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Carole Ann Klonarides

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Carole Ann Klonarides
Born1951
Washington, DC
NationalityAmerican
EducationNew School for Social Research, Whitney Independent Study Program, Virginia Commonwealth University
Known forVideo art, curating, art writing
AwardsNational Endowment for the Arts Lila Wallace Reader's Digest Writers Award, Andy Warhol Foundation, Los Angeles Cultural Affairs

Carole Ann Klonarides (born 1951) is an American curator, video artist, writer and art consultant that has been based in New York and Los Angeles.[1][2][3] She has worked in curatorial positions at the Santa Monica Museum of Art (1997–2000) and Long Beach Museum of Art (1991–95), curated exhibitions and projects for PS1 and Museum of Modern Art (MOMA), Laforet Museum (Tokyo), and Video Data Bank, among others, and been a consultant at the Getty Research Institute.[1][4][3][5] Klonarides emerged as an artist among the loosely defined Pictures Generation group circa 1980;[6] her video work (often in collaboration with Michael Owen as MICA-TV) has been presented in numerous museum exhibitions, including "Video and Language: Video As Language" (LACE, Renaissance Society, 1986–7),[7][8] "documenta 8,"[9] "New Works for New Spaces: Into the Nineties," (Wexner Center for the Arts, inaugural exhibition, 1989), and "The Pictures Generation, 1974-1984" (Metropolitan Museum of Art, 2009), and at institutions such as MoMA,[10] the Smithsonian Hirshhorn Museum,[11] Contemporary Arts Center, the New Museum, The Kitchen, and School of the Art Institute of Chicago (2016).[12][1] Her work belongs to the permanent collections of MoMA, the Whitney Museum of American Art, Getty Museum, Centre Pompidou, Contemporary Arts Museum Houston, Museu-Fundacão Calouste Gulbenkian (Lisbon), Museo Nacional Centro de Arte Reina Sofía (Madrid), and National Gallery of Canada, and is distributed by the Video Data Bank and Electronic Arts Intermix (EAI).[10][13][14][1]

Early life and career

Klonarides was born in Washington, DC. In 1972, while an undergraduate at Virginia Commonwealth University, she moved to New York City and attended the year-long Whitney Independent Study Program.[1][15] She completed her BFA in Painting and Printmaking (1973) while still living in New York, and started working at various galleries, including OK Harris Gallery.[1] Klonarides began exploring video while working at the Brooklyn Museum Art School in the early 1970s; she organized a video panel, "A New Generation of Artists?" that included Lizzie Borden, Paula Cooper, Neil Jenney, and Joel Shapiro, and made her first video, Post-Show Depression, in 1975, documenting young artists Judy Rifka, Bill Jensen, Barbara Schwartz, and Porfirio DiDonna taking their first one-person shows down. She later worked late night clubs as a VJ (video jockey) and presented video programs in galleries, lofts, and as program director for the Artists' Television Network on Manhattan Cable Television.[4][16] In 1980, while attending the New School for Social Research (MA, Media Studies, 1983), Klonarides met Michael Owen and they formed MICA-TV, a video production company focused on making videos with contemporary artists.[1][16]

Curating

Klonarides has worked as an art and media curator for more than four decades; she has been listed among the west's top curators by the Los Angeles Times and CBS Los Angeles.[17][5] In 1983, she curated the show “Borrowed Time” at Baskerville + Watson, combining works by known artists Nam June Paik, Norman Rockwell and William Wegman with those of then-emerging artists, such as Louise Lawler, Richard Prince, and Aura Rosenberg; the show led to her being hired as gallery director and organizing exhibitions of Dike Blair, Carroll Dunham, Deborah Kass, and Sherrie Levine, among others from 1983–7.[18] She also organized "TV: For Real" for the Laforet Museum in Tokyo (1989) and curated the video programs "It's Evening in America" (1989) on the Reagan years and "The Alternative Voice" for Video Data Bank's "Video Drive-In" in New York's Central Park (1990).[19][4][1]

