Official Venice Biennale Website! Monday, Dec 8 2008
Uncategorized 1:25 am
Neat Venice Website Monday, Dec 8 2008
Uncategorized 1:21 am
http://www.treccanilab.com/biennale_di_venezia/
New Paper Title FYI Monday, Dec 8 2008
Uncategorized 1:20 am
There has been a change in my paper’s title just to fill you guys in!
New Title = The Venice Biennale: An Artistic Institution
Roughhhhhhh Draft Friday, Dec 5 2008
Uncategorized 12:12 pm
Venice Biennale: Islands of Temporary Worlds
The Venice Biennale has unyieldingly created a new environment that has integrated globalization as well as organized a playground for worldwide artists to individualize themselves and represent their countries in their own creative interpretation. Bringing the world together through art has been the foundation upon which the exhibition has built itself. Since the show’s founding in 1895, the Biennale has remained a blank canvas for social, economic, political, and historical influences for nation’s artists to paint the issues faced by their respective countries and press the impact of avant-garde art. There is an interlacing unit of bonds that keep the Biennale deeply rooted to this Italian city, which consist of particular themes and traditions that have created an extraordinary temporary environment for artists from all over the world. It is an event that brings in globalization, cultural exchange ,and competition into one location. With such a large scale affair, remaining a stable structure that holds true to its original morals and values is a complicated undertaking. How has it been possible that the Biennale remained resolute in its ideals of avant-garde within a world that is constantly changing and challenging art? Though the ideals of the institution have remarkably been quite consistent, there have been shifts within the inter-workings of how they are maintained. The organization is a major, single entity built upon a interconnected, growing cellular structure of the art community. A removal from the individual artists and artwork housed by the exhibition needs to occur to better understand the workings and aspirations of the Biennale. Exploring the macrocosm allows one to see how even though this exhibition is expected to join countries and people, it still forces them to be separated. Issues of separation due to invitations (creating elite artists), curating, locations, generations, economies, political debates, communication systems and technology all affect how artwork is represented in a contextual form. From researching into past exhibitions to looking forward to future exhibitions, a better understanding of the battle between the bonding of individualization and integration within the Biennale establishes it as the remarkable artistic institution it has become and will continue to be.
On 1895, the Venice Biennale was officially founded by the city of Venice as King Umberto I’s silver anniversary present to Queen Margherita in 1893 as a form of compassion for cultural contribution. Initially an invitational and solely nation event, the Biennale turned international shortly after its establishment.# The first location for the exhibition was at a public garden toward the Lido near the mouth of the Grand Canal, known as the Giardini (the gardens). The Giardini was and still is the central exhibtion space. Decorative arts were a main focus at the emergence of the Venice Biennale’s collaborating with influences from the Salon exhibiting styles. From the ornately decorated pavilions to the artwork which mainly consisted of painting and sculpture, there was a prominent reference to Italy’s lavish and historical past.# With the specific selection of special commissioners, the personalities of the shows were subject to change from one edition to the next. A natural growth toward internationalism increased during the twentieth century, but accompanied with it, came a greater stress on national individuality. As more nations participated, the success of the Venice Biennale amplified, as seen through the attendance and works sold rates over the years. To accommodate those nations, more pavilions were built around the gardens until the end of the 1930’s when the Giardini was settled to its present form. Additional real estate was then purchased on the other side of the Grand Canal to allow for the formation of more international pavilions.#
Vittorio Emanuele signed the law N.3229 of 1928 on January 13, 1930, naming the Venice Biennale a legitimate permanent establishment through the Esposizone Biennale Internationale d’Arte with reign over other Italian shows.# The Central Pavilion turned exclusively Italian in its exhibition in 1934 while handing over responsibility of each pavilion and artwork within to appointed foreign commissioners of each nation.# The 1930’s also became a decade of opening the Biennale and Venice up to a new genre of events such as the 1930 Music Festival, the 1932 International Film Festival, and the 1934 Theatre Festival.# Both World Wars, the Cold War, and Italy’s Fascism political views affected the Biennale in its running as an organization. However, these shifts in the exhibition’s history, though complex, did not run the Biennale off course completely. The earlier Biennale exhibitions of the nineteenth century were confounded with many restrictions, but heading into the twentieth century, some restrictions and censorships began to lift. The growth of styles and tastes grew towards a more abstract and international interpretation with artists’ moves to oppose earlier artistic styles of realistic and “academic art.” # Venice and the Biennale evolved into a communication center for the world as the organization expanded into an esteemed global institution.
