Mark Tansey Biography
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Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Critiquing Exhibits: Meanings and Realities
Index Sheet 1 _______________________________ 2 ____________________________ __ 3 _______________________________ 4 ____________________________ ___ ~ Royallmaging Worlcing documents in motion. www.RoyalImaging.com Vol. 19, No.2, Fall 2000 '1000 A journal of reJlective pmctice, pl/b/isbed by the Naliollal Association for Museum E:t:bibilioll (NAME) , Ibe Slanding Professional Committee on E.rbibilioll ofIb e American Associalion ofM useums Critiquing Exhibits: Meanings and Realities 5 Exhibits Newsline by Pby lfis Rabillell/J 9 Current Literature on Museum Exhibition Development and Design by jlllle Bedno 13 How Do We Look? Some Thoughts on Critical Reviews of Museum Exhibits by Roberl Arcbibaftl alltl Nicola longford 18 Through the Looking Glass and Back by Marlene Chambers 23 Science City: Is It a New Adventure? by Patrlcill Simmolls 30 Wait a Minute! by james Sims 35 FEEDBACK 38 Meaning Making: the Conversation Continues A cyber-forlllll 1lI11iJ Ted AllsbaciJer, George lIein, KtJlhleell Mclean, jay ROUllds and Mld/ael Spack 48 The Thirteenth Annual Exhibition Competition "Still We ," Mark Tansey, 1982. All rigbts resenJed, Metropolitall MI"felllll ofArt . How Can NAME Better Serve Its Community? he cool nights and brisk mornings have settled in on Buzzards Bay. Soon the last of the summer tourists will pack up and depart, and the lean months of the off-season will Tdescend on Wareham. By the time this issue of the Exhibiti01zist reaches each of you , the Wareham Historical Society will have closed its buildings for the winter. Thinking about all of this raises questions about how the Society could better serve its community, year-round. It is the same question that I ask myself when I think about NAME. -
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Biography [PDF]
NICELLE BEAUCHENE GALLERY RICHARD BOSMAN (b. 1944, Madras, India) Lives and works in Esopus, New York EDUCATION 1971 The New York Studio School, New York, NY 1970 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1969 The Byam Shaw School of Painting and Drawing, London, UK SELECTED SOLO EXHIBITIONS 2019 High Anxiety, Nicelle Beauchene Gallery, New York, NY 2018 Doors, Freddy Gallery, Harris, NY Crazy Cats, Elizabeth Harris Gallery, New York, NY 2015 The Antipodes, William Mora Galleries, Melbourne, Australia Raw Cuts, Cross Contemporary Art, Saugerties, NY 2014 Death and The Sea, Owen James Gallery, Brooklyn, NY Paintings of Modern Life, Carroll and Sons, Boston, MA Some Stories, Elizabeth Harris Gallery, New York, NY 2012 Art History: Fact and Fiction, Carroll and Sons, Boston, MA 2011 Art History: Fact and Fiction, Byrdcliffe Guild, Woodstock, NY 2007 Rough Terrain, Elizabeth Harris Gallery, New York, NY 2005 New Paintings, Bernard Toale Gallery, Boston, MA 2004 Richard Bosman, Elizabeth Harris Gallery, New York, NY Richard Bosman, Mark Moore Gallery, Santa Monica, CA 2003 Richard Bosman, Elizabeth Harris Gallery, New York, NY Just Below the Surface: Current and Early Relief Prints, Solo Impression Inc, New York, NY 1996 Prints by Richard Bosman From the Collection of Wilson Nolen, The Century Association, New York, NY Close to the Surface - The Expressionist Prints of Eduard Munch and Richard Bosman, The Columbus Museum, Columbus, GA 1995 Prints by Richard Bosman, Quartet Editions, Chicago, IL 1994 Richard Bosman: Fragments, -
The Canonisation of Surrealism in the United States
The canonisation of Surrealism in the United States Sandra Zalman In a pointed assessment of the first show of Surrealism in New York, in 1932, the New York Times art critic asked, ‘How much of the material now on view shall we esteem “art,” and how much should be enjoyed as laboratory roughage’?1 The question encompassed the problem Surrealism posed for art history because it essentially went unanswered. Even after the 1936 endorsement by the Museum of Modern Art in a show organized by its founding director Alfred Barr (1902-1981), Surrealism continued to have a vexed relationship with the canon of modern art. Above all, the enterprise of canonisation is ironic for Surrealism – the Surrealists were self-consciously aiming to overthrow the category of art, but simultaneously participating in a tradition of avant-gardism defined by such revolution.2 