Fairfield Porter
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Material Witness
Leigh_Ftmat.qxd 2/18/2005 1:56 PM Page i Material Witness Leigh_Ftmat.qxd 2/18/2005 1:56 PM Page iii MATERIAL WITNESS The Selected Letters of Fair‹eld Porter Edited by Ted Leigh Introduction by David Lehman with additional notes by Justin Spring the university of michigan press Ann Arbor Leigh_Ftmat.qxd 2/18/2005 1:56 PM Page iv Copyright © by the University of Michigan 2005 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2008 2007 2006 2005 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Porter, Fairfield. Material witness : the selected letters of Fairfield Porter / edited by Ted Leigh ; with additional notes by Justin Spring. p. cm. Includes index. ISBN 0-472-10976-6 (alk. paper) 1. Porter, Fairfield—Correspondence. 2. Artists—United States—Correspondence. I. Leigh, Ted. II. Spring, Justin. III. Title. N6537.P63A3 2005 700'.92—dc22 2004019091 Leigh_Ftmat.qxd 2/18/2005 1:56 PM Page v Preface Experiencing a true work of art, Fair‹eld Porter wrote to Paul Mattick in 1940, “[is] like being in a new dimension, the way a two-dimensional creature would feel if he could be taken into a third dimension and for the ‹rst time in his life see a square at once and as a whole.” My friendship with Fair‹eld stirred a similar metamorphosis in me, starting with his visits to my studio at Amherst College. -
John Button (1929-1982)
CLAMPART ! ❚ " John Button (1929-1982) Education: 1947-48 University of California, Berkeley 1949-51 California School of Fine Arts, and University of California Medical Center, San Francisco 1951-52 Studies with Howard Warshaw and Altina Barrett, Beverly Hills, California 1953 Hans Hofmann School of Fine Arts, New York City 1964 Studies with Willard Cummings, New York City Teaching: 1964-65 Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1965-82 School of Visual Arts, New York City 1967-68 College of Art, Architecture and planning, Cornell University, Ithaca, New York 1969-70 Swarthmore College, Swarthmore, Pennsylvania 1975 Maryland Institute of art, Baltimore, Maryland 1975-82 Graduate School of Fine Arts, University of Pennsylvania, Philadelphia Awards: 1952 Prize, Los Angeles County Museum, of Art, Los Angeles 1961, 69, Ingram Merrill Foundation Grant 74, 82 1964 Prize, Silvermine Guild of Artists, Norwalk, Connecticut Solo exhibitions: 1955-59 Tibor de Nagy Gallery, New York City 1963-74 Kornblee Gallery, New York City 1967 Franklin Siden Gallery, Detroit 1970 J.L. Hudson Gallery, Detroit 1976 Gallery of July and August, Woodstock, New York 1978 Fischbach Gallery, New York City 1980 Fischbach Gallery, New York City 1984 John Button: An American Painter, The College Gallery, Keane College, Union, New Jersey 1984 John Button: Paintings and Gouaches ,Visual Arts Museum, School of Visual Arts, New York City 1986 John Button: The Last Works, Fischbach Gallery, New York City 1989-90 John Button: Retrospective Exhibition, -
Reinventing, Downtown
Reinventing, Downtown By XICO GREENWALD | June 24, 2017 Abstract Expressionists Willem de Kooning, Jackson Pollock and Franz Kline urged a pair of friends to start an art gallery. Tibor de Nagy and John Bernard Myers followed their advice and, in 1950, on East 53rd Street, they opened the Tibor de Nagy Gallery. MEDRIE MACPHEE A Dream of Peace, 2017 oil and mixed media on canvas, 60 x 78 inches In the years to come, Mr. Myers and Mr. de Nagy would exhibit works by a number of second-generation Abstract Expressionists, including Alfred Leslie, Grace Hartigan, Robert Goodnough and Helen Frankenthaler. They also showed figurative paintings by the likes of Larry Rivers, Jane Freilicher, Fairfield Porter and Red Grooms. And Tibor de Nagy editions, the gallery’s book imprint, published poetry by Frank O’Hara, John Ashbery, Barbara Guest and others. Mr. Myers left the gallery in 1970. By that time, Tibor de Nagy had relocated to the 57th Street gallery district. When Mr. de Nagy died in 1993, he bequeathed his business to two young gallery assistants, Eric Brown and Andrew Arnot. Over the next 24 years, Mr. Arnot and Mr. Brown built on the gallery’s legacy together, exhibiting New York School pictures alongside works by select contemporary artists influenced by New York School poets and painters. But in the fast-paced New York art world, perhaps the only constant is change. Mr. Brown departed from the gallery this year. And now Mr. Arnot has relocated Tibor de Nagy to the Lower East Side, partnering with Betty Cuningham Gallery in a space-sharing agreement. -
Oral History Interview with Rackstraw Downes, 2016 April 10-11