By 1956, the Biennale made a shift away from the historical emphasis in exhibition’s art to focus on the importance of new(aka avant-garde) art.# Private art became the commanding concentration of the exhibitions. This referred to completed work without previous commission which restrict the artistic liberties of the work created by the artists.# The need to stress national identity developed more significant during this time as well. Within the Giardini, a themed exhibition was and still is held, which is curated by an appointed director. National reputations became more competitive with the buildup of international interactions. Around this time the documentation of artists at work in their studios through photographs, magazines, and newspapers, suddenly permitted the audience to have a closer relationship to the art than previously allowed. The wider distribution of artwork through reproduction also built a stronger bond with the masses. As a result of these movements, avant-garde developed into the focus of discussion.#
The twenty-first century exhibitions have evolved from the Biennale’s past and yet, has continued its development in the art field. In 2005, the fifty-first edition of the Venice Biennale, Maria de Corral# and Rosa Martinez# became the first women to curate the show. In 2007, Robert Storr was appointed the first director for the United States of America.# Within the same year, Mexico’s had its official debut in Venice.# For the fifty-third edition in 2009, more countries such as Andorra, Gabon, Montenegro, Pakistan, Principality of Monaco, South Africa, and United Arab Emirates plan to participate for the first time. Swedish curator Daniel Birnbaum has been selected as the artistic director and on October 31, 2008 Birnbaum met with country representatives to outline the upcoming event. As commonly formatted, the Giardini and the Arsenale will be the main venues. The Biennale will be open from June 7th through November 22nd of 2009, and Birnbaum has entitled his themed exhibition Making Worlds // Fare Mondi // Bantin Duniyan // Weltenmachen // Construire des Mondes // Fazer Mundos. According to Birnbaum, Making Worlds, will not be separated into pre-organized sections, but alternatively weave connecting themes into the whole show.# Three definite features will be covered:
1. The proximity to the processes of production, which “will result in an exhibition that remains closer to the sites of creation and education (the studio, the workshop) than the traditional museum show, which tends to highlight only the finished work itself. Some of the works – declared Birnbaum – will represent worlds in the making. A work of art is more than an object, more than a commodity. It represents a vision of the world, and if taken seriously it can be seen as a way of world making.”
2. The relationship between some key artists and successive generations: “A number of historical reference points will anchor the exhibition. These artistic roots are still active, productive. They give energy to the branches of the tree of a rt, and perhaps also to that which emerges today, to the ‘sprouts’. I would like to explore strings of inspiration that involve several generations and to display the r oots as well as the branches that grow into a future not yet defined.”
3. An exploration of drawing and painting, with respect to recent developments and the presence in the latest editions of the Biennale of many videos and installations: “the emphasis on the creative process and on things in the making will not exclude works in classical media.”#
The location of the Venice Biennale is divided into a complex structure which creates divisions as well as deep rooted bonds that connect the exhibition to the city. Venice has a historical background of independence. Separating itself from Italy not only politically and religiously, Venice is actually physically detached from mainland Italy. This city is mostly a man-made series of islands broken up into even smaller islands by interlacing canals. Constantly being surrounded by water adds a majestic feel to the islands of temporary worlds that the Biennale attempts to create. The Biennale’s central location, the Giardini, is surrounded by several other national pavilions also located within this space. The rest of the pavilions can be found spread throughout the city. The distribution of the exhibition makes it difficult to attempt to view it in its entirety as you are making your way around the city.# The architectural aspects make the city unique to the Biennale as well. Prominent Byzantine and Gothic influences are a constant reminder to the audience of the bond the event has with the city it is housed in. Having such an international and contemporary institution in a city strewn with these historical artistic periods creates a dramatic atmospheric quality that makes the Venice Biennale extraordinarily unique. From one show to the next, new artists are given space and freedom to transform their own tiny temporary worlds based on their artwork and vision. When thinking economically, art is used to promote certain cities. Commonly known as “The Sinking City,” Venice could not have been a better place to conduct the most widely known contemporary art show in the world. The amount of tourism that the Biennale brings in is essential to the survival of Venice with its financial needs for restoring and conserving the city’s structures after floods.