Framing his exhibition, Barr presented Surrealism as both the most recent avant-garde export, and also as a purposeful departure from the avant-garde’s experimentation in form. Instead, Barr stressed that Surrealism focused on an anti-rationalist approach to representation. Though Barr made a strong case to integrate Surrealism into the broader understanding of modernism in the 1930s, and Surrealism was generally accepted by American audiences as the next European avant-garde, by the 1950s formalist critics in the U.S. positioned Surrealism as a disorderly aberration in modernism’s quest for abstraction. Surrealism’s political goals and commercial manifestations (which Barr’s exhibition had implicitly sanctioned by including cartoons and advertisements) became more and more untenable for the movement’s acceptance into a modern art canon that was increasingly being formulated around an idea of the autonomous self-reflexive work of art. -
Yayoi Kusama September 23 – December 9, 2017 Public Opening: Friday, September 22, 2017 6:00-8:00Pm Public Hours: Thursdays, Fridays & Saturdays 1:00-5:30Pm
Judd Foundation 101 Spring Street, New York NY 10012 Telephone 212 219 2747 Fax 212 219 3125 104 South Highland Avenue, Marfa TX 79843 Telephone 432 729 4406 Fax 432 729 4614 juddfoundation.org Yayoi Kusama September 23 – December 9, 2017 Public opening: Friday, September 22, 2017 6:00-8:00pm Public hours: Thursdays, Fridays & Saturdays 1:00-5:30pm Judd Foundation is pleased to present an exhibition of four paintings by Yayoi Kusama on the ground floor of 101 Spring Street in New York. The installation will open to the public on Saturday, September 23, 2017. Donald Judd was a friend of Kusama’s and an advocate of her early Infinity Net series, writing as an art critic for ARTnews, “Yayoi Kusama is an original painter. The five white, very large paintings [presented at the artist-run Brata Gallery in 1959] are strong, advanced in concept and realized.”1 The artists lived in the same building on 19th Street in New York in the early 1960s, where Kusama constructed her first sculptural installations at the same time that Judd constructed his. Judd later wrote a letter of support on behalf of Kusama for the United States Immigration and Naturalization Service. In the letter he discusses the exhibition of Infinity Net paintings: “In October of 1959 Yayoi Kusama exhibited five large paintings which were recognized as exceptional. Sidney Tillim, writing in Arts, predicted that the show would prove the sensation of the season. It did prove to be so and has remained one of the few important shows of the last two years. -
New Museum Newsletter Spring/Summer 1984
BOARD OF TRUSTEES THE NEW MUSEUM John Neely Henry Luce Ill STAFF Youth Program Instructor/ President Kimball Augustus Gallery SupeNisor Vera G. Ust Chief of Security Eileen Pryor McGann Vice President Eric Bemlsderfer Manager, Catalog Arthur A. Goldberg Assistant Preparator Subscription and Distribution Treasurer Gayle Brandel Usa Parr Acting Administrator Curatorial Assistant Jack Boulton Mary Clancy Ned Rifkin Gregory C. Clark Administrative Ass1stant Curator Elaine Dannhelsser Pamela Freund Jessica Schwartz Public Relations/Special Director of Public Relations Richard Ekstract Events Assistant and Special Events John Fitting, Jr. Lynn Gumpert Charles A. Schwefel Allen Goldring Curator Director of Planning and Eugene P. Gorman John K. Jacobs Development Reg1strar! Preparator Paul C. Harper, Jr. Maureen Stewart Ed Jones Bookkeeper Martin E. Kantor Director of Education Marcia Tucker Nanette L Laltman Elon Joseph Director Mary McFadden Guard Lorry Wall Denis O'Brien Maureen Mullen Admissions/Bookstore Admissions/ Bookstore Assistant Patrick Savin Assistant Brian Wallis Herman Schwartzman Marcia Landsman Editorial Consultant Laura Skoler Curatorial Coordinator Janis Weinberger Marcia Tucker Susan Napack Reception Admissions/Bookstore TlmYohn Coordinator Editor The New Museum at 583 Broadway in SoHo. TheNewMuseum OF CONTEMPORARY ART S P R NG/SUMMER 1 9 8 4 photo· 01rk Rowntree FRONTLINES PRESIDENT'S REPORT photo Beverly Owen It is certainly not every season that a museum director 's creative muse takes the form of giving birth to a real Edited by: Saddler, Charles A. (above) Beverly baby. So it was a very special milestone when , on Jessica Schwartz Schwefel, Frank Owen's Toon, the January 3, Ruby Dora McNeil was born to Director Assistant Editor: Stewart, John Waite, spring window Marcia Tucker and husband Dean McNeil. -
