2013 Carnegie International

Frances Stark to participate in upcoming Carnegie International: “The 2013 Carnegie International brings together 35 artists from 19 countries, including a series of large-scale commissions throughout the museum and beyond. Three major projects join what is, in essence, a conversation among artworks, the museum, and its visitors: an exchange of experiences and perspectives. A playground, designed in 1972, and installed outside the museum entrance, will be contextualized by a richly illustrated exhibition of postwar playground architecture. An ambitious reinstallation of Carnegie Museum of Art’s permanent collection of modern and contemporary art will explore the International‘s legacy and unique history. Finally, the 2013 Carnegie International amplifies its ongoing engagement with Pittsburgh’s neighborhoods, inaugurated by the Lawrenceville Apartment Talks, which have been ongoing since 2011.”

For more info: http://ci13.cmoa.org/

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Frances Stark at South London Gallery

South London Gallery will screen “Structures That Fit My Opening and Other Parts Considered in Relation to Their Whole” (2006) on May 1st, 7pm. For more info and to reserve tickets visit: http://southlondongallery.org/page/who-runs-may-read-2

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Frances Stark contributes to Sylvia Sleigh retrospective at Tate Liverpool

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Sylvia Sleigh at Tate Liverpool

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“Memento Mori” write-up in San Francisco Chronicle

CROP 2012 02 San Francisco Chronicle Chun

‘Memento Mori’: A reflection on mortality, choices in life

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Artforum feature by Marc Godfrey

Friends with Benefits

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Frances Stark in conversation with James Franco and Rob Pruitt


James Franco on WhoSay

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One Question: Frances Stark

Frances Stark discusses My Best Thing with the Contemporary Art Gallery, Vancouver, which showed the film from February 3 to April 15, 2012.

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My Best Thing screening in Los Angeles

My Best Thing

Marc Foxx Gallery is very happy to present this new work
currently on view in ILLUMInations at the Venice Biennale

My Best Thing
by Frances Stark

Friday June 17,  2011,   6–9 pm

We will begin screening the video in the main gallery at 7 pm.
The video is approximately 1 hour and 40 minutes

Beer, wine and snacks will be served from 6–7 pm

This will coincide with the opening of our summer exhibition

Marc Foxx

Please direct any questions or definite RSVP’s to gallery@marcfoxx.com

MARC FOXX
6150 Wilshire Boulevard
Los Angeles, CA  90048
Tel 323 857 5571
Fax 323 857 5573
www.marcfoxx.com

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I’VE HAD IT AND A HALF

“What will say, finally, when you have seen the whole of all the parts as well as the parts of all the parts?”*

 

 

FRANCES STARK PERFORMS I’VE HAD IT AND A HALF

Due to the adult themes of some of the material contained in this afternoon’s program, this performance may not be suitable for all audiences.

Last summer Frances Stark staged a performance at the Wheeler Opera House in Aspen entitled I’ve Had it and I’ve also Had it, which reworked a musical that debuted there in 1951. In the original “I’ve Had It!” a bellhop loses his girlfriend to a critically acclaimed composer, who is in town working on a new commissioned piece. To win her back he exposes the pretentious composer as a fraud by demonstrating, for a room full of critics, that the new composition is actually a familiar pop song, played backward. Stark’s performance I’ve Had it and a Half is an epilogue for that piece, as well as a prologue for her a new theatrical production (commissioned by Performa) which will debut in New York City in the fall.

In conjunction with the exhibition All of this and nothing

ALL HAMMER PUBLIC PROGRAMS ARE FREE. Tickets are required, and are available at the Billy Wilder Theater Box Office one hour prior to start time. Limit one ticket per person on a first come, first served basis. Hammer members receive priority seating, subject to availability. Reservations not accepted, RSVPs not required.

Parking is available under the museum for $3 after 6:00pm.

Hammer Museum

*Witold Gombrowicz

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I Am Still Alive: Politics and Everyday Life in Contemporary Drawing

Frances Stark’s The Love Song of J. Alfred Prufrock (1993) included in the Museum of Modern Art’s exhibition, I Am Still Alive: Politics and Everyday Life in Contemporary Drawing.