The integration of the art field on a global level resulted from communication system established from the Venice Biennale. There is a predisposition of looking at art purely as an object for the sack of an object rather than part of an ever linking chain of contacts.# Before the Venice Biennale, news of artistic styles and movements on a cross-cultural scale lacked efficient speed. Of course, generating an operation for art to reach a world-wide audience takes time to become a major information network, however the Biennale accomplished this further year by year at an extraordinary rate. Currently, the Biennale continues to grow, constructing new pavilions for first-time nations to participate within each exhibition edition. To have an organization running for so long and to maintain to adapt to the domain of global art will only strengthen the interaction from nation to nation and artist to artist to places and artistic styles like never previously done. Since the founding of the exhibition, the incorporation of innovative mediums grew to be more widely accepted. As time and exhibitions passed, the more the Biennale pulled toward inventive ideas, materials, and fields. As a result, the show began to plan towards the future and invited more avant-garde artists of their times. With the assimilation of a broader spectrum for contemporary mediums came the integration of multiple generations. Finally, an exhibition that incorporated not only the great works of well establish artists, generally much older in age, but also lesser known avant-garde artists whom usually much younger in age. This brought together works from artists with different perspectives on life, history, and art.
Connections between artists and their audience strengthened as a channel for information exchange evolved, using the Biennale as its tool. Over the course of the Biennale’s editions, a movement was made from public to private works allowing for those to be the core pieces shown. Previously, a majority of the artworks displayed were works completed under commission for people of the public. The committee for the exhibition pressed towards newfangled artwork and also tapered off from art shows of precedent times. Commissioned works were often publicized in other shows, leaving out the undiscovered factor for some of the viewers or critics. This created an environment for artist to display their own vision; uninterrupted from prior restrictions. In doing so, the artists and their audiences are brought into a more intimate relationship.# Part of building this interconnected communication center through photography, video, magazines, newspapers, and now the internet have made everything accessible. Accounts of artists’ studios and artworks have become exposed to global context and readiness to the public. These interconnections have not only allowed instantaneous information from the artist to their audiences, but in turn, furthered the international outlook on integration. There is furthermore a transfer of information that occurs amid the artwork and viewer when the work is seen in person. That information often crosses a thin line of contextual change once the press or public gets a hold of the works to distribute. Since art is, by nature, mobile in a physical and/or temporal sense, it is obviously subject to those contextual shifts. Art is not a permanent, and should not be treated or viewed as so. There is an unproven but concerning issue dealing with the result of wide spread dispersal and/or reproduction of artwork. It has been felt that by doing so, an overly informative network would deteriorate the original value of the work.# Is it not one of the purposes of creating art, to share with others to in turn create experiences for others to enjoy? Which ever way the exhibition is viewed, it cannot be denied that the Venice Biennale has advanced into an amazing communication tool for artists and the public to see what other artists are doing on a international basis. The Venice Biennale is directly used as an artistic medium for artists to convey their ideas on numerous degrees as a result.
Attendance is not only how many people visit the exhibition, but for the Venice Biennale, those masses of people move far beyond that. The amount of works sold and people that have visited the shows have continuously multiplied from year to year. From the extraordinary attendance and sales rates that have reoccurred, a level of achievement can be directly drawn as a result. Do to the successfulness of the Biennale, not only tourist and art lovers make appearances, but also more of the important members of the upper level art community. This means the Biennale’s reputation, whether it is in a positive or negative light, will be built upon by credible references of well-known artists, art critics, art dealers, art collectors, etc. from around the world that most likely will venture to the water paved streets of Venice to investigate and report their findings. Creating an artistic institution is an extremely strategic decision for a city to make. If successful, such as the Biennale has been, the exhibition will yield a large quantity of tourists. Hence, to a degree, the city will prosper economically from the on pour of people. Sales from artworks sold at the Biennale also have a percentage that is given to the exhibition and Venice. Even though it is located in such a magnificent and unparalleled setting, it does come with its countless problems when attempting to preserve its appearance. With a city like Venice that has its low population and unique maintenance problems, money is and has been a significant issue. For attendance records, it does not appear probable that numbers will decrease. Every year, the new wave of artwork brought into the city will constantly keep its status fresh and contemporary, unlike an establishment more similar to a museum might be.
