A Finding Aid to the Baxter Art Gallery Records, 1962-1997, in the Archives of American Art
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Gyã¶Rgy Kepes Papers
http://oac.cdlib.org/findaid/ark:/13030/c80r9v19 No online items Guide to the György Kepes papers M1796 Collection processed by John R. Blakinger, finding aid by Franz Kunst Department of Special Collections and University Archives 2016 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the György Kepes M1796 1 papers M1796 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: György Kepes papers creator: Kepes, Gyorgy Identifier/Call Number: M1796 Physical Description: 113 Linear Feet (108 boxes, 68 flat boxes, 8 cartons, 4 card boxes, 3 half-boxes, 2 map-folders, 1 tube) Date (inclusive): 1918-2010 Date (bulk): 1960-1990 Abstract: The personal papers of artist, designer, and visual theorist György Kepes. Language of Material: While most of the collection is in English, there is also a significant amount of Hungarian text, as well as printed material in German, Italian, Japanese, and other languages. Special Collections and University Archives materials are stored offsite and must be paged 36 hours in advance. Biographical / Historical Artist, designer, and visual theorist György Kepes was born in 1906 in Selyp, Hungary. Originally associated with Germany’s Bauhaus as a colleague of László Moholy-Nagy, he emigrated to the United States in 1937 to teach Light and Color at Moholy's New Bauhaus (soon to be called the Institute of Design) in Chicago. In 1944, he produced Language of Vision, a landmark book about design theory, followed by the publication of six Kepes-edited anthologies in a series called Vision + Value as well as several other books. -
The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
Michael Clark (A.K.A
ARTIST MICHAEL CLARK: WASHINGTON April 3 – May 27, 2018 American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART FOREWORD Michael Clark (a.k.a. Clark Fox) has been an influential figure in the Washington art world for more than 50 years, despite dividing his time equally between the capital and New York City. Clark was not only a fly on the wall of the art world as the last half- century played out—he was in the middle of the action, making innovative works that draw their inspiration from movements as diverse as Pop Art, Op Art, Conceptual Art, Minimalism, and the Washington Color School. The result of this prolific and varied artistic oeuvre is that Clark’s output is too much for one show. After consulting with former Washington Post art critic Paul Richard, I decided Michael Clark: Washington Artist at the American University Museum would concentrate on his significant artistic contributions to the ‘60s, ‘70s, and ‘80s in Washington, DC. In line with his amazingly diverse and productive career, a conversation with Michael Clark is similar to drinking from a fire hose. In one sentence, he can jump from painting techniques using masking tape to making cookies for Jackie Onassis. My transcription of our conversation, presented here as a soliloquy, tries its best to maintain some kind of coherence and order, but in reality, I just tried to hold on for the ride. In contrast, the amazing thing about Clark’s art is how still, focused, and composed it is. The leaps and diversions of his lively mind are transmuted into an almost classical art, more Modigliani than Soutine, probably reflecting the time spent in his early years copying masterworks in the National Gallery of Art. -
The Early Works of Maria Nordman by Laura Margaret
In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Julia Bryan-Wilson, Chair Professor Whitney Davis Professor Shannon Jackson Associate Professor Jeffrey Skoller Summer 2015 Abstract In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies University of California, Berkeley Associate Professor Julia Bryan-Wilson, Chair This dissertation begins with Maria Nordman’s early forays into capturing time and space through photography, film, and performance and it arrives at the dozen important room works she constructed between 1969 and 1979. For these spaces in Southern California, the San Francisco Bay Area, Italy, and Germany, the artist manipulated architecture to train sunshine into specific spatial effects. Hard to describe and even harder to illustrate, Nordman’s works elude definition and definitiveness, yet they remain very specific in their conception and depend on precision for their execution. Many of these rooms were constructed within museums, but just as many took place in her studio and in other storefronts in the working-class neighborhoods of Los Angeles, San Francisco, Milan, Genoa, Kassel, and Düsseldorf. If not truly outside of the art system then at least on its fringes, these works were premised physically and conceptually on their location in the city. -
Oral History Interview with Sam Gilliam, 1989 Nov. 4-11