Oral history interview with Rackstraw Downes, 2016 April 10-11 Funding for this interview was provided by the Lichtenberg Family Foundation. 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 Rackstraw Downes on April 10 and 11, 2016. The interview took place at Downes' Studio in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Rackstraw Downes and James McElhinney have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. 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 JAMES MCELHINNEY: Okay. This James McElhinney speaking with Rackstraw Downes at his home in New York on Sunday April 10, 2016. Good afternoon. RACKSTRAW DOWNES: Good afternoon to you. MR. MCELHINNEY: So you've just returned from Texas? MR. DOWNES: That is correct. MR. MCELHINNEY: How long have you been in Presidiooh ? MR. DOWNES: Well about 15 years I would say; 12 or 15 years I'm not quite certain. I could look it up and figure it out. MR. MCELHINNEY: Not just, but a while at this point. MR. DOWNES: A while, yes many winters; I go only in the winter for five months. MR. MCELHINNEY: That's a wonderful part of the country; I don't think many people go there; it's near Big Bend and— MR. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Extended Sensibilities Homosexual Presence in Contemporary Art
CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr. -
Parrish Art Museum Annual Report 2019
REPORT 2019 PARRISH ART MUSEUM METRICS 60,981 734 TOTAL ATTENDANCE EDITORIAL PLACEMENTS 1,753 66 RESIDENT BENEFITS MEMBERS SCHOOL & COMMUNITY PARTNERSHIPS 4,173 305 MUSEUM MEMBERS ARTS + LANGUAGE STUDENTS ENGAGED 18 375 EXHIBITIONS ARTIST-IN-RESIDENCY STUDENTS 141 1,350 NEW ACQUISITIONS ACCESS PARRISH PARTICIPANTS 151 253 PERMANENT COLLECTION WORKS ON VIEW COLLABORATIVE & OUTREACH PROGRAMS 72 335 CONCERTS, TALKS, FILMS, PROGRAMS SCHOOL, GROUP, AND DOCENT-LED TOURS 30,024 81 SOCIAL MEDIA FOLLOWERS WORKSHOP SESSIONS FOR ADULTS 437 114 MOBILE APP USERS FAMILY PROGRAMS AND VACATION WORKSHOPS 2019 HIGHLIGHTS In 2019, the Parrish Art Museum continued its commitment to deepening The Education department, in addition to a rich schedule of classes and and expanding community partnerships; presenting engaging, unique workshops for children and adults, completed its fourth successful year of public programs; creating initiatives targeting underserved groups; Access Parrish, reaching nearly 1,400 people through 8 community organizing exhibitions that offered fresh scholarship on important artists partnership. 2019 marked the launch of Art in Corrections—a pilot and timely topics; and building its collection through the generosity of program at Suffolk County Correctional Facility in Riverhead, facilitated by foundations, artists, and individuals. The Museum added 140 new our own teaching artists Monica Banks, Jeremy Dennis, Eric Dever, Laurie paintings, photographs, and drawings in 2019, and more than 60 were on Lambrecht, Bastienne Schmidt, and Barbara Thomas. view. We are grateful for everyone who supported the Museum in 2019— We are truly grateful to The Saul Steinberg Foundation for its gift of 64 Our program and education funders and supporters of benefit events like works by the artist, and to Louis K. -
Screening Guides to the Sixth Season
art:21 screening guides to the sixth season © Art21 2012. All Rights Reserved. www.pbs.org/art21 | www.art21.org season six GETTING STARTED ABOUT THIS SCREENING GUIDE unique opportunity to experience first-hand the complex artistic process—from inception to finished This screening guide is designed to help you plan product—behind some of today’s most thought- an event using Season Six of Art in the Twenty-First provoking art. These artists represent the breadth Century. This guide includes an episode synopsis, of artistic practices across the country and the artist biographies, discussion questions, group world and reveal the depth of intergenerational activities, and links to additional resources online. and multicultural talent. Educators’ Guide The 32-page color manual ABOUT ART21 SCREENING EVENTS includes information on the ABOUT ART21, INC. artists, before-viewing and Public screenings of the Art in the Twenty-First after-viewing questions, and Century series illuminate the creative process of Art21 is a non-profit contemporary art organization curriculum connections. today’s visual artists by stimulating critical reflection serving students, teachers, and the general public. FREE | www.art21.org/teach as well as conversation in order to deepen Art21’s mission is to increase knowledge of contem- audience’s appreciation and understanding of porary art, ignite discussion, and empower viewers contemporary art and ideas. Organizations and to articulate their own ideas and interpretations individuals are welcome to host their own Art21 about contemporary art. Art21 seeks to achieve events year-round. Art21 invites museums, high this goal by using diverse media to present an schools, colleges, universities, community-based independent, behind-the scenes perspective on organizations, libraries, art spaces and individuals contemporary art and artists at work and in their to get involved and create unique screening own words. -