MOMA exhibition page

New York Times review

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All Of This And Nothing video

Hammer Museum

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Houseguest review

Although Boston may now be host to the narrative of Frances Stark’s work, currently the subject of a 20-year retrospective at MIT’s List Visual Arts Center, it is her hometown of Los Angeles that has the opportunity to hearken a story of her own devising: an exhibition at the Hammer that is as devastatingly concise as a Lydia Davis story and as inspired in its collision of caricature and realism as Gogol. Invited by curator Allegra Pesenti to present works from the Grunwald Collection of prints, drawings, engravings, and photographs, Stark selected forty-six images that sample from over five centuries of artworks, from Mike Kelley to William Hogarth, Castiglione to Egon Schiele. Arranged in sequence around the perimeter of the Hammer’s nave-like gallery, they coax viewers into tracing a quicksilver fil rouge through the works. Formal affinities warp into existential epigraphs or become footnotes to romantic vignettes. For instance, a trio of engravings by the sixteenth-century German printmaker Hans Sebald Beham depict “Genius,” “Victory,” and “Melancholia,” like the three stages to a Gide-esque tale of getting what you thought you wanted, while in another montage, images of various couples read like scenes from Mamet’s sexual dramas. Narrative associations here eclipse stylistic discontinuities, collapsing the aesthetic or temporal distance between the works, and making Stark’s anachronic selection seem not a question of Baudelairian correspondences or Warburgian nachleben—both of which would be fashionable directions in our current context of “curatorial” artistic practices—but of tales and our predilection for imagining and reciting them wherever we can. Continue reading

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Art in America feature by Nancy Princenthal

The Internet Age is widely understood as the apogee of image culture, but the medium in which we swim, buoyed by waves of chat, posts and tweets, seems increasingly to be the written word. Or so it appears in the company of Frances Stark.

Like more than a few artists of her generation, Stark (born 1967 in Newport Beach) often incorporates writing in her work, which was surveyed recently at the MIT List Visual Arts Center in Cambridge. She has also published her texts independently in various magazines, catalogues and freestanding books, and has penned the odd exhibition review. A cross between fluidly interdisciplinary commentary and wry interior monologue, Stark’s prose showed up at the List Center not only as content in her drawings and collages but also in the works’ titles; in wall labels, which were generally restricted to the usual identifying information but sometimes digressed rather freely; and, most prominently, in the exhibition catalogue, which is not a conventional document (there are no illustrations) but an anthology of her essays, graced very occasionally with exceedingly terse marginal notations by the survey’s curator, João Ribas. Stark’s relish for marginalia is confirmed by the title of both book and exhibition, This could become a gimick [sic] or an honest articulation of the workings of the mind, which derives from a comment written in the margin of a used copy of Alain Robbe-Grillet’s 1955 novel The Voyeur. Stark transcribed the annotated page of this lucky find into a drawing in 1995.

As this titular work suggests, there was a bounty of odd references on offer in the exhibition and its accompanying book. But above all, we got to know Stark—and generally felt fortunate to be in her company. The show opened with several biographical notes, among them Untitled (Self-portrait/Autobiography), 1992, a red carbon copy of her college transcripts (good grades predominate; there is one less successful semester). There were also a couple of nearly blank pieces of paper in the first room, variously enhanced (hand-ruled lines, a one-line note from a friend), suggesting the outset of any routinely terrifying effort at writing, or art-making. Bookishness was instated as a theme with a handful of found and altered volumes. The transcribed page of Robbe-Grillet shared a wall with altered copies of Henry Miller’s Sexus (1992) and Tropic of Cancer (1993), and with illegible drawings of two pages from John Dewey’s Art as Experience (Having an Experience, 1995). Continue reading

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All of this and nothing

Frances will have two new works in the upcoming Hammer Invitational. The show opens on January 30 and runs until April 24, 2011.

The sixth in the series of Hammer Invitationals, All of this and nothing will present the work of several Los Angeles-based artists, both established and emerging, alongside a number of international artists, several of whom will be exhibiting in Los Angeles for the first time. The first major exhibition at the Hammer to be jointly curated by the museum’s senior curator, Anne Ellegood and chief curator, Douglas Fogle, All of this and nothing presents a range of media, including painting, sculpture, drawing, installation, sound, performance, and the moving image.

The artists in the exhibition explore philosophical questions about being in the world, heightening our awareness of the many mysteries that surround us and favoring intuition and poetry over rationality and logic. They closely consider and make visible to the viewer the process of art making by playing with scale, the ephemeral quality of their materials, the nature of time and language, and the relationships between the objects that they create. In doing so, the artists propose that works of art can inspire us to contemplate and to question, offering more possibilities than certitudes, more curiosities than established arguments. These artists conceptually and emotionally invest ephemeral and everyday materials and occurrences with newfound poetic meanings while offering a thoughtful meditation on the fragility of our lives and the objects that make up the world around us. A series of performances will accompany the exhibition.

