Ashmolean to Display Over 100 Unseen Warhols in Spring Exhibition
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Moments in Time: Lithographs from the HWS Art Collection
IN TIME LITHOGRAPHS FROM THE HWS ART COLLECTION PATRICIA MATHEWS KATHRYN VAUGHN ESSAYS BY: SARA GREENLEAF TIMOTHY STARR ‘08 DIANA HAYDOCK ‘09 ANNA WAGER ‘09 BARRY SAMAHA ‘10 EMILY SAROKIN ‘10 GRAPHIC DESIGN BY: ANNE WAKEMAN ‘09 PHOTOGRAPHY BY: LAUREN LONG HOBART & WILLIAM SMITH COLLEGES 2009 MOMENTS IN TIME: LITHOGRAPHS FROM THE HWS ART COLLECTION HIS EXHIBITION IS THE FIRST IN A SERIES INTENDED TO HIGHLIGHT THE HOBART AND WILLIAM SMITH COLLEGES ART COLLECTION. THE ART COLLECTION OF HOBART TAND WILLIAM SMITH COLLEGES IS FOUNDED ON THE BELIEF THAT THE STUDY AND APPRECIATION OF ORIGINAL WORKS OF ART IS AN INDISPENSABLE PART OF A LIBERAL ARTS EDUCATION. IN LIGHT OF THIS EDUCATIONAL MISSION, WE OFFERED AN INTERNSHIP FOR ONE-HALF CREDIT TO STUDENTS OF HIGH STANDING TO RESEARCH AND WRITE THE CATALOGUE ENTRIES, UNDER OUR SUPERVISION, FOR EACH OBJECT IN THE EXHIBITION. THIS GAVE STUDENTS THE OPPORTUNITY TO LEARN MUSEUM PRACTICE AS WELL AS TO ADD A PUBLICATION FOR THEIR RÉSUMÉ. FOR THIS FIRST EXHIBITION, WE HAVE CHOSEN TO HIGHLIGHT SOME OF THE MORE IMPORTANT ARTISTS IN OUR LARGE COLLECTION OF LITHOGRAPHS AS WELL AS TO HIGHLIGHT A PRINT MEDIUM THAT PLAYED AN INFLUENTIAL ROLE IN THE DEVELOPMENT AND DISSEMINATION OF MODERN ART. OUR PRINT COLLECTION IS THE RICHEST AREA OF THE HWS COLLECTION, AND THIS EXHIBITION GIVES US THE OPPORTUNITY TO HIGHLIGHT SOME OF OUR MAJOR CONTRIBUTORS. ROBERT NORTH HAS BEEN ESPECIALLY GENER- OUS. IN THIS SMALL EXHIBITION ALONE, HE HAS DONATED, AMONG OTHERS, WORKS OF THE WELL-KNOWN ARTISTS ROMARE BEARDEN, GEORGE BELLOWS OF WHICH WE HAVE TWELVE, AND THOMAS HART BENTON – THE GREAT REGIONALIST ARTIST AND TEACHER OF JACKSON POLLOCK. -
To View the Press Release
American Academy of Arts and Letters NEWS RELEASE 633 WEST 155 STREET, NEW YORK, NY 10032 Contact: Jane E. Bolster 368-5900 (212) | www.artsandletters.org [email protected] THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES NEWLY ELECTED MEMBERS New York, NY, March 9, 2011 – The American Academy of Arts and Letters will hold its annual induction and award ceremony in mid-May. J. D. McClatchy, president of the Academy, will conduct the presentation of awards in architecture, art, literature, and music. Secretary of the Academy, Rosanna Warren, will induct nine new members into the 250-person organization: artists Sylvia Plimack Mangold, Malcolm Morley, James Turrell and architect Robert A. M. Stern; writers Louis Begley, Michael Cunningham, and Rita Dove; Louis Begley Martin Boykan composers Martin Boykan and Aaron Jay Kernis. President McClatchy will induct choreographer Bill T. Jones to American Honorary membership and writers Anne Carson and Elfriede Jelinek and artist William Kentridge to Foreign Honorary membership. Rocco Landesman will deliver the Blashfield Foundation Address, titled “The Play’s the Thing.” An exhibition of art, architecture, books, and manuscripts by new members and recipients of awards will be on view in the Academy’s galleries from May 19 to June 12. Michael Cunningham Rita Dove Newly Elected Members of the Academy Art SYLVIA PLIMACK MANGOLD MALCOLM MORLEY ROBERT A. M. STERN JAMES TURRELL Literature Aaron Jay Kernis Sylvia Plimack Mangold LOUIS BEGLEY MICHAEL CUNNINGHAM RITA DOVE Music MARTIN BOYKAN AARON JAY KERNIS American Honorary Member Malcolm Morley Robert A. M. Stern BILL T. JONES Foreign Honorary Members ANNE CARSON ELFRIEDE JELINEK WILLIAM KENTRIDGE James Turrell Newly Elected Members of the Academy Writer Louis Begley was born in Styrj, Poland (now Ukraine) in 1933. -
The Ethics of Meaning
