DOCSLIB.ORG

Robert Motherwell's Riverrun Marcelin Pleynet II

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert Motherwell's Riverrun Marcelin Pleynet II INTERPRETING CONTEMPORARY ART Critical Views In the same series The New Museology edited by Peter Vergo Renaissance Bodies edited by Lucy Gent and Nigel Llewellyn Modernism in Design edited by Paul Greenhalgh INTERPRETING CONTEMPORARY ART Edited by Stephen Bann and William Alien REAKTION BOOKS Published by Reaktion Books Ltd 1-5 Midford Place, Tottenham Court Road London WIP 9HH, UK First Published 1991 Copyright © Reaktion Books Ltd 1991 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Designed by Humphrey Stone Photoset by Wilmaset, Birkenhead, Wirral Colour printed in Great Britain by Balding and Mansell plc, Wisbech, Cambridgeshire Printed and bound in Great Britain by Redwood Press Ltd, Melksham, Wiltshire British Library Cataloguing in Publication Data Interpreting contemporary art. 1. Visual arts, 1970- I. Bann, Stephen II. Alien, William I967- 7°9·°47 ISBN 0-948462.-15-9 ISBN 0-948462.-14-0 pbk Contents Photographic Acknowledgements VI Notes on the Artists vii Colour Illustrations IX Notes on the Editors and Contributors XVll Introduction Stephen Bann and William Alien I I Art and Literature: Robert Motherwell's Riverrun Marcelin Pleynet II 2 The Shining Cuckoo Wystan Curnow 27 3 Jannis Kounellis and the Question of High Art Stephen Bann and William Alien 47 4 David Reed: An Abstract Painter in the Age of 'Postmodernism' David Carrier 67 5 Romance of the Real: Jonathan Lasker's Double-Play Rainer Crone and David Moos 85 6 Susan Smith's Archaeology Yve-Alain Bois 102 7 Perverse Space Victor Burgin 124 8 'Salle/Lemieux': Elements of a Narrative Paul Smith 139 9 Echo and Reflections David Reason 162 10 From World to Earth: Richard Deacon and the End of Nature Michael Newman 177 References 205 Select Bibliography 224 Index 227 Photographic Acknowledgements Alinari p. 78 bottom, Richard Deacon pp. 198, 199, 200, Ruth Kaiser p. 59, Lisson Gallery, London pp. 188, 196, Massimo Audiello Gallery, New York pp. xiii, 96 top and bottom, 97, 98, Sue OrmerodlWhitechapel Art Gallery p. 182, Richard Stoner p. 144. Notes on the Artists ROBERT MOTHERWELL was born in 1915 in Aberdeen, Washington, USA. After studying literature, philosophy and aesthetics at Stanford and Harvard Universi­ ties, he began to paint in 1940. Through the encouragement of Meyer Schapiro he met many European exiles in New York, and his own first one-man show was presented by Peggy Guggenheim at the Art of This Century Gallery in 1944. Since then he has exhibited regularly in the United States and Europe. A retrospective exhibition of his work opened at the Albright-Knox Art Gallery, Buffalo, in 1983 and subsequently travelled to Los Angeles, San Francisco, Seattle, Washington and New York. This confirmed his stature as one of the most imaginative and productive painters of the second half of the twentieth century. COLIN MCCAHON was born in Timaru in 1919 and died in Auckland in 1987, having lived in New Zealand all his life apart from visits to Australia (1951) and the United States (1958). Always a painter of powerful images, these were sometimes abstract, landscape or of text, and later a combination of all three. Death and the problem of belief were his abiding subjects. JANNIS KOUNELLIS was born in 1936 in Piraeus, Greece. In 1956 he moved to Rome where he still lives. In the last two decades he has exhibited widely. International institutions that have produced catalogues accompanying their one-man shows of the artist include ARC/Musee d'Art de la Ville de Pa~·is (1980); Stedelijk Van Abbemuseum, Amsterdam (198crl, travelled); Museum of Contemporary Art, Chicago (1986). DAVID REED, who has lived for twenty years in Tribeca, New York, continues to paint through various 'deaths of painting'. Before moving to New York, he painted the landscapes of the American southwest. Inspired by the space and light of the desert, he thought the Grand Canyon 'the source and home of American painting'. More recently he has travelled extensively in Italy, tracing the influences on and of the Carracci. JONATHAN LASKER was born in Jersey City, New Jersey, in 1948. He studied at the School of Visual Arts, New York, and the California Institute of the Arts (1975-7). In the last decade his work has been shown in a number of galleries in Europe and America: he has held solo exhibitions, most recently in the Massimo VIU Notes on the Artists Audiello Gallery, New York (1988, 1989), the Gian Enzo Sperone Gallery, Rome (1988), and Michael Werner, Cologne (1980). He is represented in a number of public collections including the Museum Ludwig, Cologne, and the Hirshhorn Museum, Washington. SUSAN SMITH was born in Greensberg, Pennsylvania, and lives and works in New York. She has had solo exhibitions at a number of New York galleries, including most recently the Margarete Roeder Gallery (1989). Her pictorial work has always dealt with architecture - as site, as construction and as memory. She has been involved with the type of assemblages discussed here, which take their starting point in found demolition material, since the mid- I 980s. HELMUT NEWTON was born in Berlin in 1920. He emigrated to Australia and worked as a freelance photographer in Sydney in the mid-1940S. Later he settled in Paris and Monaco. His photographs have appeared regularly in the German magazine Stern and the French and American editions of Vogue in recent years. Among his books of photographs are Sleepless Nights (1978), 47 Nudes (1982) and World without Men (1986). DAVID SALLE was born in Norman, Oklahoma, in 1952 and lives and works in New York. His one-man shows have been seen at the Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, the Museum Boy­ mans-van Beuningen, Rotterdam (in 1983) and the Museum of Contemporary Art, Los Angeles (in 1988). ANNETTE LEMIEUX was born in Norfolk, Virginia, in 1957, studied at Hartford Art School, Connecticut (BFA, 1980) and now lives and works in New York. She has exhibited in the Cash/Newhouse Gallery, New York (1984 and 1986), and in Holly Solomon Gallery's group show '57 St. Between A & D' (1985, New York). Homecoming, 1985, was exhibited in the 1987 Whitney Museum of American Art Biennial, New York. HAMISH FULTON was born in 1946 and lives near Canterbury in Kent, England. Hamish Fulton: Selected Walks I969-89 (1990) (with essays by Michael Auping and David Reason) was recently published on the occasion of an exhibition organized by the Albright-Knox Art Gallery, Buffalo, New York. The exhibition travelled to the National Gallery of Canada, Ottawa, and the Centro Cultural Arte Contemporaneo, Mexico City. RICHARD DEACON was born in 1949 in Bangor, Wales, and lives and works in London. He is represented by the Lisson Gallery, London, and the Marian Goodman Gallery, New York. Among his one-man exhibitions were the Fruitmarket Gallery, Edinburgh (1984, travelled), Tate and Serpentine Gallery, London (1985), Carnegie Museum of Art, Pittsburgh, and Museum of Con­ temporary Art, Los Angeles (1988), Whitechapel Art Gallery (1988--9), Kunst­ nirnes Hus, Oslo, and Saatchi Collection (1990). In 1987 he was awarded the Turner Prize. Colour Illustrations lX Robert Motherwell, Riverrun, 1972, acrylic on canvas, 152.4 cm x 381.0 cm. Private collection. x Colour Illustrations David Reed, No. 273, 1988-9, oil and Alkyd on linen, 2.84.5 cm x 7I.1 cm. Max Protetch Gallery, New York. Colour