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Exhibitions.Cwk
SELECTED SOLO EXHIBITIONS: ELLEN LANYON 2011 “Index Extended” Printworks Gallery, Chicago IL 2010 “Curiosities” Pavel Zoubok Gallery, New York, NY 2009 “The Persistence of Invention” The Century Association, New York, NY 2008 “At The Sign of The Hat” Valerie Carberry Gallery, Chicago 2007 “Ellen Lanyon A Wonder Production” Curator & Catalog essay, Esther Sparks. Brauer Museum, Valparaiso Un & The Washington County Museum, Hagerstown MD “More Strange Games" Printworks Gallery, Chicago 2005-2006 "Paintings 1960-1990",Metropolitan Capital Bank, Chicago "Paintings of the 1960s" Valerie Carberry Gallery, Chicago IL "Wonders of the World" Jan Abrams Fine Arts, New York NY 2003 "INDEX" Prints and Books, Printworks Gallery, Chicago 2001 "Recent Paintings" Jean Albano Gallery, Chicago IL 2000 "Riverwalk Gateway Project", Chicago Cultural Center, Chicago, IL 1999-00 Retrospective: National Museum for Women in the Arts, Washington, DC (Catalog: essay by Debra Bricker Balken) 1999 "Paintings: 1969 &1999" Jean Albano Gallery, Chicago IL "New Works On Paper" Printworks Gallery, Chicago IL 1998 Adrian College, Adrian MI 1997 "Peregrine Proposals", Ute Stebich Gallery, Lenox, MA “Archaic Gardens / Recent Paintings", Andre Zarre Gallery, New York NY "Recent Paintings", Jean Albano Gallery, Chicago IL "Anatomy of an Exhibition" Centro Cultural Costarricense Norteamericano, San Jose, Costa Rica 1996 "Archaic Garden" collaboration with architect Laurence Booth, TBA Space, Chicago 1994 Andre Zarre Gallery, New York NY University of Iowa Museum of Art, Iowa City IA 1993 Printworks Gallery, Chicago IL Struve Gallery, Chicago IL 1992 Berland-Hall Gallery, New York,NY (Catalog essay by Eleanor Heartney) Sioux City Art Center, Sioux City IA 1990 "Works on Paper 1960-1990, Struve Gallery, Chicago IL 1989 Printworks Ltd, Chicago,IL Julian Pretto / Berland- Hall, New York NY Union League Club, Chicago IL 1987-88 "The Art of Ellen Lanyon: Strange Games" Retrospective. -
Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso
University of Texas at El Paso From the SelectedWorks of Anne M. Giangiulio 2006 'Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso Available at: https://works.bepress.com/anne_giangiulio/32/ Contemporary Ceramic Sculpture Organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso This publication accompanies the exhibition Multiplicity: Contemporary Ceramic Sculpture which was organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso and co-curated by Kate Bonansinga and Vincent Burke. Published by The University of Texas at El Paso El Paso, TX 79968 www.utep.edu/arts Copyright 2006 by the authors, the artists and the University of Texas at El Paso. All rights reserved. No part of this publication may be reproduced in any manner without permission from the University of Texas at El Paso. Exhibition Itinerary Portland Art Center Portland, OR March 2-April 22, 2006 Stanlee and Gerald Rubin Center for the Visual Arts Contemporary Ceramic Sculpture The University of Texas at El Paso El Paso, TX June 29-September 23, 2006 San Angelo Museum of Fine Arts San Angelo, TX April 20-June 24, 2007 Landmark Arts Texas Tech University Lubbock, TX July 6-August 17, 2007 Southwest School of Art and Craft San Antonio, TX September 6-November 7, 2007 The exhibition and its associated programming in El Paso have been generously supported in part by the Andy Warhol Foundation for the Visual Arts and the Texas Commission on the Arts. -
Oral History Interview with Frederick A. Sweet, 1976 February 13-14
Oral history interview with Frederick A. Sweet, 1976 February 13-14 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. 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 Frederick Sweet on February 13 & 14, 1976. The interview took place in Sargentville, Maine, and was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. Interview February 13, 1976. ROBERT BROWN: Could you begin, perhaps, by just sketching out a bit of your childhood, and we can pick up from there. FREDERICK SWEET: I spent most of my early childhood in this house. My father, a doctor and tenth generation Rhode Islander, went out to Bisbee, Arizona, a wild-west copper-mining town, as the chief surgeon under the aegis of the Company. My mother always came East at pregnancy and was in New York visiting relatives when my father died very suddenly of cerebral hemorrhage. My mother was seven months pregnant with me. Since I was to be a summer baby, she ended up by coming to this house and being a cook and being a cook and a nurse with her there. The local doctor came and said nothing was going to happen for quite a long time and went off in his horse and buggy. I was promptly delivered by the cook and a nurse. -
