Maurice Prendergast, Beach Scene Oil on Canvas, 28 X 40 In

Total Page:16

File Type:pdf, Size:1020Kb

Maurice Prendergast, Beach Scene Oil on Canvas, 28 X 40 In Maurice Prendergast, Beach Scene Oil on canvas, 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Maurice Prendergast (1858-1924) was born in Newfoundland, Canada and spent the majority of his life in Boston and its surrounding townships. A student of European Post-impressionism as well an early vanguard of American Modernism, Prendergast’s colorful, flattened scenes of leisure and idleness set among New England’s parks and shores are among the most beloved works of early 20th century American art. Through Prendergast’s life he painted dozens of scenes of the beaches and harbors north of Boston—in Salem, Marblehead, Nahant and Gloucester (Figs. 2-15). Beach Scene (Fig. 1), a characteristic example of this genre, shows an assemblage of ladies socializing near the water with their dogs on a fine summer day. In the background a little girl on a donkey is lead along the shore by a man. At the notable 1913 Armory Show Prendergast’s work was denigrated by famed contemporary and principal organizer of the event, Arthur B. Davies, as resembling, “an explosion in a paint factory.1” Beach Scene is notable for its present untouched, un-restored, deteriorated condition in which it was found (Figs 16-35). The paint layer, experiencing flaking losses is in need of stabilization (Figs. 16,17). The canvas was never re-stretched. The stretcher and fasteners date the hundred- year-old canvas. The painting is signed on the lower right (Fig. 16). The signature is obscured under UV light. Howard Shaw of Hammer Galleries has compared the painting with a similar painting in the collection of Hammer Galleries founder, Dr. Armand Hammer. Research: M.S. 1 “Maurice Prendergast.” SAAM. https://americanart.si.edu/artist/maurice-prendergast-3875 (accessed April, 1, 2019). Fig. 1 Maurice Prendergast, Beach Scene Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Figure 2 Figure 5 Maurice Prendergast, Summer, New England Maurice Prendergast, Fantasy Oil on canvas, 1912 Oil on canvas, c. 1914-15 (48.9 x 69.9 cm.) 22.1 x 31.6 in. (56.2 x 80.3 cm.) Smithsonian American Art Museum, Washington D.C. The Phillips Collection, Washington D.C. Figure 3 Figure 6 Maurice Prendergast, Beach Scene with Donkeys Oil on canvas, c. 1914-15 Maurice Prendergast, Gloucester Harbor 22.1 x 32.1 (56.2 x 81.6 cm.) Oil on canvas, c. 1918-23 Barnes Foundation, Philadelphia 23.3 x 27.5 in. (59.1 x 69.9 cm.) Figure 7 Figure 4 Maurice Prendergast, Holidays Maurice Prendergast, The Promenade Oil on canvas, c. 1915-18 Oil on canvas, 1913 30 x 43.4 in. (76.2 x 109.9 cm.) 30 x 34 in. (76.2 x 86.4 cm.) Minneapolis Institute of Arts, Minneapolis Whitney Museum of American Art, New York Figure 8 Figure 11 Maurice Prendergast, The Idlers Oil on canvas, c. 1918-20 Maurice Prendergast, Landscape with Figures 21 x 32 in. (53.3 x 32.1 cm.) Oil on canvas, c. 1913-16 Maier Museum of Art, Lynchburg 29.8 x 43 in. (75.6 x 109.2 cm.) Detroit Institute of the Arts, Detroit Figure 9 Maurice Prendergast, In the Park Figure 12 Oil on canvas, c. 1914-16 25 x 36 in. (63.5 x 91.4 cm.) Maurice Prendergast, Landscape with Figures Oil on canvas, 1921 32.6 x 42.6 in. (82.9 x 108.3 cm.) Corcoran Gallery of Art, Washington D.C. Figure 10 Figure 13 Maurice Prendergast, Ladies in a Seaside Arbor Oil on canvas, c. 1914-15 Maurice Prendergast, On the Beach No. 3 22.5 x 24.4 in. (57.2 x 61.9 cm.) Oil on canvas, c. 1916-18 26 x 33.1 in. (66 x 84.1 cm.) Cleveland Museum of Art, Cleveland Figure 14 Figure 15 Maurice Prendergast, The Promenade Oil on canvas, c. 1912-1913 Maurice Prendergast, Twilight 28 x 40.3 in. (71.1 x 102.2 cm.) Oil on canvas, c. 1918-23 Columbus Museum of Art, Columbus 21 x 27 in. (53.3 x 68.6 cm.) Figure 16 Detail, signature of Beach Scene Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Figure 17 Figure 18 Detail, Beach Scene Detail, Beach Scene Oil on canvas Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection New York Private Collection Figure 19 Figure 20 Detail, Beach Scene Oil on canvas Detail, Beach Scene 28 x 40 in. (71.1 x 101.6 cm.) Oil on canvas New York Private Collection 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Figure 21 Detail, Beach Scene Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Figure 22 Detail, Beach Scene Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Figure 23 Figure 24 Detail, Beach Scene