Illustrations Xl Colin McCahon, Te Tangi 0 te Pipiwhararua (The song ofthe shining cuckoo; a poem by Tangirau Hotere), 1974, oil on unstretched canvas (five panels), 175.0 cm x 451.4 cm (assembled). Hocken Library, University of Otago, New Zealand. XII Colour Illustrations Susan Smith, White Metal with Red and Gray, 1987-88, oil on canvas with found metal and construction board, 12.0.0 cm x 137.7 cm. Margarete Roeder Gallery, New York. Colour Illustrations Xlll Jonathan Lasker, Double-Play, 1987, oil on linen, II6.8 cm x 254 cm, Rubell Collection, New York. XIV Colour Illustrations Richard Deacon, Kiss and Tell, 1989, epoxy, timber, plywood and steel, 175 cm x 233 cm x 162 cm. Collection Arts Council of Great Britain. Colour Illustrations xv Jannis Kounellis, Civil Tragedy, 1975, gold leaf on wall, hat-rack with coat and hat, and oil lamp, 478 cm x 541 cm. Collection of Karsten Greve, Cologne, and the artist. Installed at the Modern Art Agency, Naples, 1975. OVERLEAF Hamish Fulton, ROCK FALL ECHO DUST, 1988. Roe K F ALL E C H 0 DUST A TWELVE AND A HALF DAY WALK ON BAFFIN ISLAND ARCTIC CANADA SUMMER 1988 Notes on the Editors and Contributors STEPHEN BANN was born in Manchester in 1942. Since 1967 he has taught at the University of Kent, where he is Professor of Modern Cultural Studies and Chairman of the Board of Studies in History and Theory of Art. His books include Concrete Poetry - An International Anthology (editor, 1967), Experi­ mental Painting (1970), The Tradition of Constructivism (editor, 1974), The Clothing of Clio (1984), The True Vine (1989) and The Inventions ofHistory (1990). He has also written numerous catalogue essays and published articles in journals such as Studio International and Art Monthly. WILLIAM ALLEN was born in London in 1967. He studied History and Theory of Art and graduated with a First Class degree in Visual and Performed Arts from the University of Kent in 1988, his final-year dissertation being on the Saatchi Collection. He has held internships at the Brooklyn Museum and the Whitney Museum of American Art, New York, and is now doing freelance work, including projects for the Victoria Miro Gallery and Coracle Press.
Load more

Recommended publications
  • Better Tapit
    Barn 3 Hip No. Consigned by Claiborne Farm, Agent 1 Abrupt First Samurai . Giant’s Causeway Lea . {Freddie Frisson {Greenery . Galileo Abrupt . {High Savannah (GB) Bay colt; Political Force . Unbridled’s Song foaled 2017 {Ire . {Glitter Woman (2009) {Clash . Arch {Hit By LEA (2009), $2,362,398, Donn H. [G1]-ntr, Hal’s Hope S. [G3] twice, Com- monwealth Turf S. [G3], 2nd Woodbine Mile S. [G1], Breeders’ Cup Dirt Mile [G1], etc. His first foals are 3-year-olds of 2020. Sire of 16 wnrs, $932,816, including Muskoka Gold ($155,587, Cup and Saucer S., 2nd Grey S. [G3], etc.), Vast (to 3, 2020, $120,150, Hollywood Wildcat S.). 1st dam Ire, by Political Force. 4 wins at 3 and 4, $202,639, 2nd Mariah’s Storm S. (AP, $13,186), Meafara S. (AP, $13,014), 3rd Arlington Oaks [G3] (AP, $16,170), Mardi Gras H. (FG, $7,500), Happy Ticket S. (FG, $6,000). Sister to Flashy Campaign. Dam of 2 other foals of racing age-- Enrage (f. by Algorithms). Winner at 2, $64,086, 2nd Gin Talking S. (LRL, $20,000). Wrath (c. by Flatter). Winner at 3 and 4, 2020, $50,812. 2nd dam CLASH, by Arch. 2 wins, $86,771. Dam of 6 foals to race, 5 winners, incl.-- FASHION FAUX PAS (f. by Flatter). 3 wins at 2 and 3, 2019, $177,817, Sandpiper S. (TAM, $30,000), Light Hearted S. (DEL, $30,000), 2nd Delaware Oaks [G3] (DEL, $55,000), Mizdirection S. (AQU, $20,000), 3rd Hilltop S. (PIM, $10,000). Ire (f.
    [Show full text]
  • The Greatest Artists of the Twentieth Century
    This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily.
