Claremont Arts Fair Scrapbook
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D. Wigmore Fine Art, Inc
OUR POSTWAR FOCUS: THE 1960 s-1970 s Richard Anuszkiewicz Frederick Hammersley Sam Gilliam The 22 works in this exhibition reflect the gallery’s focus on the artists of the 1960s-1970s who participated in the inter - national debate on the course of abstract painting after Abstract Expressionism. This debate was framed by two major exhibitions: Clement Greenberg’s 1964 exhibition Post-Painterly Abstraction at the Los Angeles County Museum of Art and William Seitz’s 1965 exhibition The Responsive Eye at the Museum of Modern Art. Post-Painterly Abstraction took from Abstract Expressionism its large format and added open compositions with expan - sive, flattened planes of color, or “color fields.” Clement Greenberg championed this style, favoring “staining” where artists use as little pigment as possible and let the unprepared canvas absorb the paint. Other artists within the Color Field style refused to sacrifice the even, smooth, and controlled surfaces achieved with prepared canvases. By preparing the ground of their paintings, these artists went against Greenberg’s theories. The two opposing approaches to Color Field painting are shown in our exhibition. Greenberg’s “staining” is represented by Sam Gilliam’s (b. 1933) Red Linger , 1972 and Paul Reed’s (b. 1919) 16I , 1963, while Paul Jenkins’ (1923-2012) Phenomena Maimonides Mantle , 1979 and Phenomena Sufi Procession , 1974 are examples of the free-flowing color achieved with primed canvases. In addition to Color Field painting, the 1960s saw groups of artists return to geometric compositions. In California one of these geometric groups was called the Abstract Classicists. They reacted against the emphasis Abstract Expressionism had placed on personal emotions. -
The Factory of Visual
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Claremontier SPLIT DECISION Council Not in Agreement Over Police Management Contract C Claremont-Courier.Com See Page 3
Saturday 07-31-10 u 75 cents ourClaremontier SPLIT DECISION Council not in agreement over police management contract C claremont-courier.com See page 3 She’s a familiar CHS junior is t face, but in charge paving his own of a new place road on the way Story on page 5 to becoming one of the top Inside today’s paper young cyclists in California Newspapers play important watchdog role See page 2 See page 12 COURIERONLINE claremont-courier.com Vote in our new online Claremont poll Los Angeles County firefighters from stations 101 COURIER photo/Steven Felschundneff Dousing a and 186 attempt to knock down flames that have engulfed the garage of a home in the 3300 block of Mills Avenue on Tuesday in Claremont. It took 15 fiery hot spot minutes for crews to extinguish the blaze which caused major damage to the home. Story on page 4. Claremont COURIER/Saturday, July 31, 2010 2 1420 N. Claremont Blvd., Ste. 205B Claremont, CA 91711 (909) 621-4761 Office hours: Monday-Friday 9 a.m. to 5 p.m. Owners Martin and Janis Weinberger Editor and Publisher Newspapers continue to play important Peter Weinberger [email protected] Managing Editor watchdog role Kathryn Dunn [email protected] ’ve written many a column on the financial Newsroom plight of the newspaper industry over the past City Reporter I2 years. The overall situation has improved Tony Krickl somewhat because most media companies have [email protected] simply cut expenses drastically. This cost cutting Education and Sports Reporter by Peter Weinberger Landus Rigsby has offset the drop in advertising revenue due to [email protected] the recession and the Internet. -
The AIC Paintings Specialty Group POSTPRINTS VOLUME TWENTY
FM.indd Page 1 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FIVE 2012 The American Institute for Conservation of Historic and Artistic Works AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS FM.indd Page 1 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FIVE 2012 The American Institute for Conservation of Historic and Artistic Works AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS FM.indd Page 2 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works 2011-2012 Officers Chair LAURA RIVERS Program Chair KATRINA BARTLETT RUSH Assistant Program Chair MATTHEW CUSHMAN Secretary/Treasurer DAWN ROGALA Nominating Committee NICHOLAS DORMAN, Chair JOANNA DUNN, AND MARY MCGINN Listserv Moderator CHRIS STAVROUDIS Publications Chair BARBARA BUCKLEY Painting Conservation Catalog, Interim Project Director JUDY DION Web Editor CHRISTINA MILTON O’CONNELL Wiki Editor ERICA JAMES FM.indd Page 3 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Paintings Specialty Group POSTPRINTS V O L U M E T W E N T Y - F I V E 2 0 1 2 Papers Presented at the 40th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico May 8-11, 2012 Compiled by Barbara Buckley AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS Copyright © 2015 by the Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works, 1156 15th St., NW, Suite 320, Washington DC 20005. -