In 1991, Klonarides moved to California to accept a position as Media Arts Curator for the Long Beach Museum of Art (LBMA), which was known for its adventurous curatorial policy.[16][4] She organized the video exhibit, "The Call: Personal Insights on the Middle East and North Africa" (1992), which included works by Elia Suleiman and Jayce Salloum, Mona Hatoum, and Michel Auder; the Los Angeles Times noted the show for its post-Gulf War "reminders of the futility and agony of war, and the mindless level of political and media-created rhetoric."[20] Critic Christopher Knight described the subsequent multimedia exhibition, "Relocations and Revisions: The Japanese-American Internment Reconsidered"—with work by Margaret Honda, Rea Tajiri and Bruce and Norman Yonemoto—as "generous, provocative" and engaging.[21][16] "Sugar 'n Spice" (1993, co-curated by Noriko Gamblin) featured eleven Los Angeles women artists, including Jacci Den Hartog, Hilja Keading, Jennifer Steinkamp, Diana Thater, and Pae White) and was called "subversive in a sneakily anarchic way" by critic Cathy Curtis.[22][23] Klonarides also organized the LBMA shows, "Gary Hill: Sites Recited" (1993)—his first career survey—and "New California Video: 1994-1995."[24]

From 1997-2000, Klonarides served as Curator of Programming for the Santa Monica Museum of Art. While at SMMA, she organized performance events and exhibitions for Liza Lou, Andrea Bowers, Robert Mapplethorpe,[25] Pierre Huyghe, and Yoshitomo Nara,[26] among others and co-curated the influential show, "Mise en Scene: New LA Sculpture," with Bruce Hainley.[27][28][29][30] Independently, she curated a mid-career survey for George Stone at the Los Angeles Municipal Art Gallery (2003)[31] and organized a public installation of a Jessica Bronson's work in Old Town Pasadena (2004). In 2012, she worked with Dawn Kasper on "00:00 [RESET]," a performance series and website sponsored by LAX and the Getty Research Institute. She also curated "Che Mondo" (2013), an exhibition of contemporary photography for Los Angeles Municipal Art Gallery, and "Alex Slade: What City Pattern?" (2013) and "Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988)" (2016), both at Edward Cella Art + Architecture.[32][33][3] To celebrate the 40th anniversary of Semiotext(e) in 2014, Klonaridis organized the re-presentation of the 1978 Cine Virus film program, originally curated by Kathryn Bigelow and Michael Oblowitz, which was accompanied by multi-day conferences at both MoMA PS1 and CalArts's REDCAT Theater.[3]

Video work

Klonarides rose to prominence in the early 1980s for collaborative video productions with Michael Owen as MICA-TV, which fused pop culture, television formulas and genres—often subverting them—and contemporary art.[1] In earlier works (1981–6), they created video "portraits" of contemporary artists, such as Cindy Sherman,[34] Richard Prince,[35] Laurie Simmons,[36] and John Torreano,[37] that translated each subject's work into a televisual mode through specific aural and visual themes and formats, often with a sense of deadpan humor [and conceptual sophistication].[1] They collaborated with artists Dike Blair and Dan Graham and composer Christian Marclay on CASCADE/ Vertical Landscapes (1988), a postmodern, ironic ode to the contemporary American urban and suburban landscape.[38][39] The video structures a continuous flow of seamlessly edited and scored vertical movement—common to the artists' work—incorporating modern shopping malls, video arcades and pop culture products and was a co-production with the U.K.'s Channel Four for the series "Ghosts in the Machine."[38][40]