    [Show full text]
  • PNZ 47 Digital Version
    Poetry NZNEW ZEALAND 47 featuring the poetry of 1 Harry Ricketts comment by Jack Ross & Bill Sutton Poetry NZ Number 47, 2013 Two issues per year Editor: Alistair Paterson ONZM Submissions: Submit at any time with a stamped, self-addressed envelope (and an email address if available) to: Poetry NZ, 34B Methuen Road, Avondale, Auckland 0600, New Zealand or 1040 E. Paseo El Mirador, Palm Springs, CA 92262-4837, USA Please note that overseas submissions cannot be returned, and should include an email address for reply. Postal subscriptions: Poetry NZ, 37 Margot Street, Epsom, Auckland 1051, New Zealand or 1040 E. Paseo el Mirador, Palm Springs, CA 92262-4837, USA Postal subscription Rates: US Subscribers (by air) One year (2 issues) $30.00 $US24.00 Two years (4 issues) $55.00 $US45.00 Libraries: 1 year $32.00 $US25.00 Libraries: 2 years $60.00 $US46.00 Other countries One year (2 issues) $NZ36.00 Two years (4 issues) $NZ67.00 Online subscriptions: To take out a subscription go to www.poetrynz.net and click on ‘subscribe’. The online rates are listed on this site. When your subscription application is received it will be confi rmed by email, and your fi rst copy of the magazine will then be promptly posted out to you. 2 Poetry NZ 47 Alistair Paterson Editor Puriri Press & Brick Row Auckland, New Zealand Palm Springs, California, USA September 2013 3 ISSN 0114-5770 Copyright © 2013 Poetry NZ 37 Margot Street, Epsom, Auckland 1051, New Zealand All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photo copying, recording or otherwise without the written permission of the publisher.
    [Show full text]
  • California State University, Northridge Exploitation
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family.
    [Show full text]
  • Publication.Pdf
    1 NEWTON I, 1960–64 In 1960 McCahon and his family moved from Titirangi to the inner- city suburb of Newton, in those days a predominantly working-class and Polynesian neighbourhood. The award of the first Hay’s Art Prize to McCahon for Painting (1958), a radical abstract, caused a furore in newspapers and much unwelcome negative publicity for the artist. After a year of little painting, he embarked on the Gate series (including Here I give thanks to Mondrian, p. 10), an important new series of geometrical abstractions, exhibited at The Gallery (Symonds Street, Auckland) in 1961; a further extension of the series was the sixteen-panel The Second Gate Series (1962, pp. 51–53), a collaboration with John Caselberg (who supplied the Old Testament texts) which addressed the threat of nuclear annihilation; it was exhibited in Christchurch with other work in 1962. Lack of critical enthusiasm for this abstract/text work led McCahon to reconsider his direction, resulting in a ‘return’ (his word) to landscape painting in a large open Northland series (1962, p. 33, 59) and Landscape theme and variations (1963, pp. 60–61), two eight- panel series, exhibited at The Gallery simultaneously with a joint Woollaston/McCahon retrospective at Auckland City Art Gallery. In 1964, after twelve years at Auckland City Art Gallery, McCahon resigned to join the staff of Auckland University’s Elam School of Fine Arts, where he taught from 1964 to 1971. His first exhibition after joining Elam, Small Landscapes and Waterfalls (Ikon Fine Arts, 1964), proved to be both aesthetically and commercially successful.