Nattaiiooga, Icnnesses Or Any C.Ourse J F Chatta Nooga Rivilege of Me Hip In
I Jn 00"' .nattaiiooga, icnnesses or any c.ourse j f Chatta nooga rivilege of me hip in nut .uae a; me university is issumption thai the student r fundamental importance of hi H itim community. 9 if ei m enterprise between student and m f fvff between student and student, of dishonesty violates and weakens nship and lessens the value of the tf 'he student is pursuing. '.£. University of Chattanooga BULLETIN CATALOG ISSUE Record for 1965-66 Announcements 1966-67 The University of Chattanooga bulletin is published quarterly. Vol. 45, No. 2, April 1966, Catalog Issue. Second class postage paid at Chattanooga, Tennessee. THE UNIVERSITY The University of Chattanooga is an accredited, privately controlled and endowed, coeducational college, with a strong liberal arts orientation. It offers courses of study leading to the degrees of Bachelor of Arts, Bachelor of Science, Bachelor of Music, Master of Education, Master of Arts in Teaching, Master of Business Ad ministration and Master of Science. Located in the center of the industrial South, in an area of great natural beauty and historic interest, it provides in a metropolitan setting the advantages of a small campus atmosphere. ACCREDITATION Accreditation is a measure of standing among educational institu tions. To be accredited means that the University has met stand ards established by an accrediting agency. Accreditation is impor tant to the student. It assures him that credits earned at the Uni versity are transferable to other colleges and universities, are acceptable to employers and to certification agencies, and that degrees from the University of Chattanooga are recognized by "grad uate and professional schools. -
Styles of Disjunction
JEFF DOLVEN CS? Styles of Disjunction At the heginning of the summer of 1956, John Button went to visit his fellow painter Fairfield Porter on the Maine island where the Porter family made their summer home. He got a ride with Fairfield himself, which must have promised to he a convenience, given the length of the journey from New York. It proved to he an excrucia- tion. In a letter to his poet friend James Schuyler, Button descrihed the long drive and the awkward rendezvous with Porter's son Jerry on the way: F. & I drove here via Putney in 2, days without speaking. When we got to Putney, Fairfield greeted Jerry by making a couple of violent side steps, rising on his toes, thrusting out his hand and missing Jerry's, and finally kissing him and giggling. Then he said, "Let's take a walk." and we walked or rather stormed down an old dirt road 2 miles and then turned around and stormed back refusing three offers of a lift. All this was, of course, done in absolute silence. I was so tired and sick that I didn't eat dinner. Porter had many friends in the sociable network of poets and paint- ers that was, hy the middle fifties, already heginning to he called the New York school. He was close to John Ashhery and Frank O'Hara, and closer to James Schuyler, who hecame his lover for a time, and the family's houseguest for more than a decade. His poet friends admired his paintings, and they encouraged his amhitions as a poet (he had a couple of poems published in Poetry] and as an art critic (for ARTnews and then the Nation). -
The Lost World of Glen Canyon
- r f 1 / I / I / r llS^ *&v . .".•*' : '•.-• - :•:-.*« •••• '•• i^g. i. A large sandstone arch called Galloway Cave existed on the right bank about 2.25 miles upstream from Glen Canyon Dam. River travelers camped here before the turn of the century and seemed always to build their campfires in the same place, at the downstream corner of the arch. Many also left a record of their presence by uniting their names on the wall with a piece of charcoal. This view shows a Nevills river party preparing for dinner on June 11, 1949. Lake Powell covers this site. Photographs, except Fig. 4, are courtesy of author. The Lost World of Glen Canyon BY P. T. REILLY THOUSANDS OF PEOPLE CRUISE THE SURFACE OF Lake Powell never dream ing of the wonders beneath the waters, features that are not likely to be exposed again in our lifetime, nor in those of our children or grandchildren. In fact, they may never be seen again. This photo graphic collection of landforms will serve as a reminder that our world changes as dramatically in the vertical as it does in the horizontal. Mr. Reilly lives in Sun City, Arizona. Readers may wish to refer to the following: Plan and Profile, Colorado River, Lees Ferry, Arizona, to Mouth of Green River, Utah, Sheet B; Navajo Mountain, Utah- Arizona quadrangle; Lake Canyon, Utah quadrangle; and Mancos Mesa, Utah quadrangle. The Lost World of Glen Canyon 123 Lee's Ferry occupies a unique and important position on the Colorado River because the 1921 measurement by the U.S.