Vol. 21, No. 5 May 2017 You Can’T Buy It
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Peter Max Biography
ARTIST BROCHURE Decorate Your Life™ ArtRev.com Peter Max Peter Max is a multi-dimensional creative artist. He has worked with oils, acrylics, water colors, finger paints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cells, lithographs, serigraphs, silk screens, ceramics, sculpture, collage, video and computer graphics. He loves all media, including mass media as a "canvas" for his creative expression. As in his prolific creative output, Max is as passionate in his creative input. He loves to hear amazing facts about the universe and is as fascinated with numbers and mathematics as he is with visual phenomena. "If I didn't choose art, I would have become an astronomer," states Max, who became fascinated with astronomy while living in Israel, following a ten-year upbringing in Shanghai, China. "I became fascinated with the vast distances in space as well as the vast world within the atom," says Max. Peter's early childhood impressions had a profound influence on his psyche, weaving the fabric that was to become the tapestry of his full creative expression. It was a childhood filled with magic and adventure, an odyssey the likes of which few people have had, artists included. European born, Peter was raised in Shanghai, China, where he spent his first ten years. He lived in a pagoda-style house situated amidst a Buddhist monastery, a Sikh temple and a Viennese cafe. And yet, with all that richness and diversity of culture, he still had a dream of an adventure yet to come in a far-off land called America. -
Jack Whitten
HAUSER & WIRTH Press Release Jack Whitten Hauser & Wirth New York, 22nd Street 26 January – 8 April 2017 Opening reception: Thursday 26 January, 6 – 8 pm New York… Beginning 26 January 2017, Hauser & Wirth is pleased to present its first exhibition devoted to the work of American abstractionist Jack Whitten. The show will feature selections from the artist’s newest bodies of work from 2015 – 2017, including tessellated paintings from the series Quantum Walls, and Portals; a piece from Whitten’s ongoing Black Monolith project honoring African-American visionaries; and assorted lenticular works on evolon. Lushly material explorations of space and its apertures, these works celebrate the distinctive painterly language that Whitten has developed over the course of a five-decade career. ‘Jack Whitten’ will remain on view at Hauser & Wirth’s West 22nd Street space through 8 April 2017. Moving to New York City to study art at Cooper Union in the early 1960s, Whitten was exposed to a range of influences, from the vigorous paintings of fellow artists Willem de Kooning and Norman Lewis, to the rich complexity HAUSER & WIRTH of bebop. Within this cultural milieu he developed an experimental style that combined the expressive physicality of gestural abstraction with the conceptual rigor of systems art. A radical breakthrough in 1970 provided the basis for his mode of working today: lifting a thick slab of acrylic paint off its support, Whitten realized that paint could be coaxed into the form of an independent object, challenging preexisting ideas about dimensionality in visual art. He began to lay sliced acrylic ribbons in wet, uneven fields of paint, mimicking the setting of mosaic tessarae into wet masonry. -
Hottest Show On
SANGAM PAGE A3 WATER POLO PAGE B6 Indian eatery closes at J Street Colonials struggling as season closes THURSDAY The GW October 23, 2008 ALWAYS ONLINE: WWW.GWHATCHET.COM Vol. 105 • Iss. 20 Hatchet AN INDEPENDENT STUDENT NEWSPAPER - SERVING THE GW COMMUNITY SINCE 1904 Alumnus Unity Ball campaigns will cost for Senate $50,000 by Ian Jannetta Hatchet Staff Writer Event promotes More than 30 years after moving into a room in Thurston Hall, GW Greek life, diversity alumnus and former Virginia Gov. Mark Warner hopes to move into the Senate office buildings this January. by Sarah Scire Warner, a Democrat, is favored to Campus News Editor beat Republican Jim Gilmore in the November election