    [Show full text]
  • Englisch VS 1 10-7Er K.Qxd:PRESTEL VS
    Maira Kalman, Next Stop, Grand Central , 1999 / © 2009 Maira Kalman PRESTEL HEAD OFFICE PRESTEL UK PRESTEL USA 978-3-7913-9845-7 ISBN-978-3-7913-9845-7 SPRING 2010 Prestel Verlag Prestel Publishing Ltd. Innovative Logistics Verlagsgruppe Random House GmbH 4 Bloomsbury Place 575 Prospect Street ART ARCHITECTURE DESIGN PHOTOGRAPHY Königinstrasse 9 London WC1A 2QA Lakewood, NJ 08701 D-80539 Munich, Germany Tel: +44 (0)20 7323-5004 Tel: (888) 463-6110 Tel: +49 (0)89 242908300 Fax: +44 (0)20 7636-8004 Fax: (877) 372-8892 Fax: +49 (0)89 242908335 e-mail:[email protected] e-mail: [email protected] e-mail: [email protected] EUROPE ASIA, AFRICA GERMANY Verlegerdienst München INDIA, NEPAL, Gutenbergstrasse 1 SRI LANKA, BHUTAN TBI - Publisher & Distributors D-82205 Gilching, Germany 1882 Bhasker Bhawan Tel: +49 (0)8105 388-123 Village Kotla, Mubarkpur Fax: +49 (0)8105 388-259 New Delhi 110003 / India e-mail: [email protected] Tel: 9811791246 / 01146056198 e-mail: [email protected] AUSTRIA Mohr Morawa Buchvertrieb Sulzengasse 2 SOUTHEAST ASIA Peter Couzens A-1230 Wien Sales East Tel: +43 (0)16 68 01 45 43 Soi Pichit Fax: +43 (0)16 68 96 800 Sukhumvit Road 18 e-mail: [email protected] Klong Toei Bangkok 10110 SWITZERLAND Buchzentrum Thailand Industriestr. Ost 10 Tel + Fax: +66 2258 1305 CH-4614 Hägendorf Mobile: +66 85058 6265 Tel: +41 (0)62 209 26 26 e-mail: [email protected] Fax: +41 (0)62 209 26 27 e-mail: [email protected] CHINA, HONG KONG, KOREA, PHILIPPINES, Edward Summerson FRANCE Interart TAIWAN
    [Show full text]
  • City of Literature Vision
    1 United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2014 This publication was written as part of Dunedin City’s bid for UNESCO City of Literature status in March 2014. Some information has been updated since its publication mid-2015. Thank you to all of the people who contributed to developing Dunedin’s bid and in particular the Steering Team members Bernie Hawke, Noel Waite, Annie Villiers and Liz Knowles. A special thank you also to Eleanor Parker, Michael Moeahu, Lisa McCauley; and Elizabeth Rose and Susan Isaacs from the New Zealand National Commission of UNESCO. ISBN: 978-0-473-32950-1 | PUBLISHED BY: Dunedin Public Libraries 2015 | DESIGNER: Casey Thomas COVER IMAGE: Macandrew Bay, Dunedin by Paul le Comte Olveston Historic Home by Guy Frederick ONE OF THE WORLD’S GREAT SMALL CITIES Otago Harbour by David Steer CONTENTS New Zealand: It's People and Place in the World 7 Multi-cultural Heritage 17 • Books for Children 33 City's Contribution to the Creative City Network 49 • Bookshops 33 • Policy 49 Dunedin's Literary Cultural Assets 19 About Us: Dunedin 11 • Musical Lyricists 35 • International Cooperation and Partnerships 50 • City's Layout and Geographical Area 14 • Te Pukapuka M¯aori – M¯aori Literature 21 • Literature-focused Festivals 35 • A Great City for Writers 23 City of Literature Vision 55 • Population and Economy 14 • Residencies and Awards 25 Dunedin's Creative City Assets 37 • Infrastructure 15 • Impressive Publishing Heritage 28 • Arts and Culture 37 • Municipal/Government Structure 15 • Centre for the Book 29 • Events 41 • Urban Planning, Policy and Strategy 15 • Libraries 31 • Educational Institutes 45 Panoramic of the Steamer Basin, Dunedin by Paul le Comte NEW ZEALAND ITS PEOPLE AND PLACE IN THE WORLD Aotearoa New Zealand.
    [Show full text]
  • Interferometric Observations of Rapidly Rotating Stars
    Astron Astrophys Rev (2012) 20:51 DOI 10.1007/s00159-012-0051-2 REVIEW ARTICLE Interferometric observations of rapidly rotating stars Gerard T. van Belle Received: 10 October 2011 © The Author(s) 2012. This article is published with open access at Springerlink.com Abstract Optical interferometry provides us with a unique opportunity to improve our understanding of stellar structure and evolution. Through direct observation of rotationally distorted photospheres at sub-milliarcsecond scales, we are now able to characterize latitude dependencies of stellar radius, temperature structure, and even energy transport. These detailed new views of stars are leading to revised thinking in a broad array of associated topics, such as spectroscopy, stellar evolution, and exoplanet detection. As newly advanced techniques and instrumentation mature, this topic in astronomy is poised to greatly expand in depth and influence. Keywords Stars: rotation · Stars: imaging · Stars: fundamental parameters · Techniques: interferometric · Techniques: high angular resolution · Stars: individual: Altair, Alderamin, Achernar, Regulus, Vega, Rasalhague, Caph 1 Introduction One of the most fundamental stellar characteristics that is most frequently taken for granted is the shape of a star. This is perhaps somewhat unsurprising—in our direct experience of seeing stellar disks, there is only the sun, which is very nearly a perfect sphere: on an average radius of 959.28 ± 0.15 (Kuhn et al. 2004) there is only a variation of only 9.0 ± 1.8 mas (Rozelot et al. 2003) from equator to pole, indicating an oblateness (b/a − 1) of less than 10−5. However, for a surprisingly non-trivial number of stars, this degree of oblateness is in excess of 20% and, in certain cases, Portions of this manuscript were prepared while in residence at European Southern Observatory Karl-Schwarzschild-Str.