Participating artists include Karla Black, Charles Gaines, Evan Holloway, Sergej Jensen, Ian Kiaer, Jorge Macchi, Dianna Molzan, Fernando Ortega, Eileen Quinlan, Gedi Sibony, Paul Sietsema, Frances Stark, Mateo Tannatt, and Kerry Tribe.

All of this and nothing (Hammer Museum)

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L.A. Times article

Excerpt from an article by Leah Ollman:

Frances Stark’s right arm is as good a place as any to begin to consider what drives the artist and writer. She sports two tattoos there, one an ornate foliate pattern based on a Louis Sullivan drawing, inked near her shoulder when she was in college, during the “five minutes” she aspired to be an architecture critic. The other, on her inner arm just above the elbow, reads “Me Edith,” in simple cursive. Edith was her grandmother, an avid amateur photographer.

“There’s a sepia-tone print of her in a bathing suit looking really cute,” Stark explained. “She was a big woman, but she wasn’t so enormous when she was 16, or however old she was in the picture. I think she thought no one would recognize her, so what she did was lean the picture on the vinyl tablecloth and take a Polaroid of it. She wrote on the back, ‘Me Edith.’”

Stark, 43, discovered the Polaroid in the late ’80s, just as she was learning about Cindy Sherman’s multiplicitous self-portraits and artists like Sherrie Levine, who rephotographed other people’s images. What her grandmother did struck her as an authentic, unschooled sort of conceptualism. “It was so beautiful. It was about her looking at herself, thinking about photographs, and thinking about other people looking at her. It was mind-blowing. It made me get into art, actually.”

The mind and art of Frances Stark (Los Angeles Times)

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“An artist who labels herself”

Frances Stark is obsessed with something akin to the problem we all face every time we set about achieving anything: How to filter out distractions, white noise, and the marginalia of the mind. How to make thoughts cohere. [...]

An artist who labels herself (Boston.com)

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Artforum preview of MIT show

The title of Frances Stark’s first US museum survey, “This could become a gimick [sic] or an honest articulation of the workings of the mind,” not only confirms the Los Angeles–based artist’s ongoing investment in language but also gamely foregrounds the self-critical deliberation that frequently emerges as the subject of her work. Comprising more than fifty works made between 1992 and the present, this exhibition will highlight the full range of Stark’s nimble practice—elegant works on paper incorporating found text (from Emily Dickinson’s to Robert Musil’s), collages repurposing junk mail (including gallery postcards), and a PowerPoint piece (Structures That Fit My Opening and Other Parts Considered in Relation to Their Whole, 2006) that uses the drily corporate format to unexpectedly moving effect by addressing the everyday convolutions of raising a child and teaching while attending to the difficulties of making art in fleeting moments.

Artforum

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Princeton lecture

Frances Stark will give a talk at Princeton on Tuesday, November 23, 2010 at 4:45 PM. The event is free and open to the public.

Lewis Center for the Arts, Room 219
185 Nassau Street
Princeton, NJ 08542

More information here.

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MIT discussion

MIT has made available the discussion between Frances Stark and João Ribas, curator of MIT’s List Visual Arts Center.

Frances Stark: This could become a gimick [sic] or an honest articulation of the workings of the mind, is the first U.S. museum survey of the work of Los Angeles artist and writer, Frances Stark (b. 1967, Newport Beach, California). For over two decades, Stark has laid bare the creative act in all its tedium and enchantment. With distinctive wit and candor, her expressly personal language reflects an interest in the relationship between art, literature, and everyday life.  As a writer and artist, Stark proposes that the creative self is a performance, what she calls “a torment of follies” riddled with self-doubt and speculation—and the occasional moment of transcendence. Language, as both subject matter and material, has been a central theme in the artist’s work. The elliptical style that typifies her writing is echoed in an often text-based artistic practice; along with clusters of typewritten letters, Stark employs literary fragments from a wide variety of sources, from Emily Dickinson to pop music. With an abiding interest in the interplay between image and text, Stark’s iconography also incorporates elements drawn from her personal and professional life. Her intricately textured collages reflect a concern with the tactile, intimate, and handmade, while wryly addressing the gender roles associated with professional and domestic spaces such as the artist’s studio. While describing an attempt to render the poetic from the mundane, Stark’s work also reflects a poignant search for the “kind of ‘liberation’ I—as a woman, artist, teacher, mother, ex-wife—am really after.”