Critical Fontana Howard Singerman University of Virginia - Main Campus, [email protected]
Criticism Volume 57 Article 11 Issue 4 The Avant-Garde at War 2015 Critical Fontana Howard Singerman University of Virginia - Main Campus, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Singerman, Howard (2015) "Critical Fontana," Criticism: Vol. 57 : Iss. 4 , Article 11. Available at: http://digitalcommons.wayne.edu/criticism/vol57/iss4/11 CRITICAL The subtitle of Anthony White’s monograph on the Italian artist FONTANA Lucio Fontana, Between Utopia Howard Singerman and Kitsch, lays out the terms of the book’s central—and oft-repeated— Lucio Fontana: Between Utopia argument: that Fontana’s art, a and Kitsch by Anthony White. “collision of avant-garde tech- Cambridge, MA: MIT Press, niques and a kitsch past redolent 2011. 336 pp. $29.95 cloth. with outmoded, even infantile desires possesses a critical force” (14). Both Fontana’s avant-garde techniques—the perforations and slashes of his Buchi (Holes, 1949– 68) and Tagli (Cuts, 1958–68), for example—and his embrace of kitsch’s shiny surfaces and ersatz construction worked to desubli- mate and degrade painting, and “only in its decrepitude did Fontana believe painting could have a uto- pian potential” (18). White’s book may well be, as he claims, the first to “systematically account” for the “puzzling paradoxes of the art- ist’s work” (6), but it is not the first English-language monograph on Fontana. There is a good deal of critical and historical writing on Fontana, most of it, particularly in English, has been, as White notes, in exhibition catalogs. The first English-language catalog, with a short, smart essay by Lawrence Alloway, accompanied Fontana’s first one-person show, at Martha Jackson Gallery, in New York City in 1961. -
Mark Tansey Reverb
G A G O S I A N February 8, 2017 MARK TANSEY REVERB Opening reception: Wednesday, February 8, 6–8PM February 8–March 25, 2017 Park & 75 821 Park Avenue New York, NY 10021 Picture a deck of cards based on eye-mind-hand contradictions. To play the game, select some cards, shuffle them, and continue by finding new analogies. You make up the cards as you go. You perform the contradictions in order to realize or understand them. Sometimes new features or behaviors emerge. Sometimes it might seem as though the deck is infinite. —Mark Tansey Gagosian is pleased to present “Reverb,” an exhibition of two works by Mark Tansey: a new oil painting Reverb (2017) and Wheel (1990), a wooden sculpture. Page 1 of 3 G A G O S I A N Each of Tansey's paintings is a visual and metaphorical adventure in the nature and implications of perception, meaning, and interpretation in art. Working with the conventions and structures of figurative painting, he creates visual corollaries for sometimes arcane literary, philosophical, historical, and mathematical concepts. His exhaustive knowledge of art history accumulates in paintings through a time-intensive process. Images are mined from a vast trove of primary and secondary sources assembled over decades—magazine, journal and newspaper clippings, as well as his own photographs—which he submits to an intensive process of manipulation. The strictly duotone paintings have a precise photographic quality reminiscent of scientific illustration, achieved by applying gesso then washing, brushing and scraping paint into it. Through absurdist composition and intricate detail, in Reverb Tansey draws unlikely associations between different modes of representation. -
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. -
Narrative Section of a Successful Application
Narrative Section of a Successful Application The attached document contains the grant narrative of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the NEH Division of Preservation and Access application guidelines at http://www.neh.gov/grants/preservation/sustaining-cultural-heritage-collections for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Preservation and Access staff well before a grant deadline. Note: The attachment only contains the grant narrative, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Furnishing Sustainable Photography Storage Institution: San Francisco Museum of Modern Art Project Director: Jill Sterrett Grant Program: Sustaining Cultural Heritage Collections 1100 Pennsylvania Ave., N.W., Rm. 