Pressures from a show of the Venice Biennale’s magnitude often result in artists taking on patriotic representative roles. Weight is also placed upon countries to choose the best artists to stand for them. Each nation that participates in the exhibition has selected artists to invite in order to represent their country. Such a responsibility can lead the artist’s artwork into confronting situations about their nation’s political, economical, historical, social, and/or technological status. Making reflective statements about what is going on within their nation and how to represent that can be an overwhelming and touchy task to undertake. Raising such issues, the artist needs to decide if they will be objective or subjective in their execution with portrayal. Most controversy that is covered by the Biennale, as well as other substantial size exhibitions, are commonly the effects of those particular subject matters. Those are why most of the information and news about large standing exhibitions are usually about the argumentative art and not about the organizations or institutions themselves. Since the controversies of certain subject matter oriented art is one of the main focuses examined at the show, each artist wants to stand out and make statements that are unique to their homeland. Those pressures push the art to be individualized and censored subject matter that is segregated in their own pavilion. Serving as a delegate in an exhibition with such sound ideals consolidates nations by helping a nation open the world to its individual status in an educational way. On the other hand, that can to an extent, shut off and dismiss them as a form of political propaganda overkill which takes away from the art making purpose and/or process. Having the opportunity to represent one’s country in such an event as this is a privilege; it nonetheless, establishes an environment for their perspective to be shown through an artistic medium on a cross-cultural level.
Though the aim of the Venice Biennale has always been to bring the world together through the visual arts, its integration of multiple countries’ leads to segregation. With such a massive global event, differentiation will be easily noticed and a need for individualization will be formed. Thus, a structure must be created to keep the exhibition centralized on its beliefs. Geographical topics are once again brought up through Venice’s physical location and historical independence further differentiate the city from anywhere else in the world. Each Biennale has a curator chosen from a selected country, who themes and decides on particular artists to contribute work into the central exhibition building. Due to the fact each pavilion is under the control of its country, responsible for its artist representatives is held to their own nations. This ensures an invitational selection process over who exactly can participate in the Biennale. Disputes on the favoring and the creation of elite artists have been a reactions to the invitational measures. However, the Venice Biennale’s committee has the main control over the way it is presented and depending on who is part of it, their influences affect who is shown and how.
There is a separation between countries that transpires because it is a global event spilt into pavilions as well. Most pavilions have been constructed and reconstructed at various times. Over the many historical global periods the Biennale has been through, pavilions can become a national statement in reaction to those events. Some are built by famous architects, which usually reflect the time period and artistic styles by what they mean for each country. Artists and their work then become cut off to everyone else when enclosed within their country’s pavilion in their specific location within Venice. Essentially, pavilions are transformed into mini domains exclusive to each nation representing its own culture in a nonverbal manner. In turn, they are created on its own individual canal created islands and consequently further and restrict the communication interaction.
The media then comes into the picture when recording and making statements about the presented artwork. It has not been till recently in the passed couple years that the Venice Biennale has set up a website. From their site, an abundance of information can be acquired by the public such as press, newsletters, and historical archives. Though not the only resource on the Biennale, other subjective references can be discovered. For that reason, one of the most prevalent concerns about the Biennale is the way art is reported. National newspapers, magazines, journals, websites, etc. customarily render a short generalization about that biennial’s show, but then profoundly report their own country’s pavilion and artwork. By exclusively concentrating on their own nation, it defeats the purpose of participating in an international exhibition with the basis of exploring what is going on globally in the art world.
