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Bulletin #3. Peeling Back Robert W. Newmann
Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio by Antonia 1. 1 Dapena-Tretter dRoSte eFfeCT �BULLETIN 3 Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio 3 WaSHingtoN InStaLlation art: 1. 2 COlor ScHoOl SuBtracTive RoOts: The EaRly LaYeRs 24 ARROws 7 ImmaTeRial Embracing the ScUlPtureS: Literal: ADditive CoNCePtUal Layers 15 CONcluSiONs 38 Peeling Back RoBeRt W. NeWmanN �NarRatiVe PoRtfOlio — by Antonia Dapena-Tretter Abstract Unpacking Robert W. Newmann's portfolio requires a layered approach with equal attention paid to biography, aesthetics, and the larger art market of the 1970s to the present. These diverse methodologies intertwine to reveal the artist's surprising rejection of the Washington 1. 3 Color School tradition of ethereal stained canvases in favor of the real space of large-scale installations. Literal layers—taking the form of pigment added to the canvas or inches of substrate sandblasted away— Bulletin 3 separate Newmann's art from that of his teachers and serve as a common thread, tying together enormous shifts in practice and medium. Although each period of the artist's oeuvre reinforces his strong attraction to the experiential, the unexpected challenges of wedding an artwork to the space around it ultimately drove Newmann to accept and embrace the unavoidable nature of the immaterial. Peeling Back Robert W. Newmann — Narrative Portfolio Washington Post critic Paul Richard theorized that 1960s D.C.-based artists such as Kenneth Noland, Thomas Downing, and Gene Davis «worked from a particular sensibility, nourished by the grids and circles of the original L’Enfant plan.»1 If this is taken to be true, the hard- edged lines of the Washington Color School canvases were born from the same inspiration as Robert Newmann’s For Pierre L’Enfant (pic. -
The Lincoln Humanities Journal Panopticon: Surveillance
LHJ The Lincoln Humanities Journal Fall 2016 | Volume 4 Panopticon: Surveillance, Suspicion, Fear Editor ABBES MAAZAOUI Annual publication of the College of Arts, Humanities and Social Sciences, Lincoln University of Pennsylvania. All rights reserved. ISSN 2474-7726 (print) ISSN 2474-7726 (online) 4 The Lincoln Humanities Journal (LHJ) The Lincoln Humanities Journal, ISSN 2474-7726 (print), ISSN 2474-7726 (online), is an interdisciplinary double blind peer-reviewed journal published once a year by the College of Arts, Humanities and Social Sciences of Lincoln University of Pennsylvania. Its main objective is to promote interdisciplinary studies by providing an intellectual platform for international scholars to exchange ideas and perspectives. Each volume is focused on a pre- selected theme in the fields of arts, humanities, the social sciences, and contemporary culture. Preference is given to topics of general interest that lend themselves to an interdisciplinary approach. Manuscripts should conform to the MLA style. Submissions may be made by e-mail to the editor at [email protected]. The preferred language is English. The journal is published both online and in print, in November-December of each year. Editor ABBES MAAZAOUI Lincoln University Editorial Board J. KENNETH VAN DOVER Lincoln University ERIK LIDDELL Eastern Kentucky University KIRSTEN C. KUNKLE Scholar & Opera Singer HÉDI JAOUAD Skidmore College EZRA S. ENGLING Eastern Kentucky University JEAN LEVASSEUR Bishop’s University, Canada The Lincoln Humanities Journal 5 TABLE -
A Finding Aid to the Thomas Downing Papers, Circa 1946-1995, in the Archives of American Art