Rupert Deese
RUPERT DEESE Born in Upland, California, 1952 EDUCATION 1976 University of California at Santa Barbara, M.F.A. 1974 University of California at Santa Barbara, B.A. 1994 Artist-in-Residence, Chinati Foundation, Marfa, Texas SOLO EXHIBITIONS 2012 “Array 1000,” Project Space, Nancy Hoffman Gallery, New York Nancy Hoffman Gallery, New York 2007 “Full Circle: Prints from Manneken Press,” Reese Bullen Gallery, Humboldt State University, Arcata, California; traveling to Marty Walker Gallery, Dallas, Texas; Diboll Art Gallery, Loyola University, New Orleans, Louisiana Nancy Hoffman Gallery, New York 2004 Compact Gallery, San Luis Obispo, California Nancy Hoffman Gallery, New York 2003 Project Space, Nancy Hoffman Gallery, New York 2001 Nancy Hoffman Gallery, New York “On the Wall,” Tobey C. Moss Gallery, Los Angeles 1999 “Rupert Deese: Recent Prints,” Project Space, Nancy Hoffman Gallery, New York 1997 Nancy Hoffman Gallery, New York 1994-95 The Chinati Foundation, Marfa, Texas 1991 “Southern Sierra Nevada Rivers: preparatory studies from geological and geographical information,” Franklin & Marshall College, Lancaster, Pennsylvania 1990 Nancy Hoffman Gallery, New York 1986 Nancy Hoffman Gallery, New York 1981 Cuesta College Art Gallery, San Luis Obispo, California 1980 San Luis Obispo Art Center, California 1976 Art Gallery, University of California, Santa Barbara GROUP EXHIBITIONS 2016 “Tiny Treasures,” Nancy Hoffman Gallery, New York 2015 “In the Pink,” Nancy Hoffman Gallery, New York 2014-15 “Cutout/Decoupage,” Nancy Hoffman Gallery, New York -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
Oral History Interview with Harrison Mcintosh
Oral history interview with Harrison McIntosh Funding for this interview provided by the Pacific Art Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ..................................................................................................... -
October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code
demonstrate the stages in the development of the fin The.:. Tational ished work, This material will become part of the per manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand copy to ACC for a study leading to a possible Na October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best. -
The Summer Reading Issue
US $30 The Global Journal of Prints and Ideas July – August 2019 Volume 9, Number 2 The Summer Reading Issue: Recommended Reading for the Print-Curious, from History to Fiction Léon Spilliaert in the Margins • Turning the Pages with Ed Ruscha • Jan Svenungsson • Prix de Print • News THE LARGEST INTERNATIONAL ART FAIR CELEBRATING 500 YEARS OF PRINTMAKING OCTOBER 23–27 2019 JAVITS CENTER I NEW YORK CITY EXHIBITORS Alan Cristea Gallery Goya Contemporary/ Paulson Fontaine Press Alice Adam Ltd. Goya-Girl Press Paupers Press August Laube Buch Graphicstudio/USF Polígrafa Obra Gráfica & Kunstantiquariat Harris Schrank Fine Prints R. S. Johnson Fine Art Bernard Jacobson Graphics Hauser & Wirth Redfern Gallery Ltd. Brooke Alexander, Inc. Hill-Stone, Inc. Ruiz-Healy Art C. G. Boerner Isselbacher Gallery Scholten Japanese Art Carolina Nitsch Jim Kempner Fine Art Shark's Ink. Catherine Burns Fine Art John Szoke Gallery Sims Reed Gallery Childs Gallery Krakow Witkin Gallery Sragow Gallery Cirrus Gallery Kunsthandlung Stanza del Borgo Crown Point Press Helmut H. Rumbler Stoney Road Press David Tunick, Inc. Lelong Editions STPI Dolan/Maxwell Marlborough Graphics Susan Sheehan Gallery Durham Press, Inc. Mary Ryan Gallery Susan Teller Gallery Emanuel von Baeyer mfc-michèle didier Tamarind Institute Flowers Gallery Mike Karstens Tandem Press Flying Horse Editions/UCF Mixografia® The Old Print Shop, Inc. G. W. Einstein Company, Inc. Niels Borch Jensen The Tolman Collection of Tokyo Gallery & Editions Galeria Toni Tàpies - Edicions T Thomas French Fine Art Osborne Samuel Ltd. Galerie Maximillian Two Palms Pace PrintsParagon Galerie Sabine Knust Universal Limited Art Editions, Inc Paramour Fine Arts Gallery Neptune & Brown Ursus Rare Books Paul Prouté s.a. -