(Art)N VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS
(art)n WWW.ARTN.COM VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS Museum News: Catalogue Features Museum Masterworks Winter 2005 In celebration of recent acquisitions and a stunning new facility, the Fred Jones Jr. Museum of Art, in conjunction with the University of Oklahoma Press, is offering art lovers a catalogue featuring works from the museum’s rich and diverse permanent collection. Combining more than 270 full-color reproductions with explanatory text, the book highlights 101 of the museum’s most important holdings as well as related works by the artists and their peers. “This book celebrates one of the nation’s finest university art collections,” says Eric M. Lee, museum director and co- author with Rima Canaan, of Selected Works: The Fred Jones Jr. Museum of Art at the University of Oklahoma. “More than half of the featured works in the catalogue have been acquired by the museum in the past decade. With the new building opening in January, it is the perfect time to showcase our permanent collection. We are extremely grateful to the Jones family for making this publication possible.” The catalogue is dedicated to Mary Eddy and Fred Jones, who built the museum’s original facility in 1971 as a E L LE N S AN D O R D I RE C T O R (art)n WWW.ARTN.COM VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS memorial to their son, Fred Jones Jr., who died in a plane crash during his senior year at OU. The family’s tradition of support continues through the Jones’ daughter, Marilyn Jones Upsher, and grandsons Fred Jones Hall, Brooks Hall and Kirkland Hall, who provided funding for the catalogue. -
Hungarian Studies Review, 1994): 43-75; and Oliver Botar, Ed., "Laszlo Moholy-Nagy and Hungar- Ian-American Politics [Documents]," Ibid., Pp
From Budapest to New York: The Odyssey of the Polanyis Judith Szapor This article is a short version of Chapter 4 of my manuscript, entitled "The Hungarian Pocahontas;" The Life and Times of Laura Polanyi, 1882-1959, to be published by the University of Toronto Press. In the preceding chapters I describe the first stages of the Polanyis' Odyssey. It included the emigration from Hungary of Laura Polanyi's brothers, Adolf, Karl and Michael, to Italy, Austria and Germany, respectively. They left Hungary, along with scores of left-wing intellectuals, during the period of right-wing repression that followed the post-war demo- cratic and Bolshevik revolutions. By 1939, both Michael and Karl had settled in England. As for Laura Polanyi's immediate family, in the late 1920s and early 1930s her children, Michael, Eva and George Strieker all studied and worked in Austria and Germany. While the latter, her youngest was completing his studies at the University of Vienna, Michael and Eva took a detour to the Soviet Union. By 1932, both had taken up positions as "foreign experts," Michael as a patent expert in Moscow, Eva as a designer, eventually working for the Lomonosov Porcelain Factory in Leningrad. Although keeping her homes in Budapest — where her husband lived — and Vienna, Laura accompanied her children to the Soviet Union for extended periods of time. She was there when, in May 1936, Eva was arrested and accused with participating in a plot to assassinate Stalin. Fourteen months later, in September 1937, when Eva was released and expelled from the Soviet Union, the family gathered in Vienna, preparing to leave for the United States. -
Ford Ceramic Arts Columbus, Ohio
