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FRIDAY JANUARY 21 7 PM at the School of Visual Arts Artists Talk On Art Critical Dialogue in the Visual Arts–since 1975 presents Aesthetic Realism: The Opposites in Art & Life What are artists doing in their work that people—including artists—want to do in their lives? The answer is in this great principle stated by poet and founder of the philosophy Aesthetic Realism, Eli Siegel: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” CHAIM KOPPELMAN, printmaker —on “Power and Tenderness in Picasso's Minotauromachy” and on his own “Napoleon series” of prints and drawings Teacher of printmaking at SVA, he is a member of the National Academy, and recently received a Lifetime Achievement Award from the Society of American Graphic Artists. Koppelman Napoleons on Alligators MARCIA RACKOW, painter and lecturer —on the work of contemporary American realist painters Leon Golub, Alex Katz, and Philip Pearlstein Teacher of the museum/gallery course “The Visual Arts and the Opposites,” she was recently a guest lecturer at The Pennsylvania Academy of Fine Arts. Katz Cocktail Party DALE LAURIN, architect —on heaviness and lightness in the innovative designs of Santiago Calatrava, architect for the WTC transportation center An associate with Urbane Architects, P.C., he has been a panelist presenting “Housing: A Basic Human Right” at universities, including Harvard, NYU, and the American Institute of Architects. Calatrava Milwaukee Art Museum KEN KIMMELMAN, filmmaker —on the opposition to contempt through the art of animation, showing Disney’s 1929 Skeleton Dance and his own award- winning film Brushstrokes Director of Imagery Film, Ltd., he has made films for the UN and received Emmys for his anti-prejudice public service film The Heart Knows Better and for his contributions to Sesame Street. Kimmelman Brushstrokes CARRIE WILSON, moderator, Terrain Gallery Coordinator, and art historian The speakers are on the faculty of the Aesthetic Realism Foundation in NYC. www. atoa.ws www.AestheticRealism.org $7 regular admission $3 students and seniors School of Visual Arts Amphitheater 209 E. 23rd St. (East of Third Ave.).

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CATALOG PRICE $4.00 Michael E. Fallon / Seth E. Fallon COPAKE AUCTION INC. 266 Rt. 7A - Box H, Copake, N.Y. 12516 PHONE (518) 329-1142 FAX (518) 329-3369 Email: [email protected] - Website: www.copakeauction.com UNRESERVED ESTATE AUCTION Plus Selected Additions Saturday May 21, 2016 at 3:00 pm 774 LOTS Featuring Estate fresh 18th and 19th c. furniture, artwork, folk art, period accessories, china, glass, stoneware, primitives & more. Gallery Preview Dates/Times: Thursday May 19, 11-5 PM - Friday May 20, 11-5 PM (*NEW Friday closing time 5pm) Saturday May 21, 12 Noon - 2:45 PM TERMS: Everything sold “as is”. No condition reports in descriptions. Bidder must look over every lot to determine condition and authenticity. Cash or Travelers Checks - MasterCard, Visa and Discover Accepted * First time buyers cannot pay by check without a bank letter of credit * 17% buyer's premium, 20% buyer’s premium for LIVEAUCTIONEERS online purchases, 22% buyer’s premium for INVALUABLE & AUCTIONZIP online purchases. OUR NEXT EVENT: Catalogued Estate Auction – Saturday June 25, 2016 @ 3 PM National Auctioneers Association - NYS Auctioneers Association CONDITIONS OF SALE 1. Some of the lots in this sale are offered subject to a reserve. This reserve is a confidential minimum price agreed upon by the consignor & COPAKE AUCTION below which the lot will not be sold. In any event when a lot is subject to a reserve, the auctioneer may reject any bid not adequate to the value of the lot. 2. All items are sold "as is" and neither the auctioneer nor the consignor makes any warranties or representations of any kind with respect to the items, and in no event shall they be responsible for the correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, provenance, period, source, origin or historical relevance of the items and no statement anywhere, whether oral or written, shall be deemed such a warranty or representation.
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Why Attacks on Public Employee Unions Are on the Rise!