for one of the Vir- A semiformal ball this Saturday de- ginia Senate seats and return to D.C. signed to celebrate diversity and Greek- The 53-year-old graduated from GW letter life on campus will cost more than in 1977 before attending Harvard Law $50,000, with at least $20,000 coming School. from student fee allocations, according “I have several fond memories to Student Association documents and from my years at GW,” Warner wrote event planners. in an e-mail to The Hatchet. “Most of The Unity Ball will be held at the them are social, rather than academic. Capital Hilton Hotel with the dual goal Like the parties we used to have in the of commemorating the 150th anniver- Thurston Hall dorm.” sary of Greek-letter life at GW and en- Warner, who served as the Virginia couraging multicultural groups and governor from 2002 to 2006, is ahead of other student organizations to interact. -
My Life Has Been an Epic Adventure. —Jack Whitten Odyssey Tells The
My life has been an epic adventure. —Jack Whitten Odyssey tells the incredible story of Jack Whitten’s life. room features early works that Whitten made in New York He traveled across the world, from Alabama to Crete; and kept in his studio there. In the following galleries, we he traveled through time, from the present to the ancient see the works he made in Crete in the decades after 1969, past and into the future. Whitten’s sculptures describe when he began spending summers on the island. He found this journey, and although he is widely recognized for his inspiration and common ground in objects from diverse achievements as an experimental painter, the sculptures African traditions and those of ancient Aegean cultures; are shared for the first time here. Odyssey includes examples of these objects, chosen by At the height of the Civil Rights movement the artist Whitten. In the final room of the exhibition, a series of came to New York, where he visited museums exhibiting paintings unfolds the relation between his sculpture and African art. He began carving wood to understand what he his painting practice, in technique and in spirit. saw: aesthetically, to feed his paintings, and culturally, in Jack Whitten’s legacy is his specific worldview: a cosmic terms of his identity as a Black American. He wrote, “The vision seen from the intersection of the African diaspora, African pieces speak to me directly. I feel their presence + I New York painting, the American South, European art can see their use value for me today.” The exhibition’s first history, and the global technological present. -
2006 Promax/Bda Conference Celebrates
2006 PROMAX/BDA CONFERENCE ENRICHES LINEUP WITH FOUR NEW INFLUENTIAL SPEAKERS “Hardball” Host Chris Matthews, “60 Minutes” and CBS News Correspondent Mike Wallace, “Ice Age: The Meltdown” Director Carlos Saldanha and Multi-Dimensional Creative Artist Peter Max Los Angeles, CA – May 9, 2006 – Promax/BDA has announced the addition of four new fascinating industry icons as speakers for its annual New York conference (June 20-22, 2006). Joining the 2006 roster will be host of MSNBC’s “Hardball with Chris Matthews,” Chris Matthews; “60 Minutes” and CBS News correspondent Mike Wallace; director of the current box-office hit “Ice Age: The Meltdown,” Carlos Saldanha, and famed multi- dimensional artist Peter Max. Each of these exceptional individuals will play a special role in furthering the associations’ charge to motivate, inspire and invigorate the creative juices of members. The four newly added speakers join the Promax/BDA’s previously announced keynotes, including author and social activist Dr. Maya Angelou; AOL Broadband's Executive Vice President and Chief Operating Officer Kevin Conroy; Fox Television Stations' President of Station Operations Dennis Swanson; and CNN anchor Anderson Cooper. For a complete list of participants, as well as the 2006 Promax/BDA Conference agenda, visit www.promaxbda.tv. “At every Promax/BDA Conference, we look to secure speakers who are uniquely qualified to enlighten our members with their valuable insights," said Jim Chabin, Promax/BDA President and Chief Executive Officer, in making the announcement. “These four individuals—with their diverse, yet powerful credentials—will undoubtedly shed some invaluable wisdom at the podium.” This year’s Promax/BDA Conference will be held June 20-22 at the New York Marriott Marquis in Times Square and will include a profusion of stimulating seminars, workshops and hands-on demonstrations all designed to enlighten, empower and elevate the professional standings of its members. -