The Journal of the American Art Pottery Association, v.14, n. 2, p. 12-14, 1998. © American Art Pottery Association. http://www.aapa.info/Home/tabid/120/Default.aspx http://www.aapa.info/Journal/tabid/56/Default.aspx ISSN: 1098-8920 Ford Ceramic Arts Columbus, Ohio By James L. Murphy For about five years during the late 1930s, the combination of inventive and artistic talent pro- vided by Walter D. Ford (1906-1988) and Paul V. Bogatay (1905-1972), gave life to Ford Ceramic Arts, Inc., a small and little-known Columbus, Ohio, firm specializing in ceramic art and design. The venture, at least in the beginning, was intimately associated with Ohio State University (OSU), from which Ford graduated in 1930 with a degree in Ceramic Engineering, and where Bogatay began his tenure as an instructor of design in 1934. In fact, the first plant, begun in 1936, was actually located on the OSU campus, at 319 West Tenth Avenue, now the site of Ohio State University’s School of Nursing. There two periodic kilns produced “decorated pottery and dinnerware, molded porcelain cameos, and advertising specialties.” Ford was president and ceramic engineer; Norman M. Sullivan, secretary, treasurer, and purchasing agent; Bogatay, art director. Subsequently, the company moved to 4591 North High Street, and Ford's brother, Byron E., became vice-president. Walter, or “Flivver” Ford, as he had been known since high school, was interested primarily in the engineering aspects of the venture, and it was several of his processes for producing photographic images in relief or intaglio on ceramics that distinguished the products of the company. -
U.S. Pottery: by Company
U.S. POTT ERY: BY COMPANY 137 Understanding Roseville Pottery. Mark Santa Barbara Ceramic Design: Art Pottery Treasure Craft Pottery & Pottery Craft Bassett. Over 800 color photos display Roseville from America’s Riviera. Terry Gerratana. This Stoneware. George A. Higby, ISA. Over 650 Pottery artware, particularly the Artcraft, Cherub is the story of Santa Barbara Ceramic Design color photos document Treasure Craft and Cameo, Donatello, Pine Cone Modern, and (SBCD) and how a studio pottery defi ned by one Pottery Craft ceramics, with Disneyana items, Wincraft lines and Della Robbia and Olympic person producing hand thrown, hand decorated 200+ novelty cookie jars, Hawaiiana, fi gurines, items. The text provides a company history pottery evolved into a full-blown production and dinnerware lines, and including works by from 1890 through 1954, reveals the key roles pottery with distinct colorways, shapes, and Ray Murray, Don Winton, and Robert Maxwell. of famous staff members, and shows previously designs. This profi le captures the voices of the Information on manufacturers’ marks, look-alike unpublished manufacturer’s marks. creative forces behind SBCD. products, and values in the captions are included. Size: 8 1/2" x 11" • 800+ color & 70 b/w photos Size: 8 1/2" x 11" • 400 color images • 256 pp. Size: 8 1/2" x 11" • 665 color photos Price Guide/Index • 288 pp. ISBN: 978-0-7643-3888-5 • hard cover • $39.99 Price Guide • 176 pp. ISBN: 0-7643-1659-1 • hard cover • $39.95 Schiffer LTD ISBN: 0-7643-2072-6 • soft cover • $29.95 Bassett’s Roseville Prices. -
Ivan Albright's Ida and the "Object Congealed Around a Soul"
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Fall 2015 Ivan Albright's Ida and the "Object Congealed Around a Soul" Elizabeth Lee Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the American Art and Architecture Commons Recommended Citation Lee, Elizabeth. "Ivan Albright's Ida and the "Object Congealed Around a Soul."' American Art 29, no. 3 (2015): 104-117. https://www.journals.uchicago.edu/doi/abs/10.1086/684922# This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Ivan Albright’s Ida and the “Object Congealed around a Soul” Elizabeth Lee For some time now I haven’t painted pictures, per se. I make statements, ask questions, search for principles. The paint and brushes are but mere extensions of myself or scalpels if you wish. —Ivan Albright1 From the start of his career in the late 1920s, the Chicago-born painter Ivan Albright was praised by critics for his precise, meticulous forms and yet also reviled for his off- putting approach to the human figure. The Lineman(fig. 1), for example, which won the John C. Shaffer Prize for portraiture at the Art Institute of Chicago in 1928, sparked concern when it appeared on the cover of the trade magazine Electric Light and Power. A. B. Gates, a manager from the Edison Company, protested the lineman’s appearance as a “stoop-shouldered individual exuding an atmosphere of hopelessness and dejection,” explaining that the image failed to capture the strong, youthful stature of the typical modern American workman.2 Subsequent paintings from this period were not merely offensive; they were utterly revolting, as the artist approached his subjects with increasingly clinical detail. -