A Finding Aid to the Thomas Downing Papers, circa 1946-1995, in the Archives of American Art Rihoko Ueno 2018/01/10 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, 1949-1995............................................................. 4 Series 2: Correspondence, circa 1948-circa 1987................................................... 5 Series 3: Writings, 1969-1986.................................................................................. 6 Series 4: Personal Business Records, 1950-1986.................................................. -
Kenneth Noland Circles—Early and Late (1959-1962/1999-2002)
PRESS RELEASE KENNETH NOLAND CIRCLES—EARLY AND LATE (1959-1962/1999-2002) YARES ART 745 Fifth Avenue, New York, NY 10151 (212) 256-0969 Opening reception: Saturday, November 11, 5:30–7:30pm Amusement Blues, 1961. Acrylic on canvas, 94 1/4 x 94 inches (232.4 x 238.8 cm). Courtesy Yares Art, New York. © The Kenneth Noland Foundation/Licensed by VAGA, New York, NY. YARES ART is pleased to present Kenneth Noland: Circles on view in New York, November 11–December 30. The exhibition comprises twenty major works by Kenneth Noland (1924 –2010), one of the most important American painters of the post-war era. The paintings on view feature Noland’s best-known motif: the circle, in which concentric forms in rich and varied colors radiate from within each square-format compo- sition. Linking Abstract Expressionist bravura to Color Field luminosity, Noland’s large-scale “Circle” canvases, such as This and That (both 1958–59), Amusement Blues, and Spring Call (both 1961)—included in the current Yares Art exhibition—caused a stir when the artist first introduced them to the art world in the early 1960s. Today, their far-ranging influence continues to resonate in the work of a younger generation of artists, including Ugo Rondinone, Anslem Reyle, among numerous others. Noland himself revisited the circle motif in the late 1990s, producing a series of relatively intimate hard-edge compositions with vibrant concentric circles, and heightened color relationships, often employing iridescent hues. This exhibition offers a rare opportunity to compare and contrast Noland’s first landmark series of “Circle” paintings with his last brilliant treatment of this theme. -
Kenneth Noland Born 1924 in Asheville, North Carolina Biography Deceased 2010 in Port Clyde, Maine
Kenneth Noland Born 1924 in Asheville, North Carolina Biography Deceased 2010 in Port Clyde, Maine Education 1985-90 Serves on the Board of Trustees, Bennington College, Bennington Vermont, USA 1985 Named Milton Avery Professor of the Arts, Bard College, Annandale-on-Hudson, New York, USA 1952-56 Taught at the Washington Workshop Center for the Arts, USA 1951-60 Taught at the Catholic University of America, Washington, D.C. USA 1949-51 Taught at the Institute of Contemporary Art, Washington D.C. USA 1948-49 Studies in Paris with Ossip Zadkine 1946-48 Studies at Black Mountain College, North Carolina, USA Awards 1995 North Carolina Award in Fine Arts 1997 Doctor of Fine Arts honorary degree from Davidson College, Davidson, North Carolina Solo exhibitions 2019 ‘Kenneth Noland’, Almine Rech, Paris 2017 ‘Kenneth Noland : Circles—Early + Late’, Yares Art, New York 64 rue de Turenne, 75003 Paris ‘Kenneth Noland’, Pace Prints, New York 18 avenue de Matignon, 75008 Paris [email protected] ‘Kenneth Noland: Into the Cool’, Pace Gallery New York - Abdijstraat 20 rue de l’Abbaye 2016 Brussel 1050 Bruxelles ‘Kenneth Noland: Unbalanced’, Paul Kasmin Gallery, New York [email protected] - Grosvenor Hill, Broadbent House 2015 W1K 3JH London ‘Kenneth Noland: Color and Shape 1976-1980, Castelli, New York, and Honor Fraser, Los [email protected] - Angeles 39 East 78th Street ‘Kenneth Noland: Selected Works 1958–1980’, Cardi Gallery, Milan New York, NY 10075 [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com 2014 ‘Kenneth Noland: Handmade Paper and Monoprints 1978–1984’, Meredith Long & Company, Houston ‘Kenneth Noland: Paintings 1975–2003’, Pace Gallery,New York 2012 ‘Kenneth Noland: Mysteries, Full Circle’, Yares Art Projects, Santa Fe 2011 ‘Kenneth Noland: Paintings 1958–1968’, Mitchell-Innes & Nash, New York 2010 ‘Kenneth Noland, 1924–2010: A Tribute’, Solomon R. -
