Annette Lemieux

Annette Lemieux
250px Annette Lemieux, 2015. Photo by Elyse Harary.
Born	1957 Norfolk, Virginia
Nationality	American
Movement	Pictures Generation
Website	http://annettelemieux.net/

Annette Lemieux (born 1957 in Norfolk, Virginia) is an American artist who emerged in the early 1980s generation of “picture theory” artists (David Salle, Jack Goldstein, Cindy Sherman, Barbara Kruger, Richard Prince). Lemieux brought to the studio a discipline equally based on introspection, and the manifestations of an ideological minimalism. Process is a key component in the execution of her works over the past three decades, creating the lure to the confrontation of issues of social and historical urgency. Lemieux has been the recipient of awards from the National Endowment of the Arts and Brown University as well as an honorary Doctorate in Fine Arts from Monserrat College of Art. Presently, in addition to her studio and exhibition schedule, she is a senior lecturer at Harvard University in the area of visual and environmental studies.

Lemieux is represented by Kent Fine Art in New York.

Early life

Annette Rose Lemieux was born in Norfolk, Virginia. Her father Joseph was in the Marines, and the family lived in a house close to the base. When Lemieux's father was called overseas, her mother, Margaret, moved with their two daughters - Annette and Suzette - to her hometown of Torrington, Connecticut. Later on, she received her Bachelor of Fine Arts in painting from the University of Hartford in Connecticut.

Work

In early works like, It’s a Wonderful Life,1986 [named after the 1946 Frank Capra film], Lemieux incorporated multiple forms of popular media to create a narrative in the form of self-doubt, personal vulnerability, along with an awareness of the absurdist political/religious/economic histories we accumulate as a civilization in a never-ending current. Following the legacies of Robert Rauschenberg and John Cage, she works to narrow the gap between “art” and “life”. Lemieux's works resist the traps of a “signature style,” and she has referred to her shows looking more like group shows rather than a single artist's. Her work surprises us, challenges her audience to keep up, and resists the conformity of the brand. As stated by Peggy Phelan, “For Lemieux, the art object offers her thoughts and feelings a way to travel . . . Art is her way of responding, both publicly and intimately, to the ongoing predicament of our lives”.

Lemieux works from a repertoire of real objects and images from films and books featuring reproductions of historical photographs from the forties and fifties, which she calls her “landscape.” Her practice reflects a deep commitment to content and well as process, incorporating intellectual analyses of social codes with an emphasis on psychological and emotional content. Fundamentally interdisciplinary in content and form, Lemieux’s work is a continual exploration and explication of our cultural constructs and how objects that reflect the self define the self within the culture. In her review of Lemieux's major retrospective "The Strange Life of Objects," Elizabeth Michelman explains that, "[In] addressing her content-laden material systematically, not sentimentally, Lemieux places objects and images in predicaments that are highly structured and memorable. In both two- and three-dimensional formats, she appropriates and wittily recontextualizes furnishings, texts and photographs rescued from history, popular culture and personal records."

In her recent show entitled Unfinished Business at the Carpenter Center, Harvard University, Lemieux explored the territory between object, mediated memory, personal experience and cultural history that has informed her practice for three decades. Lemieux’s objects and imagery derive directly from the world as it exists, not from the recesses of a private imagination that must search itself to produce the substance of invented images. With representative examples of her work in over 50 public collections, Lemieux has been the focus of two recent exhibitions organized by the Krannert Art Museum and Harvard University.

Collections

Lemieux's work can be found in the permanent collections of numerous art museums, including the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Victoria & Albert Museum, London; Walker Art Center, Minneapolis; Solomon R. Guggenheim Museum, New York; Yale University Art Gallery, New Haven; New York Public Library; Museum of Contemporary Art; Chicago, Museum of Fine Arts, Boston; Fisher Landau Center, Long Island City, as well as many other museums throughout the world. Additionally, she has received awards and grants from the National Endowment for the Arts, Brown University, and the Kaiser Wilhelm Museum, as well as other institutions. In 2009, she also received an honorary Doctorate in Fine Arts from Montserrat College of Art as well.