Detail, Beach Scene Oil on canvas Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection New York Private Collection Figure 25 Figure 26 Detail, Beach Scene Oil on canvas Detail, Beach Scene 28 x 40 in. (71.1 x 101.6 cm.) Oil on canvas New York Private Collection 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Figure 27 Figure 28 Detail, Beach Scene Detail, Beach Scene Oil on canvas Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection New York Private Collection Figure 29 Figure 30 Detail, Beach Scene Detail, Beach Scene Oil on canvas Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection New York Private Collection. Figure 31 Figure 32 Detail, Beach Scene Oil on canvas Detail, Beach Scene 28 x 40 in. (71.1 x 101.6 cm.) Oil on canvas New York Private Collection 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection Figure 33 Figure 34 Detail, Beach Scene Detail, Beach Scene Oil on canvas Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection New York Private Collection Figure 35 Detail, Beach Scene Oil on canvas 28 x 40 in. (71.1 x 101.6 cm.) New York Private Collection .
Recommended publications
  • “A Former Director's Perspective on Provenance Research And
    Collections: A Journal for Museums and Archives Professionals Provenance Research in American Museums “A Former Director’s Perspective on Provenance Research and Unprovenanced Cultural Property”[1] Dr. Gary Vikan Former Director, the Walters Art Museum Provenance research for a fine arts museum is neither a luxury contingent on adequate staffing with appropriate training, nor is it one of those onerous tasks only to be undertaken when imposed and funded from without. Rather, provenance research is integral to the day-to-day work of any art museum committed to scholarship – a facet of the analysis of a work of art every bit as important to revealing its story as are its iconographic, stylistic, and technical analyses. Such research is especially important for the Walters Art Museum which, perhaps to a greater extent than any other comprehensive fine arts museum in the country, is the legacy of dealer- collector interaction, to the complete exclusion of works professionally excavated in archaeological context.[2] Researching and reconstructing the collection’s past has been central to the museum’s work since it was opened to the public in 1934. My first project at the Walters when I arrived in 1985 as Assistant Director for Curatorial Affairs and Curator of Medieval Art was to oversee the research and publication of a scholarly exhibition catalogue, Silver from Early Byzantium: The Kaper Koraon and Related Treasures (by Marlia Mundell Mango). Its focus was a treasure (the “Hama Treasure”) of unprovenanced Byzantine liturgical silver acquired by Henry Walters from Joseph Brummer in Paris in 1929 which was part of a larger hoard that almost certainly emerged from a clandestine dig near the town of Kurin in northern Syria in late 1908.
    [Show full text]
  • Glackens, William Illustration Collection
    William Glackens Illustration Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Ira Glackens, 1989 Extent 2 linear feet Abstract The collection contains tear sheets and proofs of illustrations by the artist from a variety of magazines, including Century Magazine, McClure’s Magazine, and The Saturday Evening Post. Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation William Glackens Illustration Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Chronology of William Glackens 1870 – Born March 13 in Philadelphia to Samuel Glackens and Elizabeth Finn Glackens. William was the youngest of three children. His brother Louis became a well-known cartoonist and illustrator. 1889 – Graduated from Central High School in Philadelphia, where he met John Sloan and Albert C. Barnes. 1891-1894 – Worked as newspaper artist on the Philadelphia newspapers the Record, the Press, and the Public Ledger. Moving between papers he renewed acquaintance with John Sloan and met Everett Shinn, George Luks, James Preston, and Frederic Gruger. Attended evening classes at the Pennsylvania Academy of the Fine Arts, where he met Robert Henri. Was part of the short-lived Charcoal Club. In 1894, shared a studio with Robert Henri. 1895 – First published book illustrations appeared in Through the Great Campaign with Hastings and his Spellbinders by George Nox McCain. 1895-1896 – Traveled to Paris, and with Robert Henri and James Wilson Morrice made sketching trips outside the city.