    [Show full text]
  • Autobiographical in the Oeuvre Of
    CALIFORNIA STATE UNNERSITY, NORTHRIDGE LONGING FOR MAMAN: AUTOBIOGRAPHICAL IMAGES IN THE OEUVRE OF LOUISE BOURGEOIS A the is . ubmitted jn partial fulfillment of the requirement for the degree of Master of Alts in Art Hi tory by Karen Jo Schifmao December 2003 DEDICATION For Norman and Jonathan lll ACKNOWLEDGEMENTS It has been a privilege to learn and write about the work of Louise Bourgeois. I never would have embarked upon this task without the support of many people. First, I would like to acknowledge my mother, Gloria Derchan, who introduced me to the subject of art history back in 1973 when we both began taking classes at Los Angeles Valley College, and who also has instilled in me an appreciation for aesthetics. I thank my father, Harold Derchan, who always encouraged my educational endeavors and taught me to have perseverance and determination. I thank my brother, Randall Derchan, who so patiently assisted me with the desktop publishing of this document, and my sister, Patti Meiselman, who always supports me. I thank my fellow art history graduate students, colleagues, and professors at the university, who have served as mentors and supporters throughout these past years, most especially, Professor Trudi Abram, Nina Berson, Anna Meliksetian, and Rachel Pinto. I thank my thesis committee members for their help and guidance. Firstly, Professor Jean-Luc Bordeaux, who has taught me to recognize and focus on the formal qualities in art, and to keep my knowledge base in the fi eld as broad as possible. Special thanks go to Professor Kenon Breazeale who has served on my committee since its inception.
    [Show full text]
  • DAVID SALLE Born 1952, Norman, Oklahoma, USA. Currently Lives And
    DAVID SALLE Born 1952, Norman, Oklahoma, USA. Currently lives and works in New York. Education 1975 California Institute of the Arts, MFA. 1973 California Institute of the Arts, BFA. Awards 2016 American Academy of Arts and Letters 2015 National Academy of Art 1986 Guggenheim Fellowship for Theater Design Selected Solo Exhibitions 2018 David Salle: Paintings 1985 -1995, Skarstedt, New York, USA. 2017 David Salle: Ham and Cheese and Other Paintings, Skarstedt, New York, USA. David Salle: New Paintings, Galerie Thaddaeus Ropac, Paris, FR 2016 David Salle, Lehmann Maupin Gallery, Hong Kong, HK. David Salle: Inspired by True-Life Events, CAC Málaga, Málaga, ES. 2015 David Salle, Skarstedt, New York, USA. Debris, Dallas Contemporary, Dallas, USA. 2014 Maureen Paley, London, UK. Collage, Mendes Wood D, São Paulo, BR. 2013 Ghost Paintings, Skarstedt Gallery, New York, USA. David Salle/ Francis Picabia, Galerie Thaddaeus Ropac, Paris, FR. David Salle: Ghost Paintings, The Arts Club, Chicago, USA. Tapestries/ Battles/ Allegories, Lever House Art Collection, New York, USA. Leeahn Gallery, Daegu, KR. Leeahn Gallery, Seoul, KR. 2012 Gerhardsen Gerner, Berlin, DE. Ariel and Other Spirits, The Arnold and Marie Schwartz Gallery Met, Metropolitan Opera House, Lincoln Center, New York, USA. 2011 David Salle Recent Paintings, Mary Boone Gallery, New York, USA. Maureen Paley, London, UK. 2010 Mary Boone Gallery, New York, USA. 2009 Héritage du Pop Art, Kestnergesellschaft, Hannover, DE. 2008 Galleri Faurschou, Copenhagen, DK. Studio d’Arte Raffaelli, Trento, IT. 2007 Galleria Cardi, Milan, IT. David Salle, New Works, Galerie Thaddeaus Ropac, Salzburg, AT. Bearding The Lion In His Den, Deitch Projects, New York, USA.