Newsletter/Spring 2016 the DAS DAS DAS News the Decorative Arts Society, Inc
newsletter/spring 2016 Volume 24, Number 1 Decorative Arts Society The DAS DAS DAS news The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of, and the exchange of DAS sees changes on board, information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. is at peak of service and vitality Please send change-of-address information by e-mail to [email protected]. or the past 10 years, I have had to the chairs of the Robert C. Smith for the fall Board of Directors Gerald W. R. Ward Editor the honor and pleasure to serve and Charles F. Montgomery Award of 2016: to President Senior Consulting Curator Gerald W. R. Ward as president of the Decorative committees, and to Gerry Ward and New Haven, Senior Consulting Curator & F Susan P. Schoelwer Katharine Lane Weems Senior Curator of Arts Society (DAS). Believing strongly Ruth Thaler-Carter for their dedica- CT, to see Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator American Decorative Arts and - tion in bringing out each new issue of the exhibi- Sculpture Emeritus of American Decorative Arts and George Washington’s Mount Vernon cial to every organization (not to men- the newsletter. tion Art and Museum of Fine Arts, Boston Sculpture Emeritus Mount Vernon, VA that changes in leadership are benefi Boston, MA Museum of Fine Arts, Boston I owe special thanks to Nicholas Industry Boston, MA decided to step down. -
Frederick Hammersley Paintings and Works on Paper 26 April – 24 June 2017
FOR IMMEDIATE RELEASE April 2017 Media Contact: Christina Carlos Telephone: 310-822-4955 Email: [email protected] FREDERICK HAMMERSLEY PAINTINGS AND WORKS ON PAPER 26 APRIL – 24 JUNE 2017 OPENING RECEPTION: WEDNESDAY, 26 APRIL, 6-8 PM VALET PARKING Self portrait & canvas, 1950, oil on cotton in artist-made frame panel 19 x 15 in. (48.3 x 38.1 cm), frame: 20 x 16 in. (50.8 x 40.6 cm) Venice, CA -- L.A. Louver is pleased to present Frederick Hammersley: Paintings and Works on Paper, our most comprehensive exhibition of the artist’s works to date. Featuring nearly 100 works produced by Hammersley, on view are paintings, works on paper, computer drawings, prints and photographs. Spanning the six decades in which Hammersley actively produced art, this exhibition provides the rare opportunity to view the full scope of his life’s work. Hallmarks from the artist’s career are well represented -- from an early still life painting titled First still-life (FT Hall, ID), 1937, and a selection of lithographs from 1949/50; to an early “hunch” painting, Four, 1954, and his first ever collage “cut up” painting from 1964. A number of 1969 computer generated drawings are on view, along with organic and geometric paintings dating from the ‘60s to the ‘90s, and prints he created with Tamarind Institue in the ‘80s. Also included are Hammersley’s black and white photographs from his WWII army days to his domestic life in Albuquerque, New Mexico; as well as a complete range of drawings he made throughout his lifetime. -
Oral History Interview with Milford Zornes, 1965 June 30
Oral history interview with Milford Zornes, 1965 June 30 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Milford Zornes on June 30, 1965. The interview took place at his home in Claremont, California, and was conducted by Betty Lochrie Hoag for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview BETTY HOAG: This is Betty Lochrie Hoag on June 30, 1965 interviewing Milford Zornes at his home in Claremont. Mr. Zornes, do you use a middle name? MILFRED ZORNES: No. I just sign my name Milford Zornes. MS. HOAG: Do you have one officially for the record? MR. ZORNES: My middle name is James, my first name rather is James, but I stay away from that or people call me James. MS. HOAG: Well, in case anyone is ever hunting for a birth certificate or something we have that. Mr. Zornes is not only one of the leading artists in California today and has been for a long time, but he also has achieved the interesting accomplishment of having done more paintings under the Federal Art Project than any other artist in America, and he assured me this is because they are watercolors. I don't know. We're going to ask him more about it later. He also did some of the post office murals which we'll talk about.