    [Show full text]
  • Nicholas Longworth 17 Nicholas Longworth: Art Patron of Cincinnati
    Spring 1988 Nicholas Longworth 17 Nicholas Longworth: Art Patron of Cincinnati Abby S. Schwartz ... A little bit of an ugly man came in...he came forward and, taking my hand and squeezing it hard, he looked at me with a keen, earnest gaze. ... His manners are extremely rough and almost course, but his shrewd eyes and plain manner hide a very strong mind and generous heart.1 These observations made in 1841 by the young artist Lilly Martin Spencer hardly seem appropriate for a man who was among America's wealthiest and one of Cin- cinnati's most prominent citizens. Described by another contemporary as "dry and caustic in his remarks" and "plain and careless in his dress, looking more like a beggar than a millionaire,"2 Nicholas Longworth, however eccentric and controversial, was a leading Cincinnati art patron as well as an outstanding collector and a generous supporter of the arts during the middle of the nineteenth century. Longworth's eccentricities of dress and behav- ior are well documented in photographs, portraits, and anec- dotes. While the Portrait of Nicholas Longworth by Robert Scott Duncanson (1 821-1872) portrays the subject as an important property owner and vintner, the work also docu- ments Longworth's eccentric habit of pinning notes to his suit cuffs to remind himself of important errands and appoint- ments. The portrait, painted in 18 5 8, is on permanent loan to the Cincinnati Art Museum from the Ohio College of Applied Science. An often repeated anecdote details young Abraham Lincoln's visit to Longworth's renowned gardens During the years he resided at Belmont (now where Lincoln mistook the master of the house for a gardener: the Taft Museum), 1830 until his death in 18 6 3, Longworth In the middle of the gravel path leading to a pillared portico, a amassed a personal art collection, assisted a number of artists small, queerly dressed old man, with no appearance whatever offinancially, offered advice and letters of introduction to having outgrown his old-fashioned raiment, was weeding.
    [Show full text]
  • Marsden Hartley (American, 1877-1943), Still Life, No
    THE ARMORY SHOW AT 100 October 18, 2013 - February 23, 2014 Marsden Hartley (American, 1877-1943), Still Life, No. 1, 1912. Oil on canvas, 31 ½ x 25 5/8 in. Columbus Museum of Art, Ohio: Gift of Ferdinand Howald, 1931.184. Vincent van Gogh (Dutch, 1853-1890), Mountains at Saint Rémy (Montagnes à Saint- Rémy), 1889. Oil on canvas, 28 ¼ x 35 ¾ in. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Justin K. Thannhauser, 1978, 78.2514.24 Maurice Prendergast (American, 1859-1924), Landscape with Figures, ca. 1910-12. Oil on canvas, 38 ½ x 52 ¾ in. Edward W. Root Bequest, 57.212, Munson-Williams-Proctor Arts Institute, Utica, New York. Image, Art Resource, NY Henri Matisse (French, 1869-1954), Blue Nude, 1907. Oil on canvas, 36 ¼ x 55 ¼ in. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.228. © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Mitro Hood. John Sloan (American, 1871-1951), Sunday, Women Drying Their Hair, 1912. Oil on canvas, 26 1/8 x 32 1/8 in. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Museum Purchase, 1938.67. © 2013 Delaware Art Museum / Artists Rights Society (ARS), New York Paul Gauguin (French, 1848-1903), Parau na te Varua ino (Words of the Devil), 1892. Oil on canvas, 36 1/8 x 26 15/16 in. National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman. Courtesy of the National Gallery of Art, Washington John Marin (American, 1870-1953), Woolworth Building, No.