In later work, they created profiles of Vito Acconci, Joel Otterson, Mierle Laderman Ukeles, and others for the 1989 World Financial Center exhibition "The New Urban Landscape,"[41] and of Chuck Close (1991) and John Baldessari (1994) for MoMA. For The In-Between (1990), created for the opening of the Wexner Center for the Arts, MICA-TV collaborated with writer Susan Daitch on a contemporary, fractured Gothic narrative that mixed ideas from the building's architect, Peter Eisenman, imagery of the Center itself, and psychoanalytic processes.[42] MICA-TV has been recognized with grants from the New York State Council on the Arts, the National Endowment for the Arts and the New York Foundation for the Arts.[1]

In 1984, Klonarides, Lyn Blumenthal, and painter Ed Paschke produced the video Arcade, which was shown in documenta 8 and in the traveling exhibition, "Making Their Mark: Women Artists Move into the Mainstream, 1970-1985" (1989, Cincinnati Art Museum).[9][1] Artforum's Judith Russi Kirshner wrote of the video's recycled television and film imagery, location footage of Chicago "L" stations and computerized paintings by Paschke, "Flashing insights and lights, the ready-made imagery presents a sideshow of current concerns playing on the slippage between the televised and the real.”[43][44] In the 1990s, Klonarides produced several videos with Joe Leonardi in conjunction with shows she curated at the Long Beach Museum of Art, including the hour-long "Gary Hill: Sites Recited" (1994, with Gary Hill), "Choice Encounters: Selections from the LBMA Permanent Collection" (1993), and "Relocations and Revisions: The Japanese-American Internment Reconsidered" (1991).[24][21][16]

Writing

Klonarides has written about art and media for journals, magazines, and institutions including the Hammer Museum,[45] Santa Monica Museum of Art,[46] Long Beach Museum of Art,[23] the City of Los Angeles (COLA),[47][48] The J. Paul Getty Trust,[49] Ars Electronica,[50] Edward Cella Art + Architecture,[33][32] School of Visual Arts (New York),[51] and Center for Photography at Woodstock,[52] among others. She has authored catalogue essays on artists, including Anna Bialobroda,[53] Henry Coombes,[45] Julia Couzens,[54] Meg Cranston,[55] Theodora Varnay Jones,[56] Hilja Keading,[57] Nancy Macko,[58] Richard Prince,[33] Alex Slade,[32] Coleen Sterritt,[59] George Stone,[60] Andy Wing,[61] Bruce Yonemoto,[62][63] and Etienne Zack.[64] Her essays and reviews and interviews of artists and filmmakers Michel Auder, William Leavitt, Raúl Ruiz, Allen Ruppersberg, and Mungo Thomson have been published in Art Journal,[65] BOMB,[66][67] and X-TRA,[68] among other publications.