Oral history interview with Sam Gilliam, 1989 Nov. 4-11 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 Sam Gilliam on November 4- 11, 1989. The interview took place in Washington, DC, and was conducted by Benjamin Forgey for the Archives of American Art, Smithsonian Institution. Sam Gilliam and Benjamin Forgey have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview BENJAMIN FORGEY: I feel like a good place to start - I mean, this is as you know, SG, is about Washington. But I thought we could back up a little bit. I'd be interested to know when you were in Louisville getting your graduate degree, how you decided to come to Washington, why you decided Washington, why you moved. SAM GILLIAM: I went to graduate school from 1958 til "61 because I taught during the daytime and went to school part-time. I came to Washington because Dorothy and I had decided to get married. All the time that - if I was in the Army here, she was in school some place else. And finally when I was in school in Louisville she was in school in Columbia, in New York City. -
1987 Summer.Pdf
Thanks for a good story, the last four para graphs of which could have been written, not in 1948, but certainly by 1950. George I. McKelvey '50, '58G Rochester Letters Claremont, California The story that 'RUR once "broadcast" an en tire football game with the transmitter off is Review likely an embellishment of the 1969 game at Alfred. Tom Bartunek and I arrived at the press University of Rochester box minutes before the game was to start (as Summer 1987 was our custom) and hastily set up our remote gear. After a quick call to the station for a time check, we started our call of the game, Tom doing the play-by-play. The Review welcomes letters Jrom readers and will use At the half, we again called for a time check as many ojthem as space permits. Letters may be edit only to find that we had connected to the wrong MAGnificent! 2 edJor brevity and clarity. telephone line. We had spent the first half chat The "new" Memorial Art Gallery ting to ourselves. All of this greatly amused the print journalists in the press box. Our station More memories of 'RUR A Gallery Sampler 8 manager, Jeff Portnoy, failed to see the humor. I was pleasantly surprised to find WRUR From Ihe MAG collection (Worse, Alfred won the game On a last featured in the Winter issue. The title, "The minute field goal, reputedly the fim by an Other Side of the Window," would have been Psycho-neuro-what? 10 Alfred kicker in some thirty years.) equally appropriate and descriptive in 1948. -
List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced. -
Fall/Winter 2015
Volume V, Issue 2 Fall/Winter 2015 THE HISTORICAL SOCIETY OF THE TENTH JUDICIAL CIRCUIT www.10thcircuithistory.org — [email protected] Chair’s Note By Alleen VanBebber At year’s end, we can look back at significant work, including measurable progress in coordination with the Court, toward a permanent historical exhibit on the first floor of the Byron White Courthouse; work toward a complete update of The Federal Courts of the Tenth Circuit: A History, which was first published in 1992; presentation of district-wide programs; and cooperative efforts with other non- profit groups to help communities gain knowledge and understanding of their federal courts at work. Too many people view lawyers, judges, and the courts as separate from—and foreign to—daily life. The Society’s primary goal is to keep the history of the Court alive and vibrant, in order to show how legal history is woven into the life of every individual and every community. In these, my last months as your Board Chairman, I thank all of you for your work in support of the Society. Whether you continued your years of hands-on support, financial support, or both; or whether you were new to the ongoing work of the Society, we hope you will help continue our mission with the good and cheerful spirit that you have shown so many times. Also, please join me in welcoming our able current President, Steve Balman, to the office of Chairman, and in giving him your support and best wishes as he begins his two-year term in January 2016. -
The Power of Sleep 44 I MADE EID COLLEGE 99
REPORTEMaRy 1,.1987 The Power of Sleep 44 I MADE EID COLLEGE 99 As soon as I finished Advanced Training, the Guard gave me a cash bonus of $2,000. Then, under the New GI Bill, I'm getting another $5,000 for tuition and books. Not to mention my monthly Army Guard paychecks. They'll add up to more than $11,000 over the six years I'm in the Guard. And if I take out a college loan, the Guard will help me pay it hack—up to $1,500 a year, plus interest. It all adds up to $18,000-or more —for college for just a little of my time. And that's a heck of a better deal than any car wash will give you. THE GUARD CAN HELP PUT YOU THROUGH COLLEGE, TOO. When my friends and I graduated SEE YOUR LOCAL RECRUITER from high school, we all took part-time FOR DETAILS, CALL TOLL-FREE jobs to pay for college. 800-638-7600,* OR MAIL THIS They ended up in car washes and COUPON. •In Hawaii 737 5255. Puerto Rico 721 45.50; (iuam 477 9957. VirRin Islands hamburger joints, putting in long hours (St Croixi 773 6438; New Jersey 800 452 5794 In Alaska, consul! your local phone directory for little pay. c 1985 Hnited Stales (iovemment as represented by the Secretary of Defense. All ridhts reserved. Not me. My job takes just one weekend a month and two weeks a year. .MAIL TO: Army National Guard. P.O. Box 6000. Clifton. -