    [Show full text]
  • The Kimbell Art Museum Monet: the Late Years
    1 The Kimbell Art Museum Monet: The Late Years An Acoustiguide Tour As Recorded Script Notes: - total word count now: 3710 = approx 25 minutes Acoustiguide Inc. 555 8th Avenue Suite 1009 New York, NY 10018 (212) 279-1300 Production #4226 © Acoustiguide Inc. and The Kimbell Art Museum, 2019. All rights reserved. 2 STOP LIST 500. DIRECTOR'S INTRODUCTION 501. WATER LILIES, REFLECTIONS OF TALL GRASSES, 1897. PRIVATE COLLECTION (CAT. 1) AND GROUP OF 5 (CAT. 4-8) 502. WATER LILIES, C. 1914–17. FINE ARTS MUSEUMS OF SAN FRANCISCO (CAT. 11) 503. WATER LILIES, 1915–17. FONDATION BEYELER, BASEL, SWITZERLAND (CAT. 14); WEEPING WILLOW AND WATER-LILY POND, 1916–19, PRIVATE COLLECTION; WATER LILIES, 1915–17. MUSÉE MARMOTTAN MONET, PARIS (CAT. 15) 504. IRISES, C. 1914–17. THE NATIONAL GALLERY, LONDON (CAT. 17); YELLOW IRISES, C. 1914–17. THE NATIONAL MUSEUM OF WESTERN ART, TOKYO (CAT. 18) 505. WATER-LILY POND, 1917–19. PRIVATE COLLECTION. COURTESY OF BENJAMIN DOLLER, NEW YORK (CAT. 25); WATER LILIES, 1917/19. HONOLULU MUSEUM OF ART (CAT. 26); WATER-LILY POND, 1917/19. THE ART INSTITUTE OF CHICAGO (CAT. 27) 506. WATER LILIES, C. 1921–22. TOLEDO MUSEUM OF ART, OHIO (CAT.16) 507. WATER LILIES (AGAPANTHUS), C. 1915–26. SAINT LOUIS ART MUSEUM (CAT. 28); WISTERIA, 1919–20. MUSÉE MARMOTTAN MONET, PARIS (CAT. 29); WISTERIA, 1919–20. MUSÉE MARMOTTAN MONET, PARIS (CAT. 30) 508. CORNER OF THE WATER-LILY POND, 1918–19. PRIVATE COLLECTION (CAT. 31) 509. GROUP OF JAPANESE BRIDGE PAINTINGS 510. GROUP OF WEEPING WILLOW PAINTINGS, ENDING WITH WEEPING WILLOW, 1918–19.
    [Show full text]
  • Ben Mauk, the Rise of the Private Art “Museum” (The New Yorker)
    10/13/2017 The Rise of the Private Art “Museum” | The New Yorker Currency The Rise of the Private Art “Museum” By Ben Mauk May 28, 2015 n the heart of Berlin stands a windowless concrete bunker so awesomely ugly that, I when you see it, you instinctively avert your gaze. It is heavy, gray, and shrapnel- pocked, and has no signage to explain its protean history. Designed by the Nazi architect Karl Bonatz, under the direction of Albert Speer, the bunker was built in 1942 as an air-raid shelter for German citizens. In 1945, it became a Red Army P.O.W. camp. Later, its cool, sunless chambers served as an East German warehouse for fruit imported from Cuba, which is how it picked up an early nickname: the banana bunker. After the fall of the Berlin Wall, the building was appropriated for use rst as an avant- garde performance space, and later as a techno club whose low ceilings, dark rooms, and frequent fetish parties led to its designation as “the hardest club in the world.” In 2003, a few years after authorities shuttered the night club, Christian and Karen Boros bought the building to display a portion of their sizable collection of contemporary art. They recongured its hundred and twenty cramped rooms into eighty larger ones, and added an astonishing window-lined penthouse, where the couple lives with their ten-year-old son. Between 2008 and 2012, more than a hundred and twenty thousand visitors navigated through the bunker’s intricate passageways to see the début exhibition, which focussed on the theme of light.
