137:. Each pot was made of broken dishes and filled with medicinal plants. In one of her signature series, she only used discarded teacup handles and coffee mugs. Her new ceramic work utilities high-fired, handmade porcelain buttons attached to canvases, incorporating such so-called prosaic skills as sewing while also addressing the issue of how things get held together. Bankemper's ceramic mosaics follow her love of nature. Working in the way a collagist might, she starts to dress the cloak of the vessel with her vocabulary of images, contemporary china, hand built objects, castings from molds. Bankemper creates an original tableau in ceramic. These are not simple pieces; they are complex tapestries of life. David Cohen states, "the pristine kitsch of each piece is preserved while the juxtaposition with the accumulated fellows in an exuberant hierarchy amounts to a glorious sum greater than its individual parts."
113:, an arts district in Manhattan, in 1993 when she undertook three public garden projects using the 'art and life' model of the Situationist movement. Bankemper created 'situations' in real time, challenging how art functioned. She did this by bringing the garden, or living elements, into the gallery and by bringing concepts of art to the environment. Through these gardens, she wanted to emphasize the healing potential of herbal medicine and the history of women practicing healing arts as herbalist. Christine Temin wrote: "She believes growing things is good for you".
26:. Her early 'social practice' or site specific garden/art installations blurred the boundaries of art and life. Bankemper is a 'situationist' and her ceramics are artifacts of a situation. In a 1994 review by Roberta Smith of The New York Times, Smith wrote "Bankemper is a veteran creator of idiosyncratic gardens, often portable. She is especially adept at recycling broken crockery and flowerpots into fantastical planters that are homages to Gaudi and Simon Rodia."
149:. It is a 150 year old farm, located in the Hudson Valley of New York. Bankemper says "the barn is a place where 'culture and horticulture meet'", where sustainable farming is not only theorized but practiced. She continues to cultivate gardens, ceramics and 'conversations' at the Barn, often including visual artists, farmers and culinary experts.
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by racing it in real time on a dirt track. Scarpitta's repeating act of racing a car, exhibiting it in a museum or at Leo
Castello Gallery, then immediately racing it again on a dirt track, qualify him as an early 'situationist'. Bankemper was a founding member of the historic Scarpitta/Castelli race team.
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Bankemper has committed her practice to the intersection of nature and culture in private and public realms. Through her community gardens, eco-activism and recycled sculptural objects, Bankemper has transformed abandoned lots, urban rooftops, overlooked historic sites, derelict parks and industrial
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as a member of the pit crew and documenting dirt track sprint car racing. She made videos and "videograms" about "art and racing" exploring speed, competition and high risk: art and racing. In 1985, Scarpitta pushed the boundaries of art by taking an 'art object', a race car, and making it functional
169:, NY. Bankemper had two solo exhibitions with Nancy Hoffman in 2007 and 2011; her objects are included in numerous private collections. Bankemper has exhibited environments and aspects of her social practice with Amy Lipton Fine Art.
120:, Kathryn Hixson said "Throughout her ongoing projects, blending nature and humanity, Bankemper's idealism continues to stretch the rules of what art can be, from a simple pot to a transformational experience of nature."
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Out of her 'social practice', Bankemper makes ceramic 'artifacts'. Initially, the ceramic urns were produced for Brent
Sikkema Gallery, NY, then Wooster Gardens, in response to the many friends who died of
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Prior to moving to NYC, Bankemper maintained a studio in
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101:. Previews of the videos are posted on Vimeo: Sal is Racer, Racer's Tattoo, Potato Masher, Message to Leo, Crash.
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551:"HOW DOES THE GARDNER GROW? JOAN BANKEMPER'S FERTILE VISION GIVES RISE TO SENSUAL PAINTINGS AND FUNKY SCULPTURE"
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Bankemper's site specific installations and gallery exhibitions include "A Medicinal Garden" with
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229:"Nature Morte: Contemporary artists reinvigorate the Still-Life tradition"
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She received grants from the
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In 2015, Bankemper wrote her accounts of those racing years in
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Bankemper's videos and videograms have been exhibited at the
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291:. New York, NY: Edgewise Press, Inc. pp. 33, 38, 115.
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526:"Isabella Stewart Gardner Museum : Bankemper, Joan"
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Upon moving to NYC, Bankemper's gardening art began in
316:. Milan: Padiglione d'arte Contemporanea. p. 46.
181:, she received the 'Judges Choice' award in 2004 in
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In 2010, Bankemper received the Gabi Award from the
254:"ART REVIEW; Anchor and Balm For Restless Souls"
484:"Scarpitta / Bankemper: Message to Leo preview"
448:"Scarpitta / Bankemper: Racer's Tattoo preview"
466:"Scarpitta / Bankemper: Potato Masher Preview"
430:"Scarpitta / Bankemper: Sal is Racer Preview"
328:"Salvatore Scarpitta: Traveler Opening Night"
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634:: CS1 maint: multiple names: authors list (
97:and ten "videograms" derived from the video
22:is an American artist living and working in
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612:"Joan Bankemper | Nancy Hoffman Gallery"
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354:Salvatore Scarpitta: catalogue raisonné
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34:Joan Bankemper was born and raised in
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188:Artist in residence awards include:
1022:21st-century American women artists
351:Scarpitta, Salvatore (2005-01-01).
38:in 1959. She earned a BFA from the
674:"SmackMellon.org :: Foodshed"
549:Temin, Christine (July 14, 2000).
524:www.tendercreative.com, TENDER -.
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68:The Museum of Contemparty Art, LA
44:Maryland Institute College of Art
1012:Kansas City Art Institute alumni
252:Smith, Roberta (4 August 1995).
116:While an artist in residence at
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857:"Joan Bankemper » Artpace"
193:Isabella Stewart Gardner Museum
163:Isabella Stewart Gardner Museum
815:"New Museum - Digital Archive"
553:. Boston Globe. Archived from
210:The George Sugarman Foundation
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398:www.marianneboeskygallery.com
314:Salvatore Scarpitta 1958-1985
72:The Detroit Institute of Arts
905:"George Sugarman Foundation"
572:. San Antonio, TX: Art Pace.
202:McColl Center for Visual Art
179:McColl Center for Visual Art
85:, the book was published by
42:in 1982 and an MFA from the
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616:www.nancyhoffmangallery.com
91:Scarpitta/Bankemper: 5 + 10
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1002:Artists from New York City
40:Kansas City Art Institute
568:Hixson, Kathryn (1998).
357:(in Italian). Mazzotta.
287:Bankemper, Joan (2016).
64:Leo Castelli Gallery, NY
30:Early life and education
233:Thames & Hudson USA
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557:on September 11, 2016.
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819:archive.newmuseum.org
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332:THE HIRSHHORN INSIDER
289:A Good Run: 1983-1990
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76:Hirschhorn Museum, DC
378:diGenova, G (1990).
312:Gualdoni, F (1985).
212:, Novato, CA, 2001.
945:Edgewise Press, Inc
698:"Black Meadow Barn"
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216:References
591:Wray Ward
46:in 1985.
953:Archived
795:cite web
630:cite web
128:Ceramics
118:Artpace
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263:2 June
173:Awards
780:(PDF)
773:(PDF)
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135:AIDS
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