A Finding Aid to the Paul Jenkins Papers, Circa 1915-2010, in the Archives of American Art
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Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
An Examination of an Analogic-Metaphoric Approach to Museum Education and Art Appreciation
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1983 An examination of an analogic-metaphoric approach to museum education and art appreciation. Marilyn JS Goodman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Goodman, Marilyn JS, "An examination of an analogic-metaphoric approach to museum education and art appreciation." (1983). Doctoral Dissertations 1896 - February 2014. 3879. https://scholarworks.umass.edu/dissertations_1/3879 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. UMASS/AMHERST 31EDbbQ1353Tt)t)4 AN EXAMINATION OF AN ANALOGIC- METAPHORIC APPROACH TO MUSEUM EDUCATION AND ART APPRECIATION A Dissertation Presented By MARILYN JS GOODMAN Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION February 1983 Education Marilyn JS Goodman 1983 All Rights Reserved AN EXAMINATION OF AN ANALOGIC- METAPHORIC APPROACH TO MUSEUM EDUCATION AND ART APPRECIATION A Dissertation Presented By MARILYN JS GOODMAN Approved as to style and content by: 7f"i / 1 J Richard D. Konicek, Chairperson of Committee Liane Brandon, Member Ms Charles S. Chetham, Member Mario D. Fantini, Dean 9 School of Education iii DEDICATION To my mother, who, when I was seven years old, took me to the Museum of Modern Art and asked me how I felt about the paintings. -
Mill Valley Oral History Program a Collaboration Between the Mill Valley Historical Society and the Mill Valley Public Library
Mill Valley Oral History Program A collaboration between the Mill Valley Historical Society and the Mill Valley Public Library Robert Green An Oral History Interview Conducted by Abby Wasserman in 2019 © 2019 by the Mill Valley Public Library TITLE: Oral History of Robert Green INTERVIEWER: Abby Wasserman DESCRIPTION: Transcript, 19 pages INTERVIEW DATE: January 23rd, 2019 In this oral history, gallery owner Robert Green recounts his life in the art world. Born in 1941 in New Jersey, Robert grew up in the New York metropolitan area. He attended Dickinson College in Pennsylvania, after which he joined the U.S. Coast Guard. Robert worked in publishing and advertising before moving into the fine art sector. Robert recounts traveling the world for 22 years as an enterprising young art dealer before he settled in Mill Valley and opened his gallery, Robert Green Fine Arts, at 154 Throckmorton Ave. Robert discusses a number of the artists he has worked with over the decades, such as Sam Francis and Paul Jenkins, as well as the ins and outs of the art world, concluding with why Mill Valley is a wonderful place to live and operate an art gallery. © All materials copyright Mill Valley Public Library. Transcript made available for research purposes only. All rights are reserved to the Mill Valley Library. Requests for permission to quote for publication should be addressed to the: Lucretia Little History Room Mill Valley Public Library 375 Throckmorton Avenue Mill Valley, CA 94941 ii Oral History of Robert Green Index Bennett, George…p.7, 10 Bernstöm, -
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No. -
827-831 Broadway, Borough of Manhattan
December 8th, 2020 Name of Landmark Building Type of Presentation Month xx, year Public Hearing The current proposal is: Preservation Department – Item 15, LPC-21-03122 827-831 Broadway, Borough of Manhattan *Please note that due to scheduling, this item is being read into the record today and will be fully presented at the December 15th public hearing. If you cannot attend the December 15th hearing, you may testify today. How to Testify Via Zoom: https://us02web.zoom.us/j/84049025047?pwd=NzcxN2JPUWpqeVR6WkVDdlJvcDJUZz09 Webinar ID: 840 4902 5047 Passcode: 866444 Note: When the Chair indicates it’s time to By Phone: testify, “raise your hand” via the Zoom app if 1 646-558-8656 you want to speak (*9 on the phone). Those US (New York) 877-853-5257 (Toll free) who signed up in advance will be called first. US 888 475 4499 (Toll free) DXA studio 827- 831 Broadway December 8, 2020 827-831 BROADWAY 894 6th Avenue SCALE As Noted 5th Floor CLIENT NYC 10001 PROJECT NUMBER 17.32 dxastudio.com T 212 874 0567 DATE December 8, 2020 1 SATELLITE VIEW OF SITE PROJECT GOALS • CELEBRATE THE ARTISTS OF THE ABSTRACT EXPRESSIONIST MOVEMENT THAT THRUST NEW YORK TO THE WORLD STAGE, UNSEATING PARIS AS THE CENTER OF THE ART WORLD. RAISE AWARENESS AS TO THE CULTURAL SIGNIFICANCE OF WILLEM AND ELAINE DE KOONING, LARRY POONS, PAUL JENKINS, JULES OLITSKI AND HERBERT FERBER, OF THEIR WORK AND TENURE IN THE BUILDING. • RESTORE THE EXISTING BUILDING TO ITS PERIOD OF SIGNIFICANCE WHILE RESPECTING THE ORIGINAL DESIGN. STREET VIEW 827-831 BROADWAY · SITE CONTEXT 894 6th -
PAUL JENKINS ABSTRACT PHENOMENIST Dipinti, Acquarelli, Opere Grafiche 1965-1988