http://listart.mit.edu/podcasts

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MIT catalogue

Frances Stark: This could become a gimick [sic] or an honest articulation of the workings of the mind
2010, MIT List Visual Arts Center

Through both writing and visual art, Frances Stark has produced candid and affecting work about language, doubt, failure, and creative anxiety for over two decades. Stark’s writings stand as a self-reflexive inquiry into the process of artistic production, as well as the often-elided demands of daily life. Frances Stark: This could become a gimick [sic] or an honest articulation of the workings of the mind, published on the occasion of her 2010–2011 exhibition at the MIT List Visual Arts Center, features a selection of the artist’s writings from 1997–2006, with margin notes by João Ribas.

$20
ISBN 9780938437758
170 pages, b/w

Avaliable from MIT.

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MIT exhibition review

Frances Stark tackles the riddles of the creative process

The creative genius of the artist is one of our society’s best loved myths: Michelangelo, enmeshed in his own angst-ridden, manic brilliance, carving “David,” Monet splashing color across a canvas. But in reality, the artists we have turned into demigods are not nearly as celestial as we make them out to be, and the artistic process is a whole lot messier.

Postmodernism has spent the past 40-odd years debunking the myth of originality and genius, and Frances Stark’s work is a fresh take on the decades-long erosion of the mythic brilliance of the art world’s Da Vincis.

Starks’ [sic] current exhibit at the Massachusetts Institute of Technology’s List Visual Arts Center, “Frances Stark: This could be a gimick [sic] or an honest articulation of the workings of the mind,” is clearly a child of the postmodernist tradition. The primary discourse of her work is the frustration and struggle inherent in the creative process. Contrary to the modernist conception of the creative genius, Stark’s work explores the trials and tribulations of attempts to be creative and to lead a normal life.

Continue reading

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Artforum Museum Preview

The title of Frances Stark’s first US museum survey, “This could become a gimick [sic] or an honest articulation of the workings of the mind,” not only confirms the Los Angeles–based artist’s ongoing investment in language but also gamely foregrounds the self-critical deliberation that frequently emerges as the subject of her work. Comprising more than fifty works made between 1992 and the present, this exhibition will highlight the full range of Stark’s nimble practice—elegant works on paper incorporating found text (from Emily Dickinson’s to Robert Musil’s), collages repurposing junk mail (including gallery postcards), and a PowerPoint piece (Structures That Fit My Opening and Other Parts Considered in Relation to Their Whole, 2006) that uses the drily corporate format to unexpectedly moving effect by addressing the everyday convolutions of raising a child and teaching while attending to the difficulties of making art in fleeting moments.

Artforum: U.S. Museum Exhibitions

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Frances Stark survey at the MIT List Visual Arts Center

The MIT List Visual Arts Center is pleased to present Frances Stark: This could become a gimick [sic] or an honest articulation of the workings of the mind, the first U.S. museum survey of the work of Los Angeles artist and writer, Frances Stark (b. 1967, Newport Beach, California). For over two decades, Stark has laid bare the creative act in all its tedium and enchantment. With distinctive wit and candor, her expressly personal language reflects an interest in the relationship between art, literature, and everyday life.  As a writer and artist, Stark proposes that the creative self is a performance, what she calls “a torment of follies” riddled with self-doubt and speculation—and the occasional moment of transcendence. Language, as both subject matter and material, has been a central theme in the artist’s work. The elliptical style that typifies her writing is echoed in an often text-based artistic practice; along with clusters of typewritten letters, Stark employs literary fragments from a wide variety of sources, from Emily Dickinson to pop music. With an abiding interest in the interplay between image and text, Stark’s iconography also incorporates elements drawn from her personal and professional life. Her intricately textured collages reflect a concern with the tactile, intimate, and handmade, while wryly addressing the gender roles associated with professional and domestic spaces such as the artist’s studio. While describing an attempt to render the poetic from the mundane, Stark’s work also reflects a poignant search for the “kind of ‘liberation’ I—as a woman, artist, teacher, mother, ex-wife—am really after.” Continue reading

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