    [Show full text]
  • Deep Ccd Surface Photometry of Galaxy Clusters
    The Astrophysical Journal, 575:779–800, 2002 August 20 # 2002. The American Astronomical Society. All rights reserved. Printed in U.S.A. DEEP CCD SURFACE PHOTOMETRY OF GALAXY CLUSTERS. I. METHODS AND INITIAL STUDIES OF INTRACLUSTER STARLIGHT John J. Feldmeier,1 J. Christopher Mihos,2 Heather L. Morrison,1,2 Steven A. Rodney, and Paul Harding Department of Astronomy, Case Western Reserve University, 10900 Euclid Avenue, Cleveland, OH 44106; [email protected], [email protected], [email protected], [email protected], [email protected] Received 2002 January 3; accepted 2002 April 29 ABSTRACT We report the initial results of a deep imaging survey of galaxy clusters. The primary goals of this survey are to quantify the amount of intracluster light as a function of cluster properties and to quantify the fre- quency of tidal debris. We outline the techniques needed to perform such a survey, and we report findings for the first two galaxy clusters in the survey: A1413 and MKW 7. These clusters vary greatly in richness and structure. We show that our surface photometry reliably reaches to a surface brightness of lv ¼ 26:5 mag arcsecÀ2. We find that both clusters show clear excesses over a best-fitting r1/4 profile: this was expected for A1413 but not for MKW 7. Both clusters also show evidence of tidal debris in the form of plumes and arclike structures, but no long tidal arcs were detected. We also find that the central cD galaxy in A1413 is flattened at large radii, with an ellipticity of 0.8, the largest measured ellipticity of any cD galaxy to date.
    [Show full text]
  • A LAND of GRANITE: Mccahon and OTAGO
    1 A LAND OF GRANITE: McCAHON AND OTAGO DUNEDIN PUBLIC ART GALLERY COLIN McCAHON OTAGO PENINSULA 1946-1949. OIL AND GESSO ON BOARD. COLLECTION OF DUNEDIN PUBLIC LIBRARIES KĀ KETE WĀNAKA O ŌTEPOTI, RODNEY KENNEDY BEQUEST. COURTESY OF THE COLIN McCAHON RESEARCH AND PUBLICATION TRUST 7 MARCH - 18 OCT 2020 Otago has a calmness, a coldness, almost a classic geological order. It is, perhaps, A LAND OF an Egyptian landscape, a land of calm orderly granite. ...Big hills stood in front of GRANITE: FREE ADMISSION: OPEN 10AM-5PM DAILY P. +64 3 474 3240 E. [email protected] the little hills, which rose up distantly across the plain from the flat land: there 30 The Octagon Dunedin 9016 A department of the Dunedin City Council McCAHON www.dunedin.art.museum was a landscape of splendour, and order and peace. [Colin McCahon, Beginnings Landfall 80 p.363-64 December 1966] Exhibition Partner AND OTAGO This guide was originally produced as a double-sided A1 poster for the exhibition A Land of Granite: McCahon and Otago (Dunedin Public Art Gallery, 7 March – 18 October 2020). Above is the front side of the poster and following are the texts and images from the reverse side of the poster. The reverse side has been reformated to this A4 document for either reading online or downloading and printing. The image above is: COLIN McCAHON Otago Peninsula 1946-1949 Oil on gesso on board Collection of Dunedin Public Libraries Kā Kete Wānaka o Ōtepoti, Rodney Kennedy bequest. Courtesy of the Colin McCahon Research and Publication Trust 2 A LAND OF GRANITE: McCAHON AND OTAGO A LAND OF GRANITE: DUNEDIN PUBLIC ART GALLERY McCAHON AND OTAGO A Land of Granite: Colin McCahon and Otago was developed by Dunedin Public Art Gallery.
    [Show full text]