SLT Artist Bios
Second Look, Twice Curated by Essence Harden, Emily Kuhlmann and Soleil Summer September 19th- December 16th, 2019 Louisiana Bendolph Louisiana Bendolph is among the younger generation of quilt makers whose work was included in the national touring exhibition Gee’s Bend: The Architecture of the Quilt. She starts her process with a sketch and then moves into improvisation and innovation using bright, new fabrics. The resulting quilts are stunning abstractions. She has exhibited at the Addison Ripley Gallery in Washington D.C. and Greg Kucera Gallery in Seattle, Washington. Her work is included in the permanent collections of the Museum of Modern Art, New York, the U.S. Department of State, and the Foundation for Art and Preservation in Embassies. The artist is represented by the Elizabeth Leach Gallery in Portland, Oregon. https://www.thebottcollection.com/gees-bend-quilter-louisiana-bendolph/ Loretta Bennett “I came to realize that my mother, her mother, my aunts, and all the others from Gee’s Bend had sewn the foundation, and all I had to do now was thread my own needle and piece a quilt together. ”—Loretta P. Bennett Loretta P. Bennett is the great-great-granddaughter of Dinah Miller, a woman who was brought to Alabama from Africa as a slave in 1859. As a child, Bennett picked cotton and other crops. She attended school in Gee’s Bend until seventh grade, when she was bussed to high schools that were a two-hour drive away. Bennett was introduced to sewing around age five by her mother, Qunnie, who worked at the Freedom Quilting Bee, a sewing cooperative established in 1966 in the nearby neighborhood of Rehoboth. -
Oral History Interview with Paul Allen Reed, 1994 Apr. 29
Oral history interview with Paul Allen Reed, 1994 Apr. 29 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 Preface The following oral history transcript is the result of a recorded interview with Paul Reed on April 29, 1994. The interview took place in Arlington, Virginia, and was conducted by Judith Zilczer for the Archives of American Art, Smithsonian Institution. The sound quality for this interview is poor throughout, leading to an abnormally high number of inaudible sections. The Archives of American Art has reviewed the transcript and has made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH ZILCZER: This is track number one. Yeah, it's—it's going now. It's working. PAUL REED: [inaudible] not your equipment, mine. [They laugh.] That's [inaudible]. JUDITH ZILCZER: Thank you for checking. Today is Friday, April 29. I'm Judith Zilczer, and I'm here at—in Arlington, Virginia, at the home of Paul Reed. And we will be talking about his life and his career this morning. [Audio Break.] JUDITH ZILCZER: Alright, let's begin. Um, I thought we'd talk a little bit about your background and—native [ph] Washingtonian. PAUL REED: Yeah, yeah. -
Howard Mehring 1931
HOWARD MEHRING 1931 – 1978 Born in Washington, DC EDUCATION: 1955 M.F.A., Catholic University of America, Washington DC. SELECTED SOLO EXHIBITIONS: 2007 Howard Mehring: All Over Paintings from the Estate of Vincent Melzac, Conner Contemporary Art, Washington, DC 2002 Howard Mehring: Classical Abstraction painting from the Vincent Melzac Collection, Catholic University of America, Washington, DC 1977 Howard Mehring: A Retrospective Exhibition, Corcoran Gallery of Art, Washington DC Howard Mehring – Soft Palette Paintings 1958-1961, Pyramid Galleries, Ltd., Washington, DC 1976 Howard Mehring, Galerie Heseler, Munich, Germany Howard Mehring – Drawings, Pyramid Galleries, Ltd., Washington, DC 1974 Howard Mehring – Paintings 1957-1967, Pyramid Galleries, Ltd., Washington, DC, 1971 Jefferson Place Gallery, Washington, DC 1970 Howard Mehring: Early Minimal Paintings: 1958-1960, A.M. Sachs Gallery, New York, NY Jefferson Place Gallery, Washington, DC A.M. Sachs Gallery, New York, NY Howard Mehring, Washington, Galerie Heseler, Munich, Germany 1969 Jefferson Place Gallery, Washington, DC 1968 A.M. Sachs Gallery, New York, March 30-April 18 1966 A.M. Sachs Gallery, New York, April 19-May 7. 