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Review: “How to Draw a Cathedral” in the New Yorker

The New Yorker / October 26, 2009

[Excerpt] “Hyde has sliced and collaged each of the series’ fourteen images to create an architecture of suspended planes, like elements in a kaleidoscope devised by Frank Gehry. As the young artist attempts to balance his shape-shifting ideas, the creative process all but eclipses the material world.”

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Solo Exhibiton: “How to Draw a Cathedral” at Max Protetch Gallery

Tim Hyde / How to Draw a Cathedral
Max Protetch Gallery, New York City
October – November 2009
Max Protetch Gallery is pleased to announce its second exhibition of new work by Tim Hyde. The opening reception will be held on Thursday, September 17 from 6 to 8pm, and the exhibition will be on view through October 31, 2009. Tim Hyde’s photographs and videos examine the psychological and bodily experience of space, navigating the acts of inhabiting and moving through built environments, natural landscapes, and socially engineered infrastructures in both subjective and objective terms.The exhibition will feature three new bodies of work: two photographic projects and a video. In addition, Hyde has curated an exhibition of video works by other artists dealing with related issues, which will run concurrently in the gallery’s Project Space. [Continued]

Press Release: How to Draw a Cathedral

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Exhibition: “Balance and Power: Performance and Surveillance in Video Art”, Museum of Contemporary Art

Curated by Michael Rush
Museum of Contemporary Art, Jacksonville FL
Sept 29 – Dec 31 2009
Krannert Art Musuem, Champaign, IL
October 22 through December 31, 2005
Rose Art Museum, Waltham MA
Sept. 21-Dec. 17, 2006
At a time when the nation is preoccupied with heightened security and surveillance, and the public is fascinated by Reality TV with its open and surreptitious video exposure of participants, the boundaries between performance, voluntary acting for the camera, and surveillance, involuntary recording on camera by power systems with an interest in the movement of citizens, become blurred.  Since the earliest days of video art in the mid-1960s, artists have negotiated the question of when surveillance becomes performance (and vice versa) and these concepts continue to be central to many video artists working today. This exhibition, which examines both the early days of video art and
current practices, is an attempt to understand the complex relationship between the issues of performance, surveillance, and power. Included in the exhibition are works by some of the earliest practitioners, large-scale installations, and newly commissioned pieces.

Exhibition website

“Video Art” by Michael Rush (Published by Thames & Hudson)

Exhibition: “Through You: Photography Selections from the Martin Z. Marguiles Collection” at Charles Adams Fine Art

Through You: Photography Selections from the Martin Z. Marguiles Collection
Charles Addams Fine Arts Gallery
University of Pennsylvania, Philadelphia, PA
curated by Katherine Hinds

The exhibition contains 56 works from the Margulies Collection in Miami, Florida that have rarely been exhibited, including selections from Cindy Sherman’s Bus Riders series, Andreas Gursky’s Voehsgortem, Düsseldorf, and John Baldessari’s Two Voided Figures. The exhibition traces the course of photography through some of the most prominent figures in contemporary photography and icons in the history of photography, for example Garry Winogrand, Alec Soth, Seydou Keïta, Diane Arbus, Sally Mann, William Eggleston, Nan Goldin, Ralph Eugene Meatyard. Our PennDesign students were an integral part of the curation of this exhibition; the selections pulled from the Margulies holdings were based on photographers chosen by our undergraduate seniors and 2nd-year MFA students.

More information

Exhibition: “A Letter Concerning Enthusiasm” at Ar/ge Kunst Galerie Museum

A Letter Concerning Enthusiasm
Curated by Luigi Fassi
Ar/ge Kunst Galerie Museum, Bolzano Italy
March 30 – May 26 2009 “A Letter Concerning Enthusiasm” takes its title and starting point from a philosophical letter written in 1707 by the british thinker Anthony Ashley Cooper, earl of Shaftesbury. The exhibition explores the dark sides embedded in the understanding of enthusiasm during modernity in Europe, when this feeling was devalued and dismissed, being considered a source of obsession, fanatism and violence. The works of the artists on view in the exhibition reenact this understanding describing in a variety of ways the defeat, during the XX century, of revolutionary ideologies overloaded by enthusiasm, showing the point in which enthusiasm reveals its failure collapsing into boredom and inactivity.
Artists: Tim Hyde, Andreas Bunte, Johanna Billing, Olga Chernysheva, Roberto Ago

More information at Ar/ge Kunst