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 The Ethics Of Meaning Robert B. Willison University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ethics and Political Philosophy Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Willison, Robert B., "The Ethics Of Meaning" (2017). Publicly Accessible Penn Dissertations. 2795. https://repository.upenn.edu/edissertations/2795 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2795 For more information, please contact [email protected]. The Ethics Of Meaning Abstract This dissertation develops an ethics of meaning. In the first chapter, I offer an account of meaning that comprehends its many varieties—natural, cultural, linguistic, literary, and ethical meaning, for example—by appeal to the structural role meaning plays in the practice of interpretation. In Chapter 2, I develop a distinctive account of the concept of ethical meaning (“meaning” as it’s used in the phrase “the meaning of life”). In Chapter 3, I develop a new account of irony on the basis of the comprehensive-interpretive account of meaning introduced in Chapter 1. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Philosophy First Advisor Michael Weisberg Keywords Ethics, Irony, Meaning Subject Categories Ethics and Political Philosophy | Other Languages, Societies, and Cultures | Philosophy This -
Elizabeth Price: a Restoration the Contemporary Art Society Award
Ashmolean Museum of Art and Archaeology University of Oxford press release Beaumont Street Oxford OX1 2PH www.ashmolean.org 14 March 2016, for immediate release: Elizabeth Price: A RESTORATION The Contemporary Art Society Award 18 March–15 May 2016 Elizabeth Price, winner of the 2013 Contemporary Art Society Award, has created a new work in response to the collections and archives of the Ashmolean and Pitt Rivers museums, in partnership with the Ruskin School of Art, Oxford, where Price teaches. The new commission is a fifteen-minute, two-screen digital video which employs the museums’ photographic and graphic archives. It is a fiction, set to melody and percussion, which is narrated by a ‘chorus’ of museum administrators. The film opens with the records of Arthur Evans’s excavation of the Cretan city of Knossos. The administrators use Evans’s extraordinary documents and photographs to figuratively reconstruct the Knossos Labyrinth within the museum’s computer server. They then imagine its involuted space as a virtual chamber through which a wide range of artefacts from the two museums digitally flow, clatter and cascade. Elizabeth Price at the Contemporary Art Society Awards, 2013 Elizabeth Price says: ‘It has been a great pleasure and privilege to work with the museums, to have such a unique opportunity to delve into their archives and draw upon the knowledge and expertise of their staff. In my film I have tried to reflect upon the objects that the two museums hold and exhibit, through the history of their repeated depiction in photographs, prints and drawings. In this history of images and interpretations we see the objects change – and this is the basis for the story I have imagined.’ Turner Prize winner, Elizabeth Price, is an artist who uses images, text and music to explore archives and collections. -
When Artworks Collide
ART REVIEW When Artworks Collide Nicole Bengiveno/The New York Times At the Tony Shafrazi Gallery, this show contains two shows (one on wallpaper). By ROBERTA SMITH Published: May 16, 2008 “Who’s Afraid of Jasper Johns?,” a group show at the Tony Shafrazi Gallery in Chelsea, is the latest proof that you don’t have to be a museum to shake things up. It was organized by Gavin Brown, who has a downtown gallery of his own, and Urs Fischer, a Swiss artist he represents. Demonically aerobic for brain and eye, the show conflates two exhibitions and several different times, styles, art markets and notions of transgression. Highly site specific, it may also be one of the last words in appropriation art, institutional critique and artistic intervention, not to mention postmodern photography and, especially, wallpaper. Nicole Bengiveno/The New York Times An installation view shows Malcolm Morley’s “Age of Catastrophe” on top of a Keith Haring, left, and a Picabia over a Donald Baechler. The histories entwined here begin with Mr. Shafrazi, an infamous one-hit-wonder graffiti artist and longtime graffiti art dealer. In 1974 he spray-painted, in red, the words “Kill Lies All” on Picasso’s “Guernica,” then at the Museum of Modern Art (he meant to write “All Lies Kill”). By 1982 he had a SoHo gallery known for showing graffiti-related artists like Keith Haring, Kenny Scharf, Jean-Michel Basquiat and Donald Baechler. In 2004 Mr. Shafrazi relocated to an austere second-floor gallery in Chelsea, putting up long-running shows and concentrating mostly on the resale market: not only the graffitists but also blue-chip works by Picasso, Picabia and Francis Bacon. -