References

  1. ^ a b c d e f g h i j k l Electronic Arts Intermix. MICA-TV, Electronic Arts Intermix, Biography. Retrieved March 17, 2019.
  2. ^ Montalvo Arts Center. "Carole Ann Klonarides, Lucas Artists Fellow," Participants, 2015. Retrieved March 17, 2019.
  3. ^ a b c d Sterritt, Coleen. Coleen Sterritt, Santa Monica, CA: Griffith Moon, 2018, p. 163–8. Retrieved November 14, 2018.
  4. ^ a b c d Snow, Shauna. "Art Notes," Los Angeles Times, December 8, 1991. Retrieved March 17, 2019.
  5. ^ a b Burroughs Dena. "Best Art Curators In Los Angeles," CBS Los Angeles, October 29, 2012.Retrieved March 19, 2019.
  6. ^ Eklund, Douglas. The Pictures Generation, 1974-1984, New York: Metropolitan Museum of Art, 2009.
  7. ^ Ianco-Starrels, Josine. "'Eight Million Stories,'" Los Angeles Times, December 28, 1986. Retrieved March 17, 2019.
  8. ^ Los Angeles Contemporary Exhibitions. "Video and Language: Video As Language," Exhibition, 1986–7. Retrieved March 17, 2019.
  9. ^ a b documenta 8. Documenta 8, Kassel, Germany: Verlag und Gesamtherstellung, 1987. Retrieved March 17, 2019.
  10. ^ a b Metropolitan Museum of Art. Carole Klonarides, Artists. Retrieved March 17, 2019.
  11. ^ Smithsonian Institution. "Hirshhorn Revisits the 1980s with 'Brand New: Art and Commodity in the 1980s,'" Hirshhorn Muesum and Sculpture Garden, January 12, 2018. Retrieved March 17, 2019.
  12. ^ School of the Art Institute of Chicago. "Radiant Visions: Media Art from SAIC, 1965–Now," Programs, School of the Art Institute of Chicago, 2016. Retrieved March 17, 2019.
  13. ^ Whitney Museum of American Art. "MICA-TV, Cindy Sherman: An Interview 1980–81," Collection. Retrieved March 17, 2019.
  14. ^ Centre Pompidou. Carole Ann Klonarides, Collection. Retrieved March 17, 2019.
  15. ^ Huffman, Kathie Rae. "Kathy Rae Huffman in conversation about a history of video programs at the Long Beach Museum of Art," East of Borneo, June 16, 2008. Retrieved March 17, 2019.
  16. ^ a b c d e McKenna, Kristine. "Enhancing the Image of Video Art: Long Beach Museum's Carole Ann Klonarides has seen video undergo a big change, but it's largely unnoticed by the public," Los Angeles Times, July 4, 1992. Retrieved March 19, 2019.
  17. ^ Myers, Holly. "The Armory Center for the Arts reaches for the sky," Los Angeles Times, September 20, 2009, p. 49. Retrieved March 17, 2019.
  18. ^ Fraser, Andrea. "In and Out of Place." Art in America, June 1985, p. 125.
  19. ^ Klonarides, Carole Ann. "The Alternative Voice," Video Drive-In Program Guide, New York: Central Park SummerStage, 1990.
  20. ^ Curtis, Cathy. "INSIGHTS AND IMAGES : Video Exhibit Attempts to Explore Middle East Issues Without Taking Sides," Los Angeles Times, April 2, 1992. Retrieved March 17, 2019.
  21. ^ a b Knight, Christopher. 'Relocations' in Long Beach a Generous, Provocative Show," Los Angeles Times, May 21, 1992. Retrieved March 17, 2019.
  22. ^ Curtis, Cathy. "'Sugar 'n' Spice': Sensory Overload in Long Beach: Women artists offer open-ended reflections on power, sex and the relationship between imagination, experience," Los Angeles Times, April 1, 1993. Retrieved March 17, 2019.
  23. ^ a b Klonarides, Carole Ann. Sugar ‘n' Spice, Catalogue, Long Beach, CA: Long Beach Museum of Art, 1993.
  24. ^ a b Klonarides, Carole Ann with Joe Leonardi. "Gary Hill: Sites Recited," Electronic Arts Intermix, 1994. Retrieved March 19, 2019.