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Marion Harding Artist
MARION HARDING – People, Places and Events Selection of articles written and edited by: Ruan Harding Contents People Antoni Gaudí Arthur Pan Bryher Carl Jung Hugo Perls Ingrid Bergman Jacob Moritz Blumberg Klaus Perls Marion Harding Pablo Picasso Paul-Émile Borduas Pope John Paul II Theodore Harold Maiman Places Chelsea, London Hyères Ireland Portage la Prairie Vancouver Events Nursing Painting Retrieved from "http://en.wikipedia.org/wiki/User:Ernstblumberg/Books/Marion_Harding_- _People,_Places_and_Events" Categories: Wikipedia:Books Antoni Gaudí Antoni Gaudí Antoni Gaudí in 1878 Personal information Name Antoni Gaudí Birth date 25 June 1852 Birth place Reus, or Riudoms12 Date of death 10 June 1926 (aged 73) Place of death Barcelona, Catalonia, (Spain) Work Significant buildings Sagrada Família, Casa Milà, Casa Batlló Significant projects Parc Güell, Colònia Güell 1See, in Catalan, Juan Bergós Massó, Gaudí, l'home i la obra ("Gaudí: The Man and his Work"), Universitat Politècnica de Barcelona (Càtedra Gaudí), 1974 - ISBN 84-600-6248-1, section "Nacimiento" (Birth), pp. 17-18. 2 "Biography at Gaudí and Barcelona Club, page 1" . http://www.gaudiclub.com/ingles/i_vida/i_vida.asp. Retrieved on 2005-11-05. Antoni Plàcid Guillem Gaudí i Cornet (25 June 1852–10 June 1926) – in English sometimes referred to by the Spanish translation of his name, Antonio Gaudí 345 – was a Spanish Catalan 6 architect who belonged to the Modernist style (Art Nouveau) movement and was famous for his unique and highly individualistic designs. Biography Birthplace Antoni Gaudí was born in the province of Tarragona in southern Catalonia on 25 June 1852. While there is some dispute as to his birthplace – official documents state that he was born in the town of Reus, whereas others claim he was born in Riudoms, a small village 3 miles (5 km) from Reus,7 – it is certain that he was baptized in Reus a day after his birth.
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By Carrie Wilson and Dale Laurin, Journal of the Print
Reprinted from e th f Journalo Print World devoted to contemporary and antique works of fine art on paper July 2018 Dorothy Koppelman Dorothy Koppelman A Life of Art and Ethics (1920-2017) by Carrie Wilson and Dale Laurin t is with great feeling we say that on October 25, 2017 Dorothy characterizes each picture....The fact that they are good as well as Koppelman—artist, Aesthetic Realism consultant, founding director moving depends on the vitality of her touch and the strength of her Iof the Terrain Gallery, and one of the most color, both of which are out of the ordinary.” important women in cultural history —died at “All beauty is a making The Museum of Modern Art included her in the age of 97. Courage, strength of mind, keen, their important 1962 exhibition “Recent Paint - orig inal perception, and deep human sympathy one of opposites, and the ing USA: The Figure,” and she was in exhibi - characterized both her life and her art. making one of opposites tions at the Whitney and Brooklyn Museums. Born in Brooklyn, Dorothy Myers came to Man - is what we are going Awards included a Tiffany Grant; and her folio, hattan as a young painter, looking for what could Poems and Prints, of 2000, is in the collection enable her to become the artist and person she after in ourselves.” of the National Museum of Women in the Arts. hoped to be. She had the great good fortune to —ELI SIEGEL Her work is at once vigorous and tender. There find it. In June of 1942, while working with other are the water towers she loved for their humil - artists on a Win the War parade, she met Chaim Koppelman, who ity and pride; powerful, almost abstract paintings of the wrecked fuse - told her he was studying in classes taught by the great American poet lage of a plane; vivid domestic still lifes; and paintings of the human and critic Eli Siegel, and invited her to join him.
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Encyklopédia Kresťanského Umenia
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Herald March 1 - 7, 2012
Versions of this letter appeared in the Brooklyn Star, Greenpoint Star, VENERDI 14 OTTOBRE 2011 ANNO 136 N. 244 Edizione Romana In Italia EURO 1,20 Versions of this letter appeared in— Queens Ledger, Queens Examiner, LIC/Astoria Journal, Leader-Observer, The Glendale Register, Forest Hills Times — * Malverne/West Hempstead, NY NEW YORK Fondato nel 1876 www. corriere.it Tuesday, April 3, 2012 HERALD www.metro.us MARCH 1 - 7, 2012 and the Napoleone a NYC, l’arte di Koppelman and La mostra Translation of Corriere della Sera article: APRIL 2, 2012 NEW YORK’S HOMETOWN NEWSPAPER www. nydailynews.com Exhibition WWW.NEWSDAY.COM MARCH 5, 2012 Un sottotitolo titolo curioso e immaginario, «Napoleone entra a New Racism can end York», per la mostra inaugurata ieri nel Museo Napoleonico di Roma su «Chaim Koppelman e l' Imperatore», con opere“Napoleon comprese Entering tra il New York” is the subtitle, Dear Editor: 1957 e il 2007.intriguing and fictitious, for the exhibition inaugu- Pensions are As two persons—one black, one white—who have been Tu l' ratedartista yesterday americano at the Museo Napoleonico in Rome friends for over 25 years, we like so many others are very Chaim Koppelman,on “Chaim ritenuto Koppelman uno and the Emperor,” with works not luxuries angry at the killing of young Trayvon Martin. dei massimi incisorifrom 1957-2007. statunitensi, We feel it is a national emergency that people use this ad aprire almeno Itidealmente was the artist le Chaim Koppelman, considered To the Editor: tragedy to once and for all understand what racism comes porte di New oneYork of athe Napoelone.
