Let’s start with the premise that Ydessa Hendeles is an artist. And why shouldn’t we? Is it the fact that she started as a dealer, then became a collector while operating as a curator with her own foundation, that leads to a resistance to this category being applied to her for what she does now? You have to admit hers is a highly unusual trajectory, in fact unique. Not since Marcel Broodthaers abandoned poetry in to become an artist have we witnessed such a phenomenon.
And it is phenomenal. But why the resistance? Nobody asks anymore “what is a work of art?” because the term now exceeds categorization. But we are so artist-centric that the question “who is an artist?” is still limited in application. So what is it that makes Hendeles an artist?
My question is rhetorical because there is nowhere near the resistance – if any – there was fifteen years ago when Hendeles, with her Teddy Bear Project, started to work in a way that was distinguishable, for some, from merely being a curator. But it is useful, all the same, to rehearse her trajectory and change of identity – because becoming an artist is a transformation of identity. But it was not the first.
The fir
Produktbeschreibung
The most comprehensive look to date at the artistic practice of Ydessa Hendeles, legendary art collector and pioneer of curating, abundantly illustrated with pictures of two of her a legendary collector of contemporary art, Ydessa Hendeles then became one of the pioneers of curating as an artistic practice. Building upon her concept of an exhibition as a curatorial composition, she developed a radical approach to art-making. In this book, Ernst van Alphen and Mieke Bal explore Hendeles´s art practice through in-depth analysis of her exhibitions, The Milliner´s Daughter in Toronto () and Death to Pigs in Vienna (). The authors make a compelling argument that these retrospective shows were each multilayered site-responsive artworks, in and of themselves, that presented parallel worlds composed of art objects and artifacts. Including contributions by Emily Cadger, Markus Müller and Gaëtane Verna, this book offers the most comprehensive look to date at Hendeles's innovative art b.: Emily Cadger, Markus Müller, Gaëtane Verna.
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Ydessa Hendeles: Same Difference
When I was a child, I was an autodidact. Each day I would cross the lawn on the way to school, and would figure out something else. Something else made sense to me. I loved that feeling of Ah, HA!—the feeling of epiphany when something fell into place and made sense—Ydessa Hendeles
When talking about “Same Difference,” an exhibition at that opened last spring for an indefinite run at Toronto’s Ydessa Hendeles Art Foundation, it’s probably best to start at the beginning.
I have very few pictures of myself, and there’s little before the war. I was part of the generation that was not supposed to exist, so I’ve tried to imagine what it was like before. What do I know and what do I want to know? This whole project is a question: What does it mean to live today, in this moment? I’ve tried to look to popular culture and see what it means to be alive today.
Ydessa Hendeles was born in Germany to mitteleuropäische Jewish parents in She is alive today at least in part because she was not born in Germany a few years earlier. She was brought as a toddler by her parents to Toronto, where she has lived and worked ever since.
So begins our Fall cover
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Ydessa Hendeles: Institute Of Contemporary Arts.
INSTITUTE OF CONTEMPORARY ARTS
As I entered Ydessa Hendeles's installation From her wooden sleep , ,1 instantly became extremely anxious. I was equally entranced. The darkened theater space of the ICA was filled with wooden artist's mannequins--from miniature, doll-size figures to adult-human scale, dating from to collected by Hendeles over the past twenty years. Most were seated on rows of low oak pews designed for children, their backs turned as they looked toward a lone beech and steel figure, with an easel holding a portrait of a man to its right. On either side of this figure were four high-backed American Arts and Crafts oak settles (designed by Gustav Stickley) with more mannequins sitting on them--like the choir surrounding an altarpiece--while various vitrines contained smaller mannequins. This meticulously staged scene conjured the forms and ritualistic drama of public communal spaces: places of worship, schools, theaters. Along the walls hung fairground mirrors that distorted the reflections of both the mannequins and their viewers. Three security guar
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