Ed Paschke: Visionary from Chicago, 1968–2004 17 January–5 July 2015
Ashmolean Museum of Art and Archaeology University of Oxford press release Beaumont Street Oxford OX1 2PH www.ashmolean.org 21 January 2015, for immediate release: Ed Paschke: Visionary from Chicago, 1968–2004 17 January–5 July 2015 Ed Paschke: Visionary from Chicago, 1968–2004 is the third in the Ashmolean’s series of exhibitions of post- war and contemporary art presented in collaboration with the Hall Art Foundation (USA). The exhibition includes an important early work borrowed from the Ed Paschke Foundation, along with four paintings lent by the artist Jeff Koons. Koons, who studied with Paschke and was hired as Paschke’s studio assistant in 1974, has contributed an interview with exhibition curator, Sir Norman Rosenthal, to the exhibition catalogue. Part of a group of artists known as the Chicago Imagists who emerged in the 1960s, Paschke (1939–2004) was strongly influenced by media imagery and popular culture – newspapers, magazines, advertisements, film and television. In works like Hilda (1973) and Mannish Boy (1970), his brilliantly coloured, provocative and surreal paintings of circus freaks, tattooed ladies, transvestites, wrestlers and hairy wingtip shoes, explore the underbelly of urban life and a dark side of Pop Art. While Paschke’s later works such as Voulez-Vous Danser? (Would You Ed Paschke (1939–2004) Mannish Boy, 1970 Like to Dance?) (1989) depict cultural icons like the Mona Lisa, © Ed Paschke his layered, mask-like abstraction of the face, use of electronic colours and neon-bright static lines, differs drastically from the treatment of similar subjects by his New York contemporaries, Andy Warhol, James Rosenquist and Robert Rauschenberg. -
Art for People's Sake: Artists and Community in Black Chicago, 1965
Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago. -
Download PDF Version of Full Issue
Tradition & Discovery The Polanyi Society Periodical Volume XXX Number 2 2003--2004 Preface.................................................................................................................................2 News and Notes..................................................................................................................3 Information on Electronic Discussion Group.................................................................3 Annual Meeting Minutes...................................................................................................4 2004 Polanyi Society Annual Meeting Call for Papers...................................................5 Letters about Polanyi, Koestler, and Eva Zeisel.............................................................6 Walter Gulick Information on Polanyi Society WWW Resources.......................................................10 Tacit Knowledge/Knowing and the Problem of Articulation......................................11 Yu Zhenhua Submissions for Publication............................................................................................23 Personal Knowledge and Human Creativity.................................................................24 Percy Hammond Notes on Contributors.....................................................................................................34 A Disembodied Adventurer .......................................................................................... 35 Richard Gelwick Polanyi Society Membership...........................................................................................40 -
A Finding Aid to the Ellen Lanyon Papers, Circa 1880-2014, Bulk 1926-2013, in the Archives of American Art
A Finding Aid to the Ellen Lanyon Papers, circa 1880-2014, bulk 1926-2013, in the Archives of American Art Hilary Price 2016 September 19 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 Arrangement..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1880-2015 (bulk 1926-2015)......................... 6 Series 2: Correspondence, 1936-2015.................................................................. 10 Series 3: Interviews, circa 1975-2012.................................................................... 24 Series 4: Writings, Lectures, and Notebooks, circa