    [Show full text]
  • Please Confirm Dates and Titles with the Information Office (202) 842-6353
    NOTE TO EDITORS: Information listed below is subject to change. Please confirm dates and titles with the Information Office (202) 842-6353. ADVANCE EXHIBITION SCHEDULE August 1986 - September 1987 CONTINUING EXHIBITIONS GEORGE INNESS Through Sept. 7, 1986 Uest Building, Ground Floor Seen in four other cities across the U.S. during the past two years, George Inness represents the first national retrospective of this widely influential late 19th century American landscape artist. The exhibition traces Inness' artistic output from his early assimilation of French Barbizon landscape art through his development of an individually expressive artistic language. The exhibition was organized by Michael Quick, curator of American art, Los Angeles County Museum of Art and coordinated in its Washington showing by Nicolai Cikovsky, Jr., curator of American art, National Gallery of Art. George Inness is accompanied by a fully illustrated, scholarly catalogue. GIFTS TO THE NATION: SELECTED ACQUISITIONS FROM THE COLLECTIONS OF MR. AND MRS. PAUL MELLON Through Oct. 19, 1986 West Building, Main Floor This exhibition of more than 85 works of art by French, British and American masters spanning the 18th - 20th centuries has been selected from the 822 works given to the National Gallery by Mr. and Mrs. Paul Mellon since 1964. Gifts to the Nation features outstanding paintings and works on paper by American artists Winslow Homer, George Bellows, Thomas Eakins and Maurice Prendergast, as well as European masters Paul Cezanne, Henri Matisse, Edgar Degas, Georges Seurat, Claude Monet, William Hogarth, John Crome and Richard Wilson. The exhibition includes selections from the most recent gift made by the Me!Ions in 1985, some of which are on view at the Gallery for the first time.
    [Show full text]
  • Robert Indiana: a Sculpture Retrospective June 16–September 23, 2018 1905 Building, South Galleries and Sculpture Court
    Robert Indiana: A Sculpture Retrospective June 16–September 23, 2018 1905 Building, South Galleries and Sculpture Court This exhibition explores the more than five-decade career of one of America’s most beloved artists, Robert Indiana (American, 1928–2018). A selective survey of Indiana’s sculpture, it also includes numerous paintings, prints, and drawings, highlighting how Indiana’s thinking in visual form crossed different media. This quintessentially American artist returned to frequently autobiographical motifs, symbols, and imagery often after many decades of quiet reflection and rumination, building a corpus of work that ever more meaningfully reflected what it meant to be an American artist—and what it meant to be Robert Indiana—as the years passed. While LOVE will likely always remain the artist’s greatest contribution in the public imagination, his work beyond and apart from this memorable image places Indiana among the great American artists of the second half of the twentieth century. This exhibition introduces lesser-known late works—the Vinalhaven Woods, bronze editions of sculptures from different eras in his career, and the marble LOVEs—to make the case for the breadth and import of Indiana’s achievement. *** Zenith, 1960 Gesso and iron on wood panel Private Collection This small construction is among Indiana’s earliest sculptural works and introduces many elements of his later practice, including the prominent use of white gesso and the incorporation of rusted metal found objects. The circle and diamond shapes also find echoes in Indiana’s later work. Soul, 1960 Gesso, oil, and iron on wood with iron-and- wooden wheels Private Collection Indiana was raised in the Christian Science faith, and although he was not exceptionally religious, many ideas introduced there—for example, the circle as a symbol of eternity or the integral relationship between love and God—found their way into works, including Soul, through the decades.
    [Show full text]
  • Ronald Gonzalez: Private Collection
    Schmucker Art Catalogs Schmucker Art Gallery Winter 2011 Ronald Gonzalez: Private Collection Shannon Egan Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/artcatalogs Part of the Art and Design Commons Share feedback about the accessibility of this item. Recommended Citation Egan, Shannon, "Ronald Gonzalez: Private Collection" (2011). Schmucker Art Catalogs. 7. https://cupola.gettysburg.edu/artcatalogs/7 This open access art catalog is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Ronald Gonzalez: Private Collection Description In Ronald Gonzalez’s latest series of sculptures, old leather satchels, small antiquated appliances, dulled tools, bicycle handles, shoes, a fencing mask, an accordion, a bicycle seat, a toaster and helmets, among other various found parts and outdated detritus are combined to evoke the heads and torsos of human- like forms. The viewer identifies the components at once as what the objects literally are as well as the specific body parts they figuratively describe. As such, his art calls for an exercise in perceptual shifts that allow for more than one visual interpretation. While some objects are manipulated, others are left intact, as Gonzalez creates paradoxically human and strangely inanimate assemblages. [excerpt] Keywords Ronald Gonzalez, life-size sculpture, metal sculpture Disciplines Art and Design Publisher Schmucker
    [Show full text]
  • American Modernists University of Wyoming Art Museum, 2007 Educational Packet Developed for Grades K-12 Introduction in This
    American Modernists University of Wyoming Art Museum, 2007 Educational Packet developed for grades K-12 Introduction In this museum visit students will view the work of the American Modernists from the late 19th and early 20th Centuries, American artists who began discarding the conventions and traditions of the past in search of something “new.” Personal expression and individualism were embraced as artists forged new visual vocabularies. American Modernists explores the stylistic developments and diverse approaches to the image- making process as American artists undertook to create new art during the 20th Century. History Modernism: Making a Sharp Break with the Old For artists in America before World War II, Europe was considered the center of the art world and it was essential that artists live and study there in order to be successful. In the Post-War years, New York became the recognized art world center. While European art continued to inspire, emulating or copying it and not seeking your own personal voice in your creative process was considered taboo. In 1908, an exhibition in New York would change art in America. Frustrated by the lack of recognition for artists who were working outside the mainstream of the acceptable traditions that dominated the National Academy, eight artists banded together to present their work to the world. Under the leadership of artist and educator Robert Henri; Arthur B. Davies, William Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan organized their only exhibition together. The Eight was shown in the Macbeth Gallery, drawing 7,000 visitors. The experimental work being created in Paris found its way to the US through these inventive and John Sloan, Burglars, 1903, etching, 4-1/8 x5-3/4 cm, Gift of Mr.
