, Jenny Rydhagen, Ann-Sofi Sidén, Katja Strunz, Janaina Tschäpe, Hellen van Meene, Tom Waldron.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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[1] KATPOD_190125_04.JPG Medium (Email) (Bigger?)	[2] KATPOD_190125_13.JPG Medium (Email) (Bigger?)	[3] KATPOD_190125_17.JPG Medium (Email) (Bigger?)
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. KATPOD_190125_04.JPG: Ann-Sofi Sidn Fideicommissum, 2000 Bronze fountain
2. KATPOD_190125_13.JPG: Jone Kvie Untitled, 2002
3. KATPOD_190125_17.JPG: Patricia Piccinni Siren Mole: Exellocephala Parthenopa, 2000
4. KATPOD_190125_27.JPG: EXHIBITION CONTAINS MATURE CONTENT All the sculptures assembled in this exhibition possess a strong material presence, differing only "in the material and modes of their expression:" Ernesto Neto's playful, soft, biomorphic sculptures are materializations of sensate and haptic experiences; Jone Kvie's stainless-steel atomic mushroom clouds, materializations of subliminal fear; Patricia Piccinini's animatronic silicon creatures, materializations of the Other. Gyan Panchal's alchemical objects are re-materializations of the discards of modern society; Janaina Tschäpe's water-filled latex condoms are the materializations of unspoken desires; while Jake and Dinos Chapman's irreverent dioramas are materializations of industrial genocide. In the works by these and other artists on view, the faith of "believing in what we cannot know" is allied with a certain tautological knowledge, the Minimalist's credo of "what you see is what you see." This tautological certitude is the promise of a spiritual materiality that substitutes minimalist formalist for the historical responsibility of forms. Klaus Ottmann, Curator
5. KATPOD_190126_20.JPG: Jake and Dinos Chapman Rape of Creativity, 1999
6. KATPOD_190126_34.JPG: Mwangi Hutter If, 2003
7. KATPOD_190126_50.JPG: Siobhan Hapaska Shadow, 1999
8. KATPOD_190126_56.JPG: When taking a photograph, the image-maker can direct the image in one of two ways. The first possibility is fully committing to the moment as witnessed. The second direction constructs a narrative or point of view to the image that pulls the viewer into the world the photographer invites them to enter. One can see these transmutations in the photographic work assembled in the Podesta Collection. Mads Gamdrup presents this transformation in landscapes that stretch horizontally across the sky, consistent in view. He presents the land as idealized in a stylized and repeated scene, yet universal in the way we recognize it as an earthly terrain. Anna Gaskell constructs a chronicle of images filled with references to gothic fiction, fairytales, and myth. These scenes engage the viewer with a vision imbued with secrecy and intimacy, a story that is not revealed to us-but one that we experience through mood and symbolism. In Clare Langan's Forty Below film stills, we follow the movement of a solitary figure as she walks through a shadowy blue-green post- apocalyptic world. Land is shown in a dark palette with cool tones that suggest the unknown, landscape-friend or foe. The Gifts of Tony Podesta allows us to meditate on the experience and reinvention of portrait narrative and the landscape as an unknown terrain, inviting us to interpret our connection to those evocations. In this way Tony Podesta created beguiling and mysterious narratives, which leave us space to reinvent both the figures we view and the environment that surrounds them. Jennifer Sakai, Curator
9. KATPOD_190126_58.JPG: This first major exhibition drawn from our Corcoran Legacy Collection features strong and provocative photography and sculpture donated by Tony Podesta over the past decade to the Corcoran Gallery of Art, now part of the American University Museum's holdings. Podesta has earned the reputation of being a fearless supporter of challenging contemporary art by women. He is an important patron of the arts nationally and internationally, with an outsized impact across the Washington art world.
10. KATPOD_190126_66.JPG: Gyan Panchal untitled, 2010
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2019 photos: Overnight trips this year: (May, August, October, December) Four trips to New York City (including the United Nations, Flushing, and the New York Comic-Con), (July) My 14th consecutive San Diego Comic-Con (including sites in Utah). (August) Massachusetts (Boston, Stockbridge, and Springfield) to experie/nce rain in another state, and (August) Asheville, NC to visit Dad and his wife Dixie. Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Number of photos taken this year: about 582,000.
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