Ibrahim El-Salahi a Sudanese Artist in Oxford Ibrahim El-Salahi a Sudanese Artist in Oxford
ibrahim el-salahi a sudanese artist in oxford Ibrahim El-Salahi A Sudanese Artist in Oxford Lena Fritsch Contents ibrahim el-salahi Director’s Foreword 7 a sudanese artist in oxford Introduction 9 Copyright © Ashmolean Museum, University of Oxford, 2018 From Omdurman to Oxford 13 Lena Fritsch has asserted her moral right to be identified as the author of this work. In Conversation with Ibrahim El-Salahi 49 British Library Cataloguing in Publications Data Ancient Sudan in the Ashmolean Museum 59 Liam McNamara A catalogue record for this book is available from the British Library Ibrahim El-Salahi and the Sudanese Community in Oxford 63 EAN 13: 978-1-910807-23-1 Nazar Eltahir All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including Chronology 64 photocopy, recording or any storage and retrieval system, without Federica Gigante the prior permission in writing of the publisher. Curator’s Acknowledgements 72 Catalogue designed by Stephen Hebron Printed and bound in Belgium by Albe de Coker For further details of Ashmolean titles please visit: www.ashmolean.org/shop Director’s Foreword Celebrated as a pioneer of African and Arab Modernism, Ibrahim El- Salahi (b.1930) is one of the most influential figures in Sudanese art today. His paintings and drawings combine inventive forms of calligraphy, African abstraction and a profound knowledge of European art history in a unique language. Widely exhibited and collected internationally, the artist has lived and worked in Oxford since 1998. Te Ashmolean Museum is proud to present the first solo exhibition of Ibrahim El-Salahi’s works in Oxford. -
Ashmolean Museum from Wikipedia, the Free Encyclopedia
Ashmolean Museum From Wikipedia, the free encyclopedia The Ashmolean Museum (in full the Ashmolean Museum of Art and Archaeology) on Beaumont Street, Oxford, Ashmolean Museum England, is the world's first university museum.[1] Its first building was erected in 1678–1683 to house the cabinet of curiosities that Elias Ashmole gave to the University of Oxford in 1677. The museum reopened in 2009 after a major redevelopment. In November 2011, new galleries focusing on Egypt and Nubia were also unveiled. In May 2016, the museum opened new galleries of 19th-century art. Contents Main Museum Entrance 1 History 2 Renovation 3 Collections 4 Collections gallery 5 Broadway Museum and Art Gallery 6 Major exhibitions 7 Keepers and Directors Location in Oxford 8 In popular culture 8.1 Comics Established 1683 8.2 Literature Location Beaumont Street, Oxford, England 8.3 Stage productions Coordinates 51.7554°N 1.2600°W 8.4 Television 9 Theft Type University Museum of Art and 10 See also Archaeology 11 References 12 External links Director Dr Alexander Sturgis Website www.ashmolean.org History The collection includes that of Elias Ashmole, which he had collected himself, including objects he had acquired from the gardeners, travelers, and collectors John Tradescant the elder and his son, John Tradescant the younger. The collection included antique coins, books, engravings, geological specimens, and zoological specimens—one of which was the stuffed body of the last dodo ever seen in Europe; but by 1755 the stuffed dodo was so moth-eaten that it was destroyed, except for its head and one claw. -
Commencement 2015