  25. ^ Finkel, Jori. "Mapplethorpe photos on view: Will they still shock?" Los Angeles Times, October 19, 2012.
  26. ^ Pagel David. "'Lullaby': Just the Right Cup of Tea," Los Angeles Times, April 10, 2000. Retrieved March 17, 2019.
  27. ^ Santa Monica Museum of Art. Mise en Scene: New LA Sculpture, Liz Craft, Bruce Hainley, and Carole Ann Klonarides, Santa Monica, CA: Santa Monica Museum of Art, 2000. Retrieved March 17, 2019.
  28. ^ Knight, Christopher. "A Web of Illusion," Los Angeles Times, June 28, 2000. Retrieved March 17, 2019.
  29. ^ Baker, Kenneth. "Just Look at the Sculpture and There Is Los Angeles," SF Gate, January 27, 2001. Retrieved March 17, 2019.
  30. ^ Roug, Louise. "The (quirky) object's the thing for a fresh crop of sculptors," Los Angeles Times, January 2, 2005. Retrieved March 17, 2019.
  31. ^ Muchnic, Suzanne. "Turning an artist's dream into 'Probabilities,'" Los Angeles Times, October 31, 2003. Retrieved March 17, 2019.
  32. ^ a b c Klonarides, Carole Ann. "A Walk in The Park," Catalogue essay, Alex Slade exhibition What City? Pattern, at Los Angeles: Edward Cella Art + Architecture, 2013, p. 41–43.
  33. ^ a b c Klonarides, Carole Ann. "Richard Prince, A Liar and A Thief, Written By An Accomplice," Catalogue essay, Richard Prince: The Douglas Blair Turnbaugh Collection (1977-1988), Los Angeles: Edward Cella Art + Architecture, 2016, p. 21–26.
  34. ^ Electronic Arts Intermix. landscapes Cindy Sherman: An Interview, MICA-TV, 1980–1, Titles. Retrieved March 17, 2019.
  35. ^ Electronic Arts Intermix. Richard Prince: Editions, MICA-TV, 1982, Titles. Retrieved March 17, 2019.
  36. ^ Electronic Arts Intermix. Laurie Simmons: A Teaser, MICA-TV, 1982, Titles. Retrieved March 17, 2019.
  37. ^ Electronic Arts Intermix. John Torreano: Art World Wizard, MICA-TV, 1986, Titles. Retrieved March 17, 2019.
  38. ^ a b Edward Cella Art + Architecture. MICA-TV, CASCADE/Vertical Landscapes, 1988 "Vernacular Environments, Part 1," Exhibition. Retrieved March 17, 2019.
  39. ^ Electronic Arts Intermix. CASCADE/Vertical Landscapes, MICA-TV, 1988 , Titles. Retrieved March 17, 2019.
  40. ^ Getty Library Catalog. CASCADE/Vertical Landscapes. Retrieved March 17, 2019.
  41. ^ Electronic Arts Intermix. The New Urban Landscape Exhibition, MICA-TV, 1989, Titles. Retrieved March 17, 2019.
  42. ^ Electronic Arts Intermix. The In-Between, MICA-TV, 1990, Titles. Retrieved March 17, 2019.
  43. ^ Kirshner, Judith Russi. "The Science of Fiction/The Fiction of Science, Video Data Bank," Artforum International, December, 1984.
  44. ^ Video Data Bank. Arcade, Lyn Blumenthal, Carole Ann Klonarides, 1984, Titles. Retrieved March 17, 2019.
  45. ^ a b Klonarides, Carole Ann. "Henry Coombes—June 12—September 7, 2008," Essay for Hammer Projects exhibition, "Henry Coombes," Los Angeles: Hammer Museum, 2008.
  46. ^ Klonarides, Carole Ann. "Foreword and Acknowledgments," Exhibition catalogue, East of the River, Chicano Art Collectors Anonymous, Santa Monica, CA: Santa Monica Museum of Art, September 15 – November 18, 2000.
  47. ^ Klonarides, Carole Ann. "Won Ju Lim: Casting Shadows," 2016 City of Los Angeles Individual Artist Fellowships, Los Angeles: City of Los Angeles, 2015, p. 39.
  48. ^ Klonarides, Carole Ann. "Tony de los Reyes," Catalogue essay, 2011 City of Los Angeles Individual Artist Fellowships, Los Angeles: City of Los Angeles, 2011.