Signs of time can be apparent throughout the Biennales and in fact, cause questions segregation whether in positive or negative connotations. Nations are increasingly divided depending on what manner and type of subject matter the artist chooses. Because of phases of artic styles, depictions of contemporary dress or culture, etc. art is easily subject to the time periods in which it was created. With the advancement and acceptance of technology in the art field, less affluent areas may be behind on the cutting-edge facet of the avant-garde. Questions arise then if there be a lost sense of the artists hand in the work they create and if the Biennale should continue embracing this medium as more artwork become digitalized. Along with technological advancements, the progression of blurring age distinctions has amplified. The awarding of recognition through prizes has also raised issues over the progression of the Venice Biennale. Giving prizes is isolating an individual in praise. How the exhibition awarded prizes, how many were given, what they were given for, and what they consisted of has been altered throughout the years. The Venice Biennale, as with any organization that distributes awards, has been confronted with accusations of corruption. Competition is also apparent as a direct product when a reward is involved. It was not till about the last fifty years that a shift towards awarding younger generational artist became more accepted within the Biennale. Traditionally, honoring the more established, usually much older artist had always been the case.# Through that generational distinction then become evident through style, age, content, and medium, in turn, grouping artists into different age groups. Moving away from those beliefs acknowledges that artistic development is not solely reliant on time and age.#
Given all the areas of outcome the Venice Biennale produces, this artistic foundation has both held onto its original values or adapted to fit the context of the times. From the beginning, the exhibition was built on the standard of providing a place for a tremendous quantity of artwork from cross-cultural backgrounds.# As the show progressed, its embracement of the avant-garde intensified. The Biennale was and is intended to become an internationally traveled voyage as the viewer moves from one location to the next. Though maneuvering from one space to space is not always so lucidly accomplished, the experience remains. It has to be remembered that an organization based on international involvement to proficiently be accomplished time and time again, a structured set of ideals, plans, and communication systems need to be established and continuously adjusted to fulfill demands that arise from any state of affairs.# World wars, political differences, economic restraints, censorship, gender issues, social disruptions, and stylistic change only graze the surface of problems the Venice Biennale had to overcome. Through the exhibitions willingness and ability to adapt, its avant-garde ideals remain and will continue to shine.
In this day and age, artistic institutions are not available to contemporary artists on a similar level as the Venice Biennale. Having such a historical reputation juxtaposed with contemporary and future outlook on art, the Biennale becomes a sign of acknowledgment, it is enveloped into a temporal status. It has developed into an ensuing statement of the historical context of global culture. Just like the art it exhibits, the Biennale will continue to transform. Bringing people of the world together through the visual arts is significantly accomplished while maintaining a reasonable amount of separation which evades the configuration of a single international style. Having the ability to with stand so many changes in artistic content reassure the continued success of the exhibition. The essence of the organization with be lost if an exhibition is only looked at as individual artworks with their own specific meanings. A movement should be taken to step away from art at large scale exhibitions to examine the organization from which it is structured, to further progress its purpose and appreciate what it is accomplishing. From this reexamination, perhaps much of the controversies that create large issues in art community will be looked at with new eyes.
Bibliography
51. International Art Exhibition; Always a Little Further (San Marco: Fonazione La Biennale di Venezia, 2005).
51. International Art Exhibition; Participating Countries; Collateral Events; la Biennale di Venezia (San Marco: Fonazione La Biennale di Venezia, 2005).
51. International Art Exhibition; The Experience of Art (San Marco: Fonazione La Biennale di Venezia, 2005).
Alloway, Lawrence. The Venice Biennale 1895-1968; From Salon to Goldfish Bowl (Greenwich, Connecticut: New York Graphic Society LTD., 1968 L.A.).
Artefacta, un Viaggio Multimediale Dentro la Biennale di Venezia. TreccaniLab, 2007. http://www.treccanilab.com/biennale_di_venezia/. 21 November 2008.
Burne, Philippa. The Venice Biennale | Viator Travel Blog. Viator Travel Blog. http://travelblog.viator.com/the-venice-biennale/. 21 November 2008.
Eposizione Internazionale d’arte (1995 Edizioni La Biennale).
GrandTour. GrandTour, 2007. http://www.grandtour2007.com/welcome_01_en.html. 21 November 2008.