Commencement 2015 School of Arts and Sciences School of Engineering School of Medicine and Sackler School of Graduate Biomedical Sciences School of Dental Medicine The Fletcher School of Law and Diplomacy Cummings School of Veterinary Medicine The Gerald J. and Dorothy R. Friedman School of Nutrition Science and Policy commencement.tufts.edu Produced by Tufts Print and Marketing Communications Tufts Prints Green. Printed on recycled paper. 8593 2015 Table of Contents Welcome from the President 5 Overview of the Day 7 Graduation Ceremony Times and Locations 8 University Commencement 11 Dear Alma Mater 13 Tuftonia’s Day Academic Mace Academic Regalia Recipients of Honorary Degrees 14 School of Arts and Sciences 19 Graduate School of Arts and Sciences School of Engineering School of Medicine and Sackler School 63 of Graduate Biomedical Sciences Public Health and Professional 74 Degree Programs School of Dental Medicine 83 The Fletcher School of Law 95 and Diplomacy Cummings School of Veterinary Medicine 109 The Gerald J. and Dorothy R. Friedman 117 School of Nutrition Science and Policy COMMENCEMENT 2015 3 Welcome from the President This year marks the 159th Commencement exercises held at Tufts University. This is always the high point of the academic year, and we welcome all of you from around the world who are here for this joyous occasion—the culmination of our students’ intellectual and personal journeys. Today’s more than 2,500 graduates arrived at Tufts with diverse backgrounds and perspectives. They have followed rigorous courses of study on our three Massachusetts campuses while enriching the life of our academic community. -
Miszellaneen Miscellanea
miszellaneen MISCELLANEA c.g. boerner in collaboration with harris schrank fine prints Israhel van Meckenem ca. 1440–45 – d. Bocholt 1503 1. Die Auferstehung – The Resurrection (after the Master E.S.) ca. 1470 engraving with extensive hand-coloring in red, blue, green, reddish-brown and gold leaf; 94 x 74 mm (3 11�16 x 2 ⅞ inches) Lehrs and Hollstein 140 provenance C.G. Boerner, Leipzig, sale 153, May 3–4, 1927, lot 43 sub-no. 49 (ill. on plate 3) S.F.C. Wieder, Noordwijk, The Netherlands William H. Schab Gallery, New York, cat. 40 [1963], no. 64 (the still-intact manuscript), the Meckenem ill. on p. 69 private collection, Switzerland Sotheby’s, London, December 4, 1969, lot 18 William H. Schab Gallery, New York, cat. 52, 1972, no. 46 (ill. in color) C.G. Boerner, Düsseldorf, acquired April 25, 1972 private collection, Germany Sotheby’s, London, December 3–4, 1987, lot 579 (GBP 27,500) private collection Unikum. Very little is known about the early life of Israhel van Meckenem. His family probably came from Meckenheim near Bonn. He might have received his first artistic training with the so- called Master of the Berlin Passion who was active in the Rhine-Meuse region in 1450–70 (and whom Max Geisberg even tried to identify as Van Meckenem’s father). This is supported by 13 copies that Van Meckenem made after prints by this early “Anonymous.” However, the Master E.S. played an even more important role in the formation of the young artist. He worked in the Upper Rhine valley, most likely in Strasbourg, and his importance for the development of the relatively new medium of engraving can hardly be overestimated. -
Museum of Art and Archaeology 2015-2016
ANNUAL REVIEW Museum of Art and Archaeology 2015-2016 ASHMOLEAN.ORG Jan van Kessel (I) (1626–1679), Flowers and Insects. ANNUAL REVIEW Museum of Art and Archaeology 2015-2016 Discover more inspiration, news and exclusive content on our social channels. @AshmoleanMuseum Published by the Ashmolean Museum Copyright 2017 The Ashmolean Museum The Ashmolean Museum Beaumont Street The Ashmolean is Oxford OX1 2PH supported by: Telephone: +44 (0)1865 278000 [email protected] www.ashmolean.org All information is believed to be correct at the time of going to print (May 2017). Every effort has been made to verify details and no responsibility is taken for any errors or omissions, or any loss arising therefrom. Unless otherwise stated all Images © Ashmolean Museum, University of Oxford. Every effort has been made to locate the copyright owners of images included in this report and to meet their requirements. The publishers apologise for any omissions, which they will be pleased to rectify at the earliest