Page 1 / 2 CV of the ARTIST Jack Whitten (1939-2018)
27.03.2019 Page 1 / 2 HAMBURGER BAHNHOF – CV OF THE ARTIST MUSEUM FÜR GEGENWART – BERLIN STAATLICHE MUSEEN ZU BERLIN Invalidenstraße 50-51 10557 Berlin Jack Whitten (1939-2018) PRESS CONFERENCE Wed 27.03.2019, 11 am 1939: Born on December 5 in Bessemer, Alabama. At this time, there is strict racial OPENING segregation in the southern states of the USA, a situation which Jack Whitten later Thu 28.03.2019, 7 pm described as "American apartheid". EXHIBITION 29.03. – 01.09.2019 1957: Enrols in Tuskegee Institute and majors in premedical studies, as well as be- ing an Air Force ROTC cadet. In the same year Whitten meets Dr Martin Luther King during the bus boycott in Montgomery. 1958: First trip to New York for summer work to finance his studies. 1959: Moves to Southern University in Baton Rouge, Louisiana, to study art. 1960: Organizes a major civil rights march through downtown Baton Rouge to pro- test at the lack of financial support for Black colleges. The demonstrators are met PRESS CONTACT with hatred and violence from White counter-demonstrators. Because of this ex- EXHIBITION Dr. Katharina von Chlebowski perience, Whitten leaves the south and moves to New York. There he continue s his Verena Mühlegger education at Cooper Union School of Art where he studies with White students and TEL +49 30 26 39 488 0 professors for the first time. FAX +49 30 26 39 488 11 [email protected] www.freunde-der-nationalgalerie.de 1960-1964: First studio on the Lower East Side. Whitten meets Joe Overstreet, Bob Thompson, LeRoi Jones [Amiri Baraka], Allen Ginsberg, Jack Kerouac, Willem de PRESS CONTACT Kooning, Franz Kline and other figures from the art scene. -
Black Art History: Jacob Lawrence's Narrative Series About Black Perseverance and American Rebellion Inspired a Cache of Child
Welcome to Culture Type! ABOUT SEARCH Exploring art by and about people of African descent, BOOKSHOP primarily through the lens of books, magazines and catalogs, Culture Type features original research and DONATE reporting and shares invaluable interestingness culled from CONTACT the published record on black art. BOOKS & CATALOGS MAGAZINES EXHIBITIONS AUCTIONS BEST ART BOOKS YEAR IN BLACK ART NEWS CULTURE TALKS CONNECT Black Art History: Jacob Lawrence’s Narrative Series About Black Perseverance and American Rebellion Inspired a Cache of Children’s Books SUBSCRIBE by VICTORIA L. VALENTINE on Feb 28, 2019 • 11:58 pm No Comments Get Culture Type in your inbox. Submit your email address to be notified of new posts. Like 104 Tweet Email Address Subscribe RECENTLY PUBLISHED ‘Loophole of Retreat’: Simone Leigh’s Hugo Boss Prize Exhibition Opens at the Guggenheim April 19 Mar 15, 2019 Recently On View: ‘Glimmers Through Dark Matter’ – Greg Breda and Myra Greene at Patron Gallery, New York City Mar 14, 2019 Auction Debut: ‘Lilith,’ a Mixed-Media Figurative Painting, by Tschabalala Self Sells for Twice its Estimate at Phillips London Mar 13, 2019 “The Last Journey,” No. 17 from the series Harriet Tubman and the Promised Land (1967) by Jacob Lawrence Ursula Magazine: Hauser & Wirth Introduced a New Art Quarterly Featuring Linda Goode Bryant, Lorna OVER THE COURSE OF HIS CAREER, Jacob Lawrence (1917-2000) documented the African American Simpson, Amy Sherald, Senga Nengudi, and Jack Whitten experience and life in Harlem. He also tackled key moments in American history through multi-panel series. A Mar 13, 2019 sweeping look at the history of the United States, his series Struggle…From the History of the American People (1954-56), acknowledged all of the nation’s people. -