  49. ^ Klonarides, Carole Ann. "California Video: Artists and Histories," eleven interviews and bios for J. Paul Getty Museum exhibition publication, California Video, Los Angeles: J. Paul Getty Trust, 2008.
  50. ^ Klonarides, Carole Ann. "Interstitial," Intelligente Ambiente, Catalogue, Ars Electronica 94, p. 162–166.
  51. ^ Klonarides, Carole Ann. "Twenty 20," School of Visual Arts 2015 BFA Fine Art Catalogue, New York: School of Visual Arts, p. 2–3.
  52. ^ Klonarides, Carole Ann. "Television: For Real,'" Center Quarterly, #38, Volume l0, Number 2, Woodstock, NY: Center for Photography at Woodstock, 1989, p. 23–25.
  53. ^ Klonarides, Carole Ann. "One Offs: The Composite Paintings of Anna Bialobroda," Catalogue, New York: Dominique Haim Chanin Fine Arts, 1997.
  54. ^ Klonarides, Carole Ann. "Legacy," Catalogue essay, Last Words: Julia Couzens, Sacramento, CA: University Library Gallery, California State University, 2017, p.4–5.
  55. ^ Klonarides, Carole Ann. "The Pleasure of Obvious Problems," Catalogue essay for Hot Pants in a Cold, Cold World: Meg Cranston Work 1987-2007, Artspace/Clouds, New Zealand & JRP Ringier, Switzerland, 2008.
  56. ^ Klonarides, Carole Ann. "I Can't It Is: Theodora Varnay Jones," Exhibition catalogue, Budapest, Hungary: Vasarely Museum, 1996.
  57. ^ Klonarides, Carole Ann. "Shattered Illusions: The Video Installations of Hilja Keading," Catalogue essay for Project Series 13: Hilja Keading, Claremont, CA: Pomona College Museum of Art, Montgomery Art Center, 2002.
  58. ^ Klonarides, Carole Ann. "Lore of the Bees: The Video Odyssey of Nancy Macko," Catalogue essay, The Fragile Bee, Lancaster, CA: Museum of Art and History, 2015, p. 22-26.
  59. ^ Klonarides, Carole Ann. "Still Point: Coleen Sterritt — Sculpture (2011-17)," Coleen Sterritt, Santa Monica, CA: Griffith Moon, 2018, p. 163–8. Retrieved November 14, 2018.
  60. ^ Klonarides, Carole Ann. "Probabilities: On the Brink of," Catalogue essay for George Stone Probabilities, Los Angeles: Los Angeles Municipal Art Gallery, Barnsdall Art Park, 2003.
  61. ^ Klonarides, Carole Ann. "Gleanings," Catalogue essay, Andy Wing—Works from 1954-1997, as part of Pacific Standard Time: Art in L.A. 1945-1980, Newport Beach, CA: Art Resource Group, 2011.
  62. ^ Klonarides, Carole Ann. "Of the Visible Invisible: the early work of Bruce Yonemoto," Catalogue essay, Bruce Yonemoto, Disappearance of Memory, Tokyo: NTT InterCommunication Center (ICC), Shinjuku-ku, 1999, p. 30–34.
  63. ^ Klonarides, Carole Ann. "A Place Where All Dreams Come True," Essay on Bruce Yonemoto, OMAG (Otis College of Art and Design Magazine), 2008. Vol. 5, p. 12–13.
  64. ^ Klonarides, Carole Ann. "Deep Storage—Location Unknown," Catalogue essay, Etienne Zack: The Sun Torn From The Sky, Calgary, AB, Canada: Esker Foundation, 2016, p. 49–51.
  65. ^ Klonarides, Carole Ann. "Is the Site Right?" Art Journal, College Art Association, Winter 1995, Vol. 54, No. 4, p. 77–78.
  66. ^ Klonarides, Carole Ann. "Michel Auder," Interview, BOMB Magazine, Summer 1994, p. 8–11.
  67. ^ Klonarides, Carole Ann. "Raúl Ruiz," Interview, BOMB Magazine, Winter 1991, p. 14–16.
  68. ^ Klonarides, Carole Ann. "William Leavitt, Allen Ruppersberg, and Mungo Thomson," Review for X-TRA, Volume 10, Number 3, Spring, 2008. p. 49–54.
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