PAUL JENKINS ABSTRACT PHENOMENIST dipinti, acquarelli, opere grafiche 1965-1988 a cura di Marco e Laura Guastalla Guastalla Centro Arte Edizioni Graphis Arte PAUL JENKINS 3 1. Phenomena Land in Sight, 1976 acrilici su tela cm 127x152 4 PAUL JENKINS 2. Phenomena Veil of Light, 1967-1993 acquarello su carta cm 33,7x76,5 PAUL JENKINS 5 3. Phenomena Color Guide, 1975 acquarello su carta cm 106x76 6 PAUL JENKINS 4. Phenomena Vast Flight, St. Croix, 1977 acquarello su carta cm 78,7x109 PAUL JENKINS 7 5. Phenomena Bullet Cage, 1978 acquarello su carta cm 75,5 X 56,5 8 PAUL JENKINS 6. Phenomena Yellow Metal 24, 1981 acquarello su carta cm 110x79 PAUL JENKINS 9 7. Phenomena Trump Your Card, 1981 acquarello su carta cm 78,7x110 10 PAUL JENKINS 8. Phenomena Gobi Wind, 1982 acquarello su carta cm 78,7x109 PAUL JENKINS 11 9. Phenomema Prism Voyage, 1984 acquarello su carta cm 109,5x78,7 12 PAUL JENKINS 10. Phenomena Profile of Lyre, 1987 acquarello su carta cm 58,5x76 PAUL JENKINS 13 11. Phenomena Tantric Steps, 1987 acquarello su carta cm 57x38 14 PAUL JENKINS 12. Phenomena Evening Plateau, 1988 acquarello su carta cm 78,7x109,5 PAUL JENKINS 15 13 14 13-18. Seeing Voice Welsh heart, 1965 litografie originali a colori numerate e firmate a matita dall’artista cm 37,5x25,5 Queste litografie fanno parte del volume di Cyril Hodges dal titolo “Seeing voice welsh heart” contenente 6 litografie originali di Paul Jenkins, stampate da Fernard Mourlot a Parigi. 16 PAUL JENKINS 15 16 PAUL JENKINS 17 17 18 PAUL JENKINS 19 BREVE ANTOLOGIA CRITICA painting NEVER LIES di Beatrice Buscaroli Fabbri [...] Nato americano e formatosi in America, a stretto contatto con l’arte nuova che avrebbe spezzato per sempre alcuni dei tradizionali legami che il Vecchio Mondo intratteneva ancora col sistema delle for- me definite e chiuse, si è poi assestato sul tronco della cultura europea, senza contrasti e senza traumi. -
Oral History Interview with Alice Baber, 1973 May 24
Oral history interview with Alice Baber, 1973 May 24 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 Interview Interview with Alice Baber Conducted by Paul Cummings On Broadway in New York City May 24, 1973 Preface The following oral history transcript is the result of a tape-recorded interview with Alice Baber on May 24, 1973. The interview took place in New York City, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. [Throughout the interview, there is considerable traffic (and construction?) noise, diminishing the quality of this recording and hence my confidence in the accuracy of the transcription.] PAUL CUMMINGS: It's the 24th of May, 1973, Paul Cummings talking to Alice Baber in her studio on Broadway. [That's not so bad. Let's not go back.] You were born in Illinois, right? ALICE BABER: Yes. PAUL CUMMINGS: To start with. [meaning to start the interview with] ALICE BABER: To start with. PAUL CUMMINGS: Where's Charleston? ALICE BABER: Central Illinois. Where can I say? Sort of right in the middle state, but on [the] eastern border. PAUL CUMMINGS: All right. It's not a big town [all right], isn't it, not big? ALICE BABER: No, Charleston was really not my home town. It was a town. It was a town that some of my mother's family had come from, but it was [not] the largest town to be born in. -
Paintings by Streeter Blair (January 12–February 7)
1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio. -
The Magazine of the Art Students League of New York
Atelier The Magazine of the Art Students League of New York SPRING 2018 Atelier SPRING 2018 Message from President Tom Harvey The Magazine of the Art Students League of New York Contents Dear Members, Students, Instructors, and Friends, Editor-in-Chief 2 Message from President Tom Harvey It is my pleasure to greet you as the League’s 2018 Board President and Jeanne Lunin to share with you this new issue of Atelier. I hope you all will join me in An Interview of and by the League’s New welcoming our new Executive Director, Michael Rips. Many of us have Managing Editor 4 Stephanie Cassidy Executive Director, Michael Rips already met this gracious and accomplished man since he came aboard 5 in December. Michael has lived his life with a passion for the arts. He is Design Director 5 On Teaching: Sharon Sprung a collector, art patron and advocate, and author. In a few short months, Lilian R. Engel Stephanie Cassidy Michael has already established new connections and engagement Copy Editor between the League and the wider arts community. We expect great Highlights from A Landmark Exhibition Julia Montepagani 9 things from him. Jillian Russo, Ph.D. Design & Production You can hear from Michael himself on page 4 in this issue of Atelier. You Lizabeth Buckley 10 ASL News in Brief 9 can also enjoy an interview with Instructor Sharon Sprung, learn about Mark Tatum Ken Park recent special exhibitions at the League, and catch up on art and news Tom Harvey, League Board President from your fellow students and members. -