1965 A.M. Sachs Gallery, New York, April 27-May 15. 1963 Reflections – 63: The Painting of Howard Mehring, The Adams-Morgan Gallery, Washington, DC 1962 Recent Paintings: Howard Mehring, Jefferson Palace Gallery, Washington, DC 1960 Recent Paintings: Howard Mehring, Jefferson Place Gallery, Washington, DC 1959 Recent Painting: Howard Mehring, Origo Gallery, -
Download Press Release
PRESS RELEASE LEAP OF COLOR FEBRUARYFEBRUARY 29-JULY 25, 2020 29-APRIL 11, 2020 YARES ART 745 FIFTH AVENUE, NEW YORK, NEW YORK 212-256-0969 Morris Louis, Number 9, 1961. Magna on canvas, 87 x 72 in. (221 x 182.9 cm) © 2020 Maryland Institute College of Art (MICA), rights administered by Artists Rights Society (ARS), New York YARES ART is pleased to present Leap of Color, an in-depth exploration of the Ab-Ex/Color Field movement from its inception in the mid-1950s to recent works. On view are major paintings by celebrated artists who are widely regarded as key fgures in the evolution, development, and refnement of the feld: MILTON AVERY, GENE DAVIS, THOMAS DOWNING, FRIEDEL DZUBAS, HELEN FRANKENTHALER, DOROTHY FRATT, ADOLPH GOTTLIEB, HANS HOFMANN, MORRIS LOUIS, HOWARD MEHRING, ROBERT MOTHERWELL, KENNETH NOLAND, JULES OLITSKI, and LARRY POONS, among other celebrated artists of the era. Leap of Color allows artists, art historians, and all art audiences to examine the close personal, professional and aesthetic connections and confuences of these modern and contemporary masters. Early on, beginning in the 1930s, Milton Avery, who never strayed from fguration, was a mentor to Adolph Gottlieb and a number of other leading artists of Abstract Expressionism. Ab-Ex pioneer Hans Hofmann inspired younger artists to experiment with color, as did Ab-Ex luminary Robert Motherwell, partner of Helen Frankenthaler’s in art and life for over a decade. With her staining techniques and exuberant allover compositions, Frankenthaler has been credited with launching Color Field painting, and with great infuence on the development of the Washington Color School in DC. -
KENNETH NOLAND Born
KENNETH NOLAND Born: 1924, Asheville, N.C Died: January 5, 2010 1946-48: Studies at Black Mountain College, North Carolina. 1997: Doctor of Fine Arts honorary degree from Davidson College, Davidson, N.C. SELECTED SOLO EXHIBITIONS 2010 Mitchell-Innes & Nash, New York 2009 Kenneth Noland: Shaped Paintings, Leslie Feely Fine Art, New York 2008 Earning his Stripes, Leslie Feely Fine Art, New York, April something 2006 Ameringer/Yohe Gallery, New York “360 Degrees on the Wall” 2005 Fumagalli Gallery, Bergamo, Italy 2004 Museum of Fine Art, Houston, Texas 2003 Ameringer Yohe Fine Art, New York, October 16-November 22. [Catalogue] 2002 Ameringer Howard Yohe Fine Arts Gallery, New York, April 18-May 24. [Catalogue] Kenneth Noland: Themes and Variations, Naples Museum of Art, Naples, Florida, March 1-June 14; The Farnsworth Art Museum, Rockland, Maine, June 30-October 13. [Catalogue] 2001 Noland’s Nolands, Southern Vermont Art Center, Manchester, Vermont, July- August. Bernard Jacobson Gallery, London, October 4-November 5. 2000 Galeria Metta, Madrid, January 3-February 3. Ameringer Howard Gallery, New York, December 7, 2000-January 20, 2001. 1999 Meredith Long Gallery, Houston, Texas, March 3-24. 1998 André Emmerich Gallery, New York, September 10-October 17. 1995 Kenneth Noland: A Selection of Paintings, Leo Castelli Gallery, New York, March 4-25. 1993 William H. Van Every, Jr. Gallery, Davidson College, Davidson, North Kenneth Noland: The Circle Paintings 1956-1963, The Museum of Fine Arts, Houston, November 14, 1993-January 9, 1994; Museum of Art, Ft. Lauderdale, March 31-May 5. [Catalogue] 1992 Meredith Long & Company, Houston, January 9-25. -