Painting and Sculpture at the Museum of Modern Art
Painting and Sculpture at The Museum of Modern Art Ann Temkin The Museum of Modern Art, New York Produced by the Department of Publications The Museum of Modern Art, New York Christopher Hudson, Publisher Chul R. Kim, Associate Publisher David Frankel, Editorial Director Marc Sapir, Production Director Edited by Sarah Resnick Designed by Miko McGinty Production by Marc Sapir Printed and bound by OGI/1010 Printing Group Ltd., China This book is typeset in Fakt. The paper is 157gsm Kinmari Matt. contents © 2015 The Museum of Modern Art, New York Certain illustrations are covered by claim to copyright cited on page 247 of this volume. Foreword 7 Glenn D. Lowry All rights reserved. Library of Congress Control Number: 2015930565 Introduction 9 ISBN: 978-0-87070-967-8 Ann Temkin Published by The Museum of Modern Art 11 West 53 Street Plates 20 New York, New York 10019 www.moma.org Index of Plates 245 Distributed in the United States and Canada by ARTBOOK | D.A.P. 155 Sixth Avenue New York, New York 10013 www.artbook.com Distributed outside the United States and Canada by Thames & Hudson Ltd. 181A High Holborn London, WC1V 7QX www.thamesandhudson.com Front cover: Vincent van Gogh. The Starry Night. 1889. See p. 23. Back cover: Yayoi Kusama. Accumulation No. 1. 1962. See p. 139. Title page: Isa Genzken (German, born 1948). Rose II. 2007. Stainless steel, aluminum, and lacquer, 36' x 9' 6'' x 42" (1,097.3 x 289.6 x 106.7 cm). Gift of Alfred H. Barr, Jr., and gift of the Advisory Committee (both by exchange), 2014 Printed in China Foreword It is with great pleasure that we present this new volume surveying the paintings and sculptures housed in The Museum of Modern Art. -
<<< Peter Max Lawrence >>>
Peter Max Lawrence [email protected] petermaxlawrence.com SOLO EXHIBITIONS Return of the Yeti, Subrosa Space, Athens, Greece, 2018 The Umpire Strikes Back, Subrosa Space, Athens, Greece, 2018 Beyond Say, Subrosa Space, Athens, Greece, 2018 October Surprise, Jernquist Studio, Brooklyn, NY 2016 In With The Old & Out With The New - New Lofts Art Gallery, Stockton, KS 2015 iNtheStudioAgain&Again&again, one2one, Lucas, KS 2014 Sell Out | Spikes, San Francisco, CA 2013 The Indelible Sulk | Mission: Comics & Art, San Francisco, CA 2013 Magickal Marvels: Ethos, Mythos, and Pathos | James C. Hormel LGBT Center - San Francisco Public Library 2012 The Ghost Show | Gallerí Klósett | Reykjavík, Iceland 2012 At War: Truong Tran & Peter Max Lawrence | SOMArts, San Francisco, CA 2012 Here Comes The Rain | Her Majesty's Secret Beekeeper, San Francisco CA 2011 Prey for Them | Little Bird, San Francisco CA 2011 The Paper Trail | Whiskey Thieves, San Francisco, CA 2010 The Sweet Stink of Stigma, Magnet, San Francisco, CA, 2010 Midnight Moth & Bug Issue #1 vol.3, The Tiny Gallery | Big Think Studios, San Francisco CA 2009 The Innocent Culprit | Whiskey Thieves, San Francisco, CA , 2007 Addicted to Applause | Diego Rivera Gallery, San Francisco, CA , 2007 Contemporary Dilemmas for the Ancient Gods | Magnet, San Francisco, CA, 2006 The Woman of Willendorf and Worldy other Wonders | The Austin Law Group, San Francisco, CA , 2006 Art Span, Open Studios, San Francisco, CA, 2006 Sacred Monsters | Leedy-Voulkos -
Extending Abstraction Jack Whitten's Work in the Gap Between Form And
Extending Abstraction Jack Whitten’s Work in the Gap between Form and Meaning by Sven Beckstette “I work in the gap. With everything I do, I work in the gap. The gap is what excites me the most. In painting, it’s the gap that exists between form and meaning. That’s where I work.”i “I grew up in the South with the fundamentalist religion. Certain people existed as a spirit and energy – people I knew – Miles Davis, Norman Lewis, Romare Bearden, James Baldwin.”ii Jack Whitten The work of Jack Whitten is characterized by a continual extension of the means of painterly abstraction.iii This is most evident when it comes to technical aspects of execution including choice of materials, but is also applicable