411, Washington, D.C. 20506 P 202.606.8570 F 202.606.8639 E [email protected] www.neh.gov San Francisco Museum of Modern Art Furnishing Sustainable Photography Storage Abstract The San Francisco Museum of Modern Art (SFMOMA) is dedicated to making the art of our time a vital and meaningful part of public life. Sustainable conservation of its collections is both a mission-critical activity and a priority in the institution’s strategic plan. SFMOMA respectfully requests a $350,000 NEH SCHC implementation grant as part of a $877,195 project to enhance the preservation of the museum’s photography collection with the purchase and installation of storage furniture for two new storage vaults, the Cold Storage Vault and the Study Center Storage Vault. -
G a G O S I a N Tom Wesselmann Biography
G A G O S I A N Tom Wesselmann Biography Born in 1931, Cincinnati, OH. Died in 2004, New York City, NY. Education: The Cooper Union, New York, NY. Art Academy of Cincinnati, OH. BA in Psychology, University of Cincinnati, OH. Hiram College, OH. Solo Exhibitions: 2018 Wesselmann : 1963-1983. Gagosian, Beverly Hills, CA. Tom Wesselmann: La promesse du bonheur. Le Nouveau Musée National de Monaco (NMNM), Monaco. Tom Wesselmann : Standing Still Lifes. Gagosian, West 24th Street, New York, NY. 2017 Tom Wesselmann : Bedroom Paintings. Gagosian, Davies Street, London, England. Tom Wesselmann. Almine Rech Gallery, London, England. Tom Wesselmann - Telling It Like It Is. Vedovi Gallery, Brussels, Belgium. 2016 Tom Wessemann Collages: 1959-1964. David Zwirner Gallery, London, England. Tom Wesselmann, Early Works. Van de Weghe Gallery, New York, NY. Tom Wesselmann. Mitchell-Innes and Nash Gallery, New York, NY Tom Wesselmann, A Different Kind of Woman. Almine Rech Gallery, Paris, France. 2015 A Line to Greatness. Galerie Gmurzynska, St. Moritz, Switzerland. 2014 Beyond Pop Art: A Tom Wesselmann Retrospective. Denver Art Museum, Denver, CO. Beyond Pop Art: A Tom Wesselmann Retrospective. Cincinnati Art Museum, Cincinnati, OH. 2013 Pop Art and Beyond: Tom Wesselmann. Virginia Museum of Fine Arts, Richmond, VA. Tom Wesselmann, Still Life, Nude and Landscape: The Late Prints. Alan Cristea Gallery, London, England. 2012 Galerie Pascal Lansberg, Paris, France. Wesselmann;Painted Black. David Janis Gallery, New York, NY. Beyond Pop Art, Tom Wesselmann. Montreal Museum of Fine Arts, Montreal, Quebec, Canada. Tom Wesselmann Objects of Desire. Maxwell Davidson Gallery, New York, NY. 2011 Tom Wesselmann Draws. -
RE-FRAMING the AMERICAN WEST: CONTEMPORARY ARTISTS ENGAGE HISTORY by © 2015 Mindy N. Besaw Submitted to the Graduate Degree Pr
RE-FRAMING THE AMERICAN WEST: CONTEMPORARY ARTISTS ENGAGE HISTORY By © 2015 Mindy N. Besaw Submitted to the graduate degree program in the Kress Foundation Department of Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _______________________________ Co-chairperson, Charles C. Eldredge _______________________________ Co-chairperson, David C. Cateforis _______________________________ John Pultz ______________________________ Stephen Goddard ______________________________ Michael J. Krueger Date Defended: November 30, 2015 The Dissertation Committee for MINDY N. BESAW certifies that this is the approved version of the following dissertation: RE-FRAMING THE AMERICAN WEST: CONTEMPORARY ARTISTS ENGAGE HISTORY _______________________________ Co-chairperson, Charles C. Eldredge _______________________________ Co-chairperson, David C. Cateforis Date approved: November 30, 2015 ii Abstract This study examines contemporary artists who revisit, revise, reimagine, reclaim, and otherwise engage directly with art of the American Frontier from 1820-1920. The revision of the historic images calls attention to the myth and ideologies imbedded in the imagery. Likewise, these contemporary images are essentially a framing of western imagery informed by a system of values and interpretive strategies of the present. The re-framing of the historic West opens a dialogue that expands beyond the frame, to look at images and history from different angles. This dissertation examines twentieth- and twenty-first century artists such as the Cowboy Artists of America, Mark Klett, Tony Foster, Byron Wolfe, Stephen Hannock, Bill Schenck, and Kent Monkman alongside historic western American artists such as Frederic Remington, Charles M. Russell, Timothy O’Sullivan, Thomas Moran, W.R. Leigh, and Albert Bierstadt.