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Robert Blackburn and American Printmaking by Dr. Deborah Cullen
A Life in Print: Robert Blackburn and American Printmaking By Dr. Deborah Cullen Introduction Robert Hamilton Blackburn was born in Summit, New Jersey, on December 12, 1920. He passed on April 21, 2003, in New York City. In between these two dates, he quietly but unerringly affected the course of American art with his own graphic work. What has most generally been stated about Blackburn is that his generosity was legendary, and that he effortlessly fostered diversity on every level at his graphics workshop, The Printmaking Workshop (PMW) since its inception in 1948. (Dr. Mary Schmidt Campbell once remarked that Blackburn had invented the word 'multicultural.') He is often invoked as a black artist of the WPA, and lauded as a printer-instructor. Indeed, Blackburn brought printmaking to countless artists through PMW, and he taught at many universities throughout his life. It is also frequently acknowledged that he was the first master printer at the fabled Universal Limited Art Editions (ULAE) --- producing the initial seventy-nine editions for artists including Helen Frankenthaler, Grace Hartigan, Jasper Johns, Robert Rauschenberg, and Larry Rivers. What has rarely been noted, however, is Blackburn's own astonishing graphic oeuvre. His passage through mid-twentieth century American printmaking is epic. His lyrical and technical brilliance nurtured an art form as it was dwindling, and made a fluid and painterly style of lithography available to a new generation of artists. His own works link the Harlem WPA with the 'graphics boom' of the 1960s. His fluency and technical mastery of complex, abstract, color lithography not only contributed to forging the well- known ULAE expression, but also was prior and crucial to it.
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Oral History Interview with Richard Artschwager, 1978 March 3-28
Oral history interview with Richard Artschwager, 1978 March 3-28 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 Interview ORAL HISTORY INTERVIEW INTERVIEW WITH RICHARD ARTSCHWAGER AT HIS STUDIO IN NEW YORK CITY MARCH 3 & 22, 1978 INTERVIEWER: PAUL CUMMINGS RA: RICHARD ARTSCHWAGER PC: PAUL CUMMINGS PC: Let me say it's the third of March, 1978. Paul Cummings talking to Richard Artschwager in his studio on 103 Franklin Street, New York City. PC: You were born in 1924 in Washington, D.C., right? RA: '23. PC: '23? RA: Yeah. PC: Oh. Where did I get '24? RA: Um, hmm. PC: Somewhere. RA: I want this released after my death. PC: [laughs] RA: Okay? PC: That one year makes a difference? RA: Uh, at one point it seemed like I needed a year because it was just.... I think it was Jack Benny's proverbial 39. PC: Oh, right. RA: That's exactly what it was. I can't, you know.... PC: No. Anyway. [laughs] RA: If this is revelation time, so be it. PC: So. But you grew up there, went to school, high school, grammar school, in Washington, D.C.? RA: Grammar school? PC: Grammar school. RA: No, some of it in New Mexico. PC: Oh, how did New Mexico come into it? RA: All right, my father was a pathologist for the Department of Agriculture.
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Chaim Koppelman, a Memorial Exhibition by Marcia Rackow
Reprinted from— Volume 34 • Number 2 • April 2011 CHAIM KOPPELMAN A Memorial Exhibition By Marcia Rackow at the Terrain Gallery (May-October 2010) was a large, comprehensive show of extraordi- nary beauty honoring the life and work of the pio- neering American artist and printmaker Chaim Koppelman (1920-2009). It surveyed the artist’s ex- tensive career from the 1940s to the 21st century and showed new, large meaning in this principle he loved, stated by Eli Siegel, founder of Aesthetic Realism, “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” The opposites of Truth and Imagination, so rich and surprising in Chaim Kop- pelman’s work, made this exhibition memorable. The themes he pursued over the years— Napoleon, the Etcher, the Family, Couples—always have something fresh, unexpected, something you haven’t seen before, not only in the technique— amazing relations of light and dark in etching, aquatint, embossment, ink, charcoal, pastel, oil—but also in his insightful ideas. Said Will Barnet: “He was brilliant, both in printmaking and painting. His work has a sense of darkness and light that is unique, and of life—an observation, that is unusual and exciting, of what takes place between people. There was this profundity in him, and this sense of humanity. And it was developed through Aesthetic Realism.” I agree! The artist’s study with Eli Siegel, begin- ning in the 1940s, enabled him to understand the true dramas within people and deal with them imaginatively, visually, with a depth, critical kind- ness, and humor that is new in art.