Kenneth Noland Selected Group Exhibitions 2019
KENNETH NOLAND SELECTED GROUP EXHIBITIONS 2019 Spilling Over: Painting Color in the 1960s, Whitney Museum of American Art, New York, March 29–August 2019. 2018 Epic Abstraction: Pollock to Herrera, The Met Fifth Avenue, New York, opened December 17, 2018. The Joy of Color, Mnuchin Gallery, New York, November 1–December 15, 2018. (Catalogue) One Shot, UTA Artist Space, Los Angeles, July 12–August 18, 2018. Celebrating Maine’s Artist-Endowed Foundations, Dorothea and Leo Rabkin Foundation, Portland, Maine, opens on May 4, 2018. Linear Abstraction, Barry Whistler Gallery, Dallas, April 7–May 26, 2018. Fields of Color, Yares Art, New York, January 13–February 17, 2018. 2017 IMPULSE, Pace London, 6 Burlington Gardens, November 3–December 22, 2017. (Catalogue) Summer Days (and Summer Nights), Pace Gallery, 32 East 57th Street, July 20–August 18, 2017 Kenneth Noland: Selected Group Exhibitions 2 2016 Postwar New York: Capital of the Avant Garde, Acquavella Galleries, New York, July 5–September 30, 2016. Shapeshifters, Luhring Augustine, New York, June 27–August 12, 2016. Enrico Castellani, Robert Mangold, Robert Morris, Kenneth Noland: A Personal View of Abstract Painting and Sculpture, Galleria Fumagalli, Milan, May 25–September 10, 2016. 2015 Hoyland, Caro, Noland, Pace London, 6 Burlington Gardens, November 20, 2015–January 16, 2016. (Catalogue) Washington Color Painters Reconsidered, Loretta Howard Gallery, New York, June 25–July 31, 2015. (Catalogue) From Above, Di Donna Galleries, New York, April 23–May 29, 2015. The New York School, 1969: Henry Geldzahler at the Metropolitan Museum of Art, Paul Kasmin Gallery, New York, January 13–March 14, 2015. -
THE ART of PAUL REED: Color, Creativity, Curiosity
THE ART OF PAUL REED: Color, Creativity, Curiosity David Gariff Color thinks for itself, independently of the objects that it clothes. — Charles Baudelaire Paul Reed1 at the age of ninety-one continues to make art in the basement studio of his Arlington, Virginia home. The studio opens up to the light and colors of the landscape behind his house, a gentle descending slope through trees to a small tributary of the Potomac River. Reed spends as much time outdoors as weather permits. His most recent paintings, washes and drizzles of paint stained on unstretched, raw muslin, illuminate the rooms of his house. Attached to his windows, they create a vision of modernist stained glass that serves to unify and blur distinctions between interior and exterior, light and color, art and nature. As if in homage to Matisse and Rothko, light and color enliven this domestic space and present a personal microcosm of the defining nature of Paul Reed’s artistic world. There is no more revealing setting to illustrate the goals and ideas that have motivated Reed’s lifelong devotion to the art of painting and his endless exploration of the many and varied properties of color. This in no way diminishes Reed’s accomplishments in sculpture, photography, printmaking, graphic design, and computer-generated imagery—all of which are part of a continuity of thought and an endless curiosity about art. Paul Reed’s journey is a long one. A native of Washington, D.C. he is best known as one 1 For the Paul Allen Reed papers, 1952‐2008, see the Smithsonian Archives of American Art, http://www.aaa.si.edu/collections/collection/reedpaul.htm.