opportunity. Edited and designed by Theo Sundh Reviewed by Natasha Podro and Taissa Csaky Cover photo by Ian Wallman 2016 ASHMOLEAN.ORG CONTENTS August 2015 to July 2016 ANNUAL REVIEW 06-10 INTRODUCTION 06 Vice-Chancellor's Foreword 08 Chairman's Foreword 10 Director’s Report 11 The Museum in Numbers 12-19 EXHIBITIONS AND DISPLAYS 13 Major Exhibitions 18 Free Exhibitions and Displays 20-23 NEW GALLERIES AND PROJECTS 23 Loans and Touring Exhibitions 24-37 COLLECTIONS AND RESEARCH 25 Care of the Collections 27 Research 28 Acquisition Highlights 38-43 TEACH AND INSPIRE 39 Learning for All 39 University Teaching 40 Cross-Disciplinary Teaching 41 Schools 42 Families 42 Secondary and Young People 42 Engaging New Audiences 43 LiveFriday 44-49 SUPPORTING THE MUSEUM 45 The Impact of your Support 45 The Ashmolean Fund 46 Supporting all we do William Burges (1827–1881), Detail from William Burges' Great Bookcase. -
Malcolm Morley °1931 (London, UK) – † 2018 (Bellport, NY, USA)
Malcolm Morley °1931 (London, UK) – † 2018 (Bellport, NY, USA) Biography Selected One-Person Exhibitions 2019 — Hall Art Foundation, Reading, VT, USA 2018 — Tally-ho, Sperone Westwater, New York, NY, USA 2017 — Hall Art Foundation, Schloss Derneburg Museum, Derneburg, Germany 2016 — History Painting, Xavier Hufkens, Brussels, Belgium 2015 — Malcolm Morley, Sperone Westwater, New York, NY, USA 2013 — Malcolm Morley at the Ashmolean : Paintings and Drawings from the Hall Collection, curated by Sir Norman Rosenthal, Ashmolean Museum of Art and Archaeology, University of Oxford, Oxford, UK — Recent Paintings, Xavier Hufkens, Brussels, Belgium 2012 — Malcolm Morley: Painting, Paper, Process, Parrish Art Museum, Water Mill, New York, NY, USA — Malcolm Morley in a nutshell: the Fine Art of Painting 1954-2012, Yale School of Art, 32 Edgewood Avenue Gallery, New Haven, CT, USA 2 011 — Rules of Engagement, Sperone Westwater, New York, NY, USA 2010 — Seven Paintings, Xavier Hufkens, Brussels, Belgium 2009 — Malcolm Morley, Sperone Westwater, New York, NY, USA 2007 — Malcolm Morley, Art Dealers Association of America Art Show, Sperone Westwater Booth, New York, NY, USA 2006 — Malcolm Morley: The Art of Painting, Museum of Contemporary Art, North Miami, FL, USA 2005 — Malcolm Morley: The Art of Oil Painting, Sperone Westwater, New York, NY, USA 2003 — Malcolm Morley, Galleria Cardi & Co., Milan, Italy 2001 — Malcolm Morley, Rat Tat Tat, Gagosian Gallery, London, UK — Malcolm Morley, Royal Festival Hall, Hayward Gallery, London, UK 2000 — Picture Planes, -
MALCOLM MORLEY Biography
SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338 www.speronewestwater.com MALCOLM MORLEY Biography 1931 Born London, England, 7 June 2018 Died Bellport, New York, 1 June Education: 1953 Camberwell School of Arts and Craft, London, England 1957 Royal College of Art, London, England, ARCA Selected Honors/Awards: 1984 Turner Prize, Tate Gallery, London, England 1992 Skowhegan School of Painting and Sculpture, Painting Award 2009 Inductee, American Academy of Arts & Sciences, Class IV: Humanities and Arts, Section 5: Visual and Performing Arts—Criticism and Practice 2011 Elected as Member, American Academy of Arts and Letters 2015 Francis J. Greenburger Award One Person Exhibitions: 1964 “Malcolm Morley,” Kornblee Gallery, New York, 17 October – 5 November 1967 “Malcolm Morley,” Kornblee Gallery, New York, 4 – 23 February 1969 “Malcolm Morley,” Kornblee Gallery, New York, 15 February – 8 March 1972 “Malcolm Morley,” Galerie de Gestlo, Hamburg, Germany, September – October “Malcolm Morley,” Gallerie Ostergren, Malmö, Sweden “Malcolm Morley,” Galerie Art in Progress, Zurich, Switzerland, October – November 1972-73 Time Magazine Building, New York 1973 “Malcolm Morley,” Steffanoty Gallery, New York, October 1974 “Malcolm Morley,” Galerie M. E. Thelen, Cologne, Germany, April “Malcolm Morley,” Steffanoty Gallery, New York, 1 – 31 August 1975 “Malcolm Morley,” Galerie Gérald Piltzer, Paris, France, 21 November – 20 December 1976 “Malcolm Morley,” The Clocktower, Institute for Art and Urban Resources, New York,