Houng, Cynthia. 52nd Venice Biennale (Part Two): Visual Arts | KQED Public Media for Northern CA. KQED Public Media for Northern CA, 2006, revised 2008. http://www.kqed.org/arts/visualarts/article.jsp?essid=18361. 21 November 2008.
Indian Art – Arts Trust online gallery featuring Indian Contemporary Art. The Arts Trust – Indian Contemporary Art, 2008. http://www.theartstrust.com/article4_venice_biennale.aspx. 21 November 2008.
Johnson, Andrew. Venice Biennale Director Storms Out Amid War of Words. The Independent | News | UK and Worldwide News | Newspaper, 2007, revised 2008. http://www.independent.co.uk/news/world/europe/venice-biennale-director- storms-out-amid-war-of-words-451539.html. 21 November 2008.
La Biennale di Venezia. La Biennale di Venezia, 2007, revised 2008. http://www.labiennale.org/en/. 21 November 2008.
Lacayo, Richard. Looking Around – TIME.com » Blog Archive Talking Bout the Biennale «. Looking Around – TIME.com, 2007, revised 2008. http://lookingaround.blogs.time.com/2007/04/24/talking_bout_the_biennale/. 21 November 2008.
Morris, Roderick Conway. Pushing boundaries at Venice Biennale – International Herald Tribune. International Herald Tribune – World News, Analysis, and Global Opinions, 2008. http://www.iht.com/articles/2005/06/13/features/venice.php. 21 November 2008.
Quattro Artisti Americani: Guston, Hofmann, Kline, Roszak; XXX Biennale Venezia 1960 Stati Uniti D’America (Washington D.C.: H.K. Press for the Baltimore Museum of Art in Collaboration with the International Council of the Museum of Modern Art, New York, 1960).
Regine. We Make Money Not Art: Venice Biennale 2007. We Make Money Not Art, 2007, revised 2008. http://www.we-make-money-not- art.com/archives/venice_biennale_2007/. 21 November 2008.
Szacka, Catherine. Venice Biennale: Art Dances With Politics at The Venice Biennale. ontheglobe.com, 2008. http://www.ontheglobe.com/notes/notes82.htm. 21 November 2008.
The 2007 Venice Biennale – New York Times. The New York Times – Breaking News, World News & Multimedia. http://www.nytimes.com/ref/arts/20070606_VENICE_GRAPHIC.html. 21 November 2008.
This Year’s Venice Biennale is Bigger, But Not Better – Times Online. Arts & Entertainment News, Features, Interviews | Times Online, 2007, revised 2008. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/arti cle1934628.ece. 21 November 2008.
Venice Biennale. Telegraph.co.uk: news, business, sport, the Daily Telegraph newspaper, Sunday Telegraph – Telegraph, 2008. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/exclusions/biennale07/nos plit/venice07.xml. 21 November 2008.
BIB on Biennale Friday, Nov 21 2008
Uncategorized 1:19 pm
Caitlin Cocco
Seminar:Venice
ARTH470Z
Bibliography
51. International Art Exhibition; Participating Countries; Collateral Events; la Biennale di Venezia (San Marco: Fonazione La Biennale di Venezia, 2005).
51. International Art Exhibition; Always a Little Further (San Marco: Fonazione La Biennale di Venezia, 2005).
51. International Art Exhibition; The Experience of Art (San Marco: Fonazione La Biennale di Venezia, 2005).
Andrew Johnson. Venice Biennale Director Storms Out Amid War of Words. The Independent | News | UK and Worldwide News | Newspaper, 2007, revised 2008. http://www.independent.co.uk/news/world/europe/venice-biennale-director-storms-out-amid-war-of-words-451539.html. 21 November 2008.
Artefacta, un Viaggio Multimediale Dentro la Biennale di Venezia. TreccaniLab, 2007. http://www.treccanilab.com/biennale_di_venezia/. 21 November 2008.
Catherine Szacka. Venice Biennale: Art Dances With Politics at The Venice Biennale. ontheglobe.com, 2008. http://www.ontheglobe.com/notes/notes82.htm. 21 November 2008.