Recent Exhibitions

• Everybody wants to be a catchy tune. Kent Fine Art, New York, (2015)
• A Brief History of Humankind from the Collections of The Israel Museum. Israel Museum, Bella and Harry Wexner Gallery, Jerusalem (2015)
• THEOREM. [Mana Contemporary], Jersey City, NJ (2015)

Literature

• Heynen, Julian. Ein Ort der denkt. Stuttgart: Krefelder Kunstmuseen, 2000.
• Hillstrom, Laurie C, and Kevin Hillstrom. Contemporary Women Artists. Detroit: St. James Press, 1999.
• Homburg, C. The Matter of History. St. Louis, Missouri: Washington University Gallery of Art.
• Janson, H.W. The History of Art. New York: Harry N. Abrams, Inc. 4th and 5th editions, 1991, 2009.
• Lafo, Rachel R, Nicholas J. Capasso, and Jennifer Uhrhane. Painting in Boston: 1950-2000. Lincoln, Mass: DeCordova Museum and Sculpture Park, 2002, pp. 111, 170, 198-200, 217, 230, 244.
• Le, Thorel-Daviot P. Contemporary Artist 500. Paris: Larousse-Bordas, 1996.
• Lemieux, Annette. Memoirs of a Survivor. San Francisco, Calif.: ZG Publications, 1989.
• Lemieux, Annette, Lelia Amalfitano, Judith H. Fox, Rosetta Brooks, Peggy Phelan, Robert Pincus-Witten, and Lucy Flint-Gohlke. The Strange Life of Objects: The Art of Annette Lemieux. Champaign, Ill: Krannert Art Museum and Kinkead Pavilion, 2010.
• Lucie-Smith, Edward. Art Today. Phaidon Press Limited, 1995, ill. p. 323.
• Miller, Dana, Salvo D. M. De, and Joseph Giovannini. Legacy: The Emily Fisher Landau Collection. New York: Whitney Museum of American Art, 2011, pp. 158 – 161.
• Moos, David. Annette Lemieux: Time To Go. Modena, Italy: Emilio Mazzoli Galleria d'arte contemporanea, 1994.
• Morgan, Jessica. Collectors Collect Contemporary: 1990-99. Boston: Institute of Contemporary Art, Boston, 1999.
• Neidhardt, Jane E. and Lorin Cuoco. The Dual Muse, The Writer As Artist - The Artist As Writer. St. Louis: Washington University Gallery of Art, 1997.
• Oliva, Achille Bonito. Superart. Milan: Giancarlo Politi, 1988, ill. pp. 42, 48, 116-118.
• Paneque, Guillermo. Entre Chien Et Loup: Works from the Meana Larrucea Collection. Madrid: Iberdrola, 2011, pp. 202, 220 – 221.
• Peters, Thomas J. Reinventing Work: The Brand You 50, Or, Fifty Ways to Transform Yourself from an Employee into a Brand That Shouts Distinction, Commitment, and Passion! New York: Knopf, 1999.
• Philbrick, Harry and Princenthal, Nancy. Landscape Reclaimed: New Approaches to an Artistic Tradition. Ridgefield, CT: The
• Prather, Marla. History of Modern Art. New York: Harry N. Abrams, Inc., 1996, 1998.
• Princenthal, Nancy, and Jennifer Dowley. A Creative Legacy: A History of the National Endowment for the Arts Visual Artists' Fellowship Program, 1966-1995. New York: H.N. Abrams with the National Endowment for the Arts, 2001, pp. 148, 183.
• Richer, Francesca, and Matthew Rosenzweig. No. 1: First Works by 362 Artists. New York: D.A.P./Distributed Art Publishers, 2005, p. 214.
• Romano, Gianni. Crisis and Desire. Post Media. Milan, Italy, 1995.
• Rosenthal, Mark. Abstraction In the Twentieth Century: Total Risk. New York: The Solomon R. Guggenheim Museum, 1996, ill.p. 233.
• Schor, Mira. Wet: On Painting, Feminism, and Art Culture. Durham, NC: Duke University Press, 1997.
• Schjeldahl, Peter. Columns and Catalogues. "Annette Lemieux." Great Barrington, MA: The Figures, 1994.
• Sorin, Gretchen S, Helen M. Shannon, and Dr W. L. Leonard. In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King Jr. Atlanta, Georgia: Tinwood, 2001, ill. p. 197.
• Vergino, Lea. From Junk to Art. California :Museoi Arte Moderna e Contemporanea di Trento e Rovereto, Gingko Press Inc, 1997.
• Wolf, Sylvia. Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001. Munich; New York: Prestel, 2002, p. 156.

External links

• Annette Lemieux: Official Website
• Kent Fine Art: Annette Lemieux
• Annette Lemieux: "Everybody wants to be a catchy tune."
• Artists in Conversation: Two Photographs by Annette Lemieux. BOMB 18 (Winter 1987)
• Duets: Annette Lemieux with Francine Koslow Miller in Art New England