1996, and Preliminary Designs Were Displayed at Libraries, Shopping Centers, Seattle Is Happy to Have Them
~ __ ·--:<_ :,.: ... ,-,_ --i, ~,.·.-.~ :" ,.. ,:/ff:· ..... • epartmcnt of Transportation Federal Transit Administration·· 3 Introduction Janette Sadik-Khan, Associate Administrator, Budget and Policy 4 Communicating with the community San Francisco: Stations win approval by reflecting their surroundings Art in transit ... making it happen 8 Building ownership; building ridership Wendy Feuer, Project Director Corpus Christi: Residents cover bus transfer centers with thousands Director Arts for Transit and Facilities Design of unique tiles New York State Metropolitan Transportation Authority 10 Taming construction disruption Portland: Barricades are turned into giant canvases 14 Connecting community to rail Miami: Walkway offers catalyst for neighborhood revival 16 Making an impact Los Angeles: Creating a place for art on the Green Line 20 Bringing residents into the process Boston: Writing, photography, and history programs document community transformed by intermodal project 22 Designing as a team St. Louis : Artists help shape new light-rail system 26 Moving forward with style Seattle / King County: New buses look good, run well, and don't break the budget 28 Grassroots interventions Seattle / King County: 425 bus shelters are a welcome sight 30 Softening the hardening New York: Artist designs floor-to-ceiling grilles for 467 subway stations 34 Appendix A Cover: Overhead FTA Circular 9400.1A Subject: Design and art in transit projects catenary lines of a light-rail 36 Appendix B system. Case study credits Opposite: 38 Appendix C Detail, artist Art in mass transit systems designed grille, New York City. 40 Acknowledgments MASS TRAN SIT, LIKE so many other industries, is using new technologies to achieve efficiencies. Train cars reduce energy consumption by channeling unused electrical energy back into the third rail. -
DONALD JUDD Born 1928 in Excelsior Springs, Missouri
Judd Foundation 101 Spring Street, New York NY 10012 Telephone 212 219 2747 Fax 212 219 3125 104 South Highland Avenue, Marfa TX 79843 Telephone 432 729 4406 Fax 432 729 4614 juddfoundation.org This document was updated November 13, 2020. For reference only and not for purposes of publication. For more information, please contact Judd Foundation. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SELECTED EXHIBITION HISTORY SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24-July 6, 1957. 1963-1964 Don Judd, Green Gallery, New York, NY, December 17, 1963-January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5-March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16-August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26-March 24, 1968 (extended through April 14, 1968) [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7-June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4-25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6-29, 1969 [catalogue]. New Works, Galerie Bischofberger, Zürich, Switzerland, May-June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4-30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16-November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16-March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11-May 10, 1970; Kunstverein Hannover, Germany, June 20-August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29-November 1, 1970 [catalogue]. -
This Page Was Intentionally Removed Due to a Research Restriction on All Corcoran Gallery of Art Development and Membership Records
This page was intentionally removed due to a research restriction on all Corcoran Gallery of Art Development and Membership records. Please contact the Public Services and Instruction Librarian with any questions. V -2- 10) Quarterly report on operations of the Dupont Center, M) Report on the Committee on Building and Grounds. 12) Executive 'Session: Resolutions of thanks to Mr. Neil Harlan and McKi & Co. for their report. Thanks to the firm of Faulkner, Fryer & Vanderpool for their work on the sales desk area. Other business |\| 810 MINUTES OF THE QUARTERLY MEETING OF THE BOARD OF TRUSTEES OF THE CORCORAN GALLERY OF ART JULY 23, 1969 The regular Quarterly Meeting of the Board of Trustees of The Corcoran Gallery of Art was held at the Gallery at 10 o'clock. The meeting was called to order by Mr. Hamilton. The other mem¬ bers present were: Messrs. Bradley, Chapin, Finley and Thom. Also present were: 1 Mrs. Richard M. Powell, Chairman of the Women's Committee Walter Hopps, Acting Director of the Gallery Thomas Barlow, Director of Planning and Development Eugene E. Myers, Dean of the Art School Robert L. Walsh, Jr., Treasurer Freeborn G. Jewett, Jr., Seceetary Frank D. Parulski, Assistant Treasurer The Chairman stated that, in the absence of objections and there being no corrections suggested, the minutes of the Quarterly Meeting of the Board of Trustees held April 28, 1969, be approved as presented. The Treasurer presented his Ietter of July 23, 1969 which showed a total of expenses over income of $128,110.21, including $32,104.21 of non-budgeted expenses, for the Gallery and the Clark Wing for the first six months of 1969.