to the facture and composition of his paintings. In the 1960s, Whitten’s work was heavily influenced by the late Surrealism of Arshile Gorky and by the gestural and spontaneous abstraction of Willem de Kooning. While in the series Heads (1964), Whitten explored the possible analogy between painting and photography, the works that followed addressed autobiographical questions about his own identity. At the time, Whitten referred to himself as an abstract-figurative Expressionist. Works such as Garden in Bessemer – a reference to Gorky’s Garden in Sochi (1941) – seem like a psychedelic tangle of flowers and vegetation from which, upon closer inspection, human faces emerge. This development reached an end point in Satori (1969): With this work, Whitten not only embraced the formal language of geometric abstraction for the first time – something he had considered while studying African sculpture – but he also began to understand painting as a conceptual medium. -
Oral History Interview with Jack Whitten, 2009 December 1-3
Oral history interview with Jack Whitten, 2009 December 1-3 Funding for this interview was provided by the Terra Foundation for American Art. 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 recorded interview with Jack Whitten on 2013 December 1 and 3. The interview took place in Woodside, N.Y., and was conducted by Judith Olch Richards for the Archives of American Art, Smithsonian Institution. Jack Whitten and Judith Olch Richards have reviewed the transcript. Jack Whitten's corrections and emendations appear below in brackets. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards interviewing Jack Whitten on December 1, 2009, at his studio in Woodside, Queens, New York, for the Archives of American Art, Smithsonian Institution, disc one. Jack, I'd like to start with your family, as far back as you want to go– it could be even your grandparents, if you have information about them, and then going on to your parents and yourself and your siblings. And then we'll focus on you again. JACK WHITTEN: Yes. My mom [as] Annie B. Whitten and my father was Mose Whitten. MS. RICHARDS: Annie – A-N-N-I-E? MR. WHITTEN: A-N-N-I-E. MS. RICHARDS: And B is – MR. WHITTEN: Belle. Annie Belle. -
Seville-Expo-1992.Pdf
t I t?t'\ FINAL REPORT UNITED STATES PAVILION SEVILLE EXPO'92 Table of Contents Summary Background and Pre-Opening Chronology The Pavilion and Exhibition Corporate Participation Defense Department Pavilion Operations Cultural Programs Sports Programs Special Events 10 SpecialVisitors 13 Conclusion 14 Appendices 15 Project Summary Pavilion: Two 10,000 square feet geodesic domes, 20,000 squarel feet exhibit hall/office building, 3,000 square foot demonstration home , 12,000 square foot outdoor sports and performance stage courtyard complex, 35,000 square feet of outdoor exhibits and landscaping. Gomponents: Bill of Rights Exhibit, World Song Theater, Sports and Cultural Performance Court, American Spirit Home, GM Auto Exhibit, Kansas City Exhibit, Peter Max Murals, Sprint Exhibit, Ameritech Exhibit, U.S. Mint Exhibit, DHL Exhibit, All American Sport Shop, Yankee Stadium Restaurant, and Baskin Robins lce Cream Stand. Pavilion Attendance: 2,400,000 Gultural Programs: Number of participants: Sports: 1,000 Performing Arts: 3,500 Funding: Cash: Federal $20.626.000 Private $4.972.248 lnkind: Private $11.314.758 Background and Pre-Opening Chronology Background Seville Expo '92 commemorated the 500th anniversary of Columbus' voyage to the New World and picked the theme "Age of Discovery." lt opening April 20, 1992 and closed Columbus Day, October 12, 1992. Attendance was over 40 million. Spain invested over $4 billion in the expo and related infrastructure, the largest such investment in world's fair history. 110 countries participated on the 530 acre site located on an island in the Guadalquivir river across from central Seville. At the time Seville Expo'92 was proposed, the Bureau of International Expositions, the organization that sanctions such events, had two categories for world's fairs: universal and specialized.