Cynthia Houng. 52nd Venice Biennale (Part Two): Visual Arts | KQED Public Media for Northern CA. KQED Public Media for Northern CA, 2006, revised 2008. http://www.kqed.org/arts/visualarts/article.jsp?essid=18361. 21 November 2008.
Eposizione Internazionale d’arte (1995 Edizioni La Biennale).
GrandTour. GrandTour, 2007. http://www.grandtour2007.com/welcome_01_en.html. 21 November 2008.
Indian Art – Arts Trust online gallery featuring Indian Contemporary Art. The Arts Trust – Indian Contemporary Art, 2008. http://www.theartstrust.com/article4_venice_biennale.aspx. 21 November 2008.
La Biennale di Venezia. La Biennale di Venezia, 2007, revised 2008. http://www.labiennale.org/en/. 21 November 2008.
Lawrence Alloway, The Venice Biennale 1895-1968; From Salon to Goldfish Bowl (Greenwich, Connecticut: New York Graphic Society LTD., 1968 L.A.).
Philippa Burne. The Venice Biennale | Viator Travel Blog. Viator Travel Blog. http://travelblog.viator.com/the-venice-biennale/. 21 November 2008.
Quattro Artisti Americani: Guston, Hofmann, Kline, Roszak; XXX Biennale Venezia 1960 Stati Uniti D’America (Washington D.C.: H.K. Press for the Baltimore Museum of Art in Collaboration with the International Council of the Museum of Modern Art, New York, 1960).
Regine. We Make Money Not Art: Venice Biennale 2007. We Make Money Not Art, 2007, revised 2008. http://www.we-make-money-not-art.com/archives/venice_biennale_2007/. 21 November 2008.
Richard Lacayo. Looking Around – TIME.com » Blog Archive Talking Bout the Biennale «. Looking Around – TIME.com, 2007, revised 2008. http://lookingaround.blogs.time.com/2007/04/24/talking_bout_the_biennale/. 21 November 2008.
Roderick Conway Morris. Pushing boundaries at Venice Biennale – International Herald Tribune. International Herald Tribune – World News, Analysis, and Global Opinions, 2008. http://www.iht.com/articles/2005/06/13/features/venice.php. 21 November 2008.
The 2007 Venice Biennale – New York Times. The New York Times – Breaking News, World News & Multimedia. http://www.nytimes.com/ref/arts/20070606_VENICE_GRAPHIC.html. 21 November 2008.
This Year’s Venice Biennale is Bigger, But Not Better – Times Online. Arts & Entertainment News, Features, Interviews | Times Online, 2007, revised 2008. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article1934628.ece. 21 November 2008.
Venice Biennale. Telegraph.co.uk: news, business, sport, the Daily Telegraph newspaper, Sunday Telegraph – Telegraph, 2008. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/exclusions/biennale07/nosplit/venice07.xml. 21 November 2008.
Bruce Nauman Thursday, Nov 20 2008
Uncategorized 12:27 pm
Bruce Nauman
American contemporary artist Bruce Nauman was selected to represent the United States in the 53rd Venice Biennale in 2009 by the US Bureau of Education and Cultural Affairs on January 25, 2008. Performance, neon, drawing, sculpture, photography, and video are the basis for his art. Nauman previously won the Golden Lion back in 1999 in Venice’s Film Festival.
Check him out if you get a chance!
New Map of the Biennale Wednesday, Nov 19 2008
Uncategorized 11:22 pm
http://www.treccanilab.com/biennale_di_venezia/venezia.php
Map of The 2007 Venice Biennale Monday, Sep 29 2008
Uncategorized 1:37 pm
Ann Hamilton at the 1999 Venice Biennale Monday, Sep 29 2008
Uncategorized 9:31 am
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Paper Topic Monday, Sep 8 2008
Uncategorized 3:15 pm
My paper topic is going to address the history, controversies, and upcoming exhibitions concerning Venice’s Biennale. Being a Studio Art major, I feel like this would be the most helpful paper topic to explore. I’m hoping to become more familiar with contemporary artist and their work as well as fulfill my strong interest in Italy/Venetian history and culture. I’m interested to see where future exhibition are headed and how the exhibitions have changed over time. 