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Volume 6, Number 1
THE TAMARIND PAPERS Technical, Critical and Historical Studies on the Art of the Lithograph Volum e 6, Number I Winter 1982-83 Volum e 6, Number 1 Winter 1982-83 THE TAMARIND PAPERS Technical, Critical and Historical Studies on the Art of the Lithograph Editor: Clinton Adams Contributing Editor: John Sommers Editorial Board: Richard Field, Janet Flint , Robert Gardner, Jules Heller, Lynton R. Kistler, Peter Morse, and Gustave von Groschwitz CONTENTS COVER: Nathan Oliveira. Tamarind Site, 1983. The Personality of Lithography 4 10 x 630 mm. A Conversation with Nathan Oliveira Clinton Adams 4 Printed by Catherine Kirsch Kuhn. [T 83-62 1] Robert Blackburn: An Investment in an Idea Elizabeth Jones 10 Tamarind Site is the second annual Art That Is Really Not Art Gusta ve Harrow 15 presentation print published for the Tamarind Collector's Club. Albert Winslow Barker Graphite Crayons and Sea Salt Ronald Netsky 18 Tamarind Tests of the Barker Crayons 22 Lo-Shu Washes Rebecca Bloxham 22 A Microscopic Study of Ink and Water Emulsions Todd Frye 25 Tamarind: A Photographic Yearbook 27 Directory of Suppliers 28 ·. The Tamarind Papers are published twice each year by Tamarind Institute. 108 Cornell Avenue . SE. Albuquerque, New Mex ico 87 13 1. Telephone 505: 277-390 1. Manu scripts and photographs on subjects related to the art of the lithograph are we lcomed. however A Cumulative Index to Volumes I through 5 has no advance commitment can be given with respect to publication of unsolicited material. Such been published and distributed to current sub material will be re turned onl y if accompanied by a stamped, self-addressed enve lope.
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TERRAIN GALLERY 50Th ANNIVERSARY EXHIBITION!
In reality opposites are one; art shows this.”–ELI SIEGEL “ TERRAIN GALLERY 50 th ANNIVERSARY EXHIBITION! IN 1955 the Terrain Gallery opened with the extravagant idea that RICHARD ANUSZKIEWICZ ROSEANNE BACKSTEDT WILL BARNET 1) beauty could not only be talked about but defined; 2) that all the arts had something in common; 3) that art and life were integrally related. All DAVID BERNSTEIN LEN BERNSTEIN ROBERT BLACKBURN AL BLAUSTEIN this was in the great philosophy of Aesthetic Realism as we had studied it RUDY BURCKHARDT EDMOND CASARELLA JEREMY COMINS with its founder, critic and poet Eli Siegel. In America in 1955 the idea of talking about beauty was not au courant. We did it anyway. ROBERT CONOVER MICHAEL DI CERBO AMY DIENES LOUIS DIENES OUR OPENING announcement was the first publication of Eli Siegel’s LOIS DODD STEPHEN A.FREDERICKS RED GROOMS MIMI GROSS PERRY HALL Fifteen Questions, Is Beauty the Making One of Opposites?—one of the most important documents on art, of this century or any century. In 150 BURTON HASEN ROBERT HENRY SU-LI HUNG YVONNE JACQUETTE exhibitions it has been our criterion for selecting work—of well-known artists LESTER JOHNSON ALEX KATZ ANDRE KERTESZ WILLIAM KING alongside those showing for the first time; photographs and prints together, an innovation, as was the all-silkscreen show of 1965. And in every CHAIM KOPPELMAN DOROTHY KOPPELMAN TOM KRANJAC HAROLD KRISEL exhibition there were comments saying why we saw a work as beautiful. VINCENT LONGO CHARLES MAGISTRO ALLAN MICHAEL ROBERT MOTHERWELL IN EXHIBITIONS, poetry readings, dramatic presentations, and hundreds of talks and publications, the Terrain Gallery has been a trailblazer in HANS NAMUTH GLORIA RABINOWITZ MARCIA RACKOW AD REINHARDT showing that art, as Aesthetic Realism describes, arises from respect for the world, and is the real opponent to the harm of the contempt so endemic CLARE ROMANO CAROL ROSEN JOHN ROSS FRANK ROTH in ordinary life.
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'The Minotaur Is Myself'
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