    [Show full text]
  • JEFF KOONS and JOHN WATERS Co-Presented with the Library Foundation of Los Angeles’S ALOUD Series
    For Immediate Release Friday, Nov. 1, 2013 Media Contacts Alex Capriotti, 310-399-4004 | [email protected] Susan Clarke Chandrasekhar, 310-552-4181 | [email protected] Sharon Ruebsteck, 212-715-1578 | [email protected] THE UN-PRIVATE COLLECTION: JEFF KOONS AND JOHN WATERS Co-presented with the Library Foundation of Los Angeles’s ALOUD series SPECIAL EVENT IN THE BROAD’S PUBLIC TALKS SERIES TO FEATURE ARTIST JEFF KOONS AND FILMMAKER/AUTHOR JOHN WATERS IN CONVERSATION ABOUT KOON’S ART AND CONTEMPORARY CULTURE Jeff Koons photo by Chris Fanning John Waters photo by Greg Gorman LOS ANGELES - The Broad announced today that artist Jeff Koons will join filmmaker John Waters for a public talk as part of the museum’s The Un-Private Collection series on Feb. 24, 2014, 7:30 p.m., at the Orpheum Theatre in downtown Los Angeles. Co-presented with the Library Foundation of Los Angeles’s ALOUD series, the talk will feature an unprecedented public interview of one of this generation’s most successful artists by a renaissance director-actor-author-artist about the motivations and ideas behind Koons’ works and his creative processes. Collectors Eli and Edythe Broad have assembled one of the world’s largest holdings of artworks by Jeff Koons, many of which will be shown to the public for the first time in the museum’s inaugural exhibition when The Broad opens in late 2014. --more-- “Jeff Koons is an artist who challenges our cultural assumptions, a trait he shares with John Waters,” said Joanne Heyler, founding director of The Broad.
    [Show full text]
  • How-To Guide: Image Citation
    How-To Guide: Image Citation Students at the Academy of Art University (AAU) follow the Modern Language Association (MLA) format for research papers. This How-To guide provides explanations and examples based on the MLA Handbook for Writers of Research Papers, 8th ed., which is available at the AAU Library u n d e r the call number LB2369.G53 2016. The intention of this guide is to help students follow MLA format and appropriately credit creators of works of visual art used in their research. This not only helps authors avoid plagiarism and copyright infringement, but also helps readers successfully locate the same resource. Image citations can be confusing at times, so just keep in mind: • The citation of an original work of visual art differs from the citation of an image/reproduction from a secondary source, such as a book or a website. • You may not always be able to find each source detail mentioned in the format guidelines. Just do your best to provide as much information as possible in your citations. • Instructors may have specific requirements for each class. Always check with your instructors early in the assignment to confirm their expectations for your final work. An Original Work of Visual Art To cite an original work of visual art (a lithograph, painting, photograph, sculpture, etc.) in an institution such as a museum or in a private collection, follow this format: Artist’s Last Name, First Name. Title of Artwork. Year, medium, Name of Institution or Private Collection Housing Artwork, City Where Institution or Private Collection is Located.
    [Show full text]