Paul Jenkins (1923-2012)
PAUL JENKINS (1923-2012) Paul Jenkins was an American abstract painter who lived between New York and Paris. After studying at the Art Students League, he became part of the Abstract Expressionist movement with Mark Rothko and Jackson Pollock. Paul Jenkins also worked with many French artists, as well as Japanese artists in the Gutai group. BIOGRAPHY THE PAINTER PAUL JENKINS’ SUCCESS IN THE THE PAINTER PAUL JENKINS’ EARLY LIFE AND UNITED STATES ARTISTIC TRAINING Paul Jenkins’ first solo exhibition in the United States was Paul Jenkins was born on 12 July 1923 in Kansas City, held at the Zoe Dusanne Gallery in Seattle in 1955. The Missouri, in the United States. Paul Jenkins studied at Seattle Art Museum bought one of his paintings at the the Kansas City Art Institute between 1937 and 1942—it event. In the same year, Paul Jenkins exhibited his works was during this period that he worked with the ceramist in group exhibitions at the Martha Jackson Gallery in James Weldon, who would have a great influence on New York, as well as at the Galerie Rive Droite, the Galerie Jenkins’ 1950s paintings. Paul Jenkins developed a Jean Lacarde and the Petit Palais in Paris. The next year passion for theatre, receiving a scholarship to attend the was marked by the acquisition of one of Paul Jenkins’ Cleveland Play House theatre school in Ohio, where he works by the collector John I. H. Baur for the Whitney designed sets. Museum of American Art and Jenkins’ participation in a group exhibition at the Museum of Modern Art in New York. -
May 9, 2017 the Honorable Meenakshi Srinivasan, Chair New
May 9, 2017 The Honorable Meenakshi Srinivasan, Chair New York City Landmarks Preservation Commission One Center Street, 9th Floor North New York, NY 10007 Re: 827-832 Broadway/47 East 12th Street Dear Chair Srinivasan, The Municipal Art Society of New York (MAS) writes in strong support of the proposal put forward by the Greenwich Village Society for Historic Preservation to calendar 827-831 Broadway and 47 East 12th Street. Designed by Griffith Thomas, architect of several notable buildings in the Noho, Soho Cast-Iron, and Ladies Mile Historic Districts, who was famous for popularizing European styles and the use of cast iron for building facades. These buildings were commissioned and owned by the Lorillard family, New York City landowners since the Revolutionary War, and founders of the pioneering Lorillard Tobacco Company. Shortly after construction in 1866, Wilson Sewing Machine was headquartered at 827-829 Broadway during a time of significant growth and international recognition in the company’s history. In addition, cabinetmaker Alexander Roux held shop here for ten years, employing over 120 craftsmen. Six of his pieces are currently on view at the Metropolitan Museum of Art. In the latter half of the 20th Century, 831 Broadway was the home and studio of four prominent Abstract Expressionist artists of the New York School: Willem and Elaine de Kooning, Larry Poons, and Paul Jenkins. It was here that Elaine de Kooning painted her portrait of President John F. Kennedy, which is displayed in the National Portrait Gallery. Additionally, one of New York’s most renowned antique dealers, Howard Kaplan’s Antiques, was located here for over thirty years and was visited by influential New Yorkers including Jackie Onassis, John Lennon, Roone Aldridge, and Woody Allen. -
Complete Dissertation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Table of Contents Page Title page 2 Abstract 3 Acknowledgements 4 Introduction 5 Chapter 1 A brief biography of E J Power 8 Chapter 2 Post-war collectors of contemporary art. 16 Chapter 3 A Voyage of Discovery – Dublin, London, Paris, Brussels, 31 Copenhagen. Chapter 4 A further voyage to American and British Abstraction and Pop Art. 57 Conclusion 90 List of figures 92 Appendices 93 Bibliography 116 1 JUDGEMENT BY EYE THE ART COLLECTING LIFE OF E. J. POWER 1950 to 1990 Ian S McIntyre A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS THE UNIVERSITY OF EAST ANGLIA September 2008 2 Abstract Ian S McIntyre 2008 JUDGEMENT BY EYE The art collecting life of E J Power The thesis examines the pattern of art collecting of E J Power, the leading British patron of contemporary painting and sculpture in the period after the Second World War from 1950 to the 1970s. The dissertation draws attention to Power’s unusual method of collecting which was characterised by his buying of work in quantity, considering it in depth and at leisure in his own home, and only then deciding on what to keep or discard. Because of the auto-didactic nature of his education in contemporary art, Power acquired work from a wide cross section of artists and sculptors in order to interrogate the paintings in his own mind. He paid particular attention to the works of Nicolas de Stael, Jean Dubuffet, Asger Jorn, Sam Francis, Barnett Newman, Ellsworth Kelly, Francis Picabia, William Turnbull and Howard Hodgkin.