Roland Petersen
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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. -
Curriculum Vitae
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com LUIS CRUZ AZACETA BORN: Havana, Cuba, 1942. Emigrated to the US 1960; US Citizenship 1967. LIVES: New Orleans, LA. EDUCATION: School of Visual Arts, New York, 1969. GRANTS AND AWARDS: Joan Mitchell Foundation Grant, 2009. Penny McCall Foundation Award, 1991-92. Mid-Atlantic Grant for special projects, 1989. Guggenheim Memorial Foundation Grant, New York, 1985. New York Foundation for the Arts, 1985. Mira! Canadian Club Hispanic Award, 1984. Creative Artistic Public Service (CAPS), New York, 1981-82. National Endowment for the Arts, Washington, D.C., 1980-81, 1985, 1991-92. Cintas Foundation, Institute of International Education, New York, 1972-72, 1975-76. SOLO EXHIBITIONS: “Personal Velocity in the Age of Covid,” Lyle O. Rietzel, Santo Dominigo, DR, 2020-21. “Personal Velocity: 40 Years of Painting,” George Adams Gallery, New York, NY, 2020. “Between the Lines,” Arthur Roger Gallery, New Orleans, LA, 2019. “Luis Cruz Azaceta, 1984-1989,” George Adams Gallery, New York, NY, 2018. “Luis Cruz Azaceta: A Question of Color,” Lyle O. Reitzel, Santo Domingo, DR, 2018. “On The Brink,” Arthur Roger Gallery, New Orleans, LA, 2017. “Luis Cruz Azaceta Swimming to Havana,” Lyle O. Reitzel, New York, NY, 2016-17. “Luis Cruz Azaceta: Dictators, Terrorism, War and Exiles,” American Museum of the Cuban Diaspora, Miami, FL, 2016. “Luis Cruz Azaceta: War & Other Disasters,” Abroms-Engel Institute for Visual Arts, University of Alabama, Birmingham, AL, 2016. “State of Fear,” Pan American Art Projects, Miami, FL, 2015.* “PaintingOutLoud,” Arthur Roger Gallery, New Orleans, LA, 2014.* “Dictators, Terrorism, Wars & Exile,” Aljira: A Center for Contemporary Art, Newark, NJ, 2014.* “Louisiana Mon Amour,” Acadiana Center for the Arts, Lafayette, LA, 2013.* “Falling Sky,” Lyle O. -
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery Is Pleased to Pr
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery is pleased to present Abstract and Figurative: Highlights of Bay Area Painting, a survey of historical works celebrating the iconic art of the Bay Area Figurative movement. The exhibition will occupy two floors of gallery space and will include work by artists Elmer Bischoff, Theophilus Brown, Richard Diebenkorn, Manuel Neri, Nathan Oliveira, David Park, Wayne Thiebaud, James Weeks, and Paul Wonner. Abstract and Figurative is accompanied by an illustrated catalogue with an introduction by art historian and Director of the Palm Springs Art Museum and former Associate Director and Chief Curator of the Fine Arts Museums of San Francisco, Steven A. Nash. Many of the works included in Abstract and Figurative are on loan from museums and private collections and have rarely been exhibited to the public. John Berggruen Gallery is proud to have this opportunity to bring these paintings together in commemoration of the creative accomplishments of such distinguished artists. Please join us for our opening reception on Thursday, January 8, 2009 between 5:30 and 7:30 pm. Nash writes, “There is no more fabled chapter in the history of California Art than the audacious stand made by Bay Area Figurative painters against Abstract Expressionism in the 1950s.” This regionalized movement away from the canon of the New York School (as championed by artists Jackson Pollock and Willem de Kooning, and critic Clement Greenberg, among others) finds its roots in 1949, when a young painter by the name of David Park “gathered up all his abstract- expressionist canvases and, in an act that has gone down in local legend, drove to the Berkeley city dump and destroyed them.”1 Disillusioned with the strict non-representational tenets of a movement that promoted the Greenbergian notion of “purity” in art towards a perpetually evolving abstraction, Park submitted Kids on Bikes (1950), a small figurative painting, to a 1951 competitive exhibition and won. -
California Modernism After World War Ii
1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
2000.541Ekxbtha
Memo to the Planning Commission DIRECTOR’S REPORT: AUGUST 31, 2017 Date: August 21, 2017 Case No.: 2000.541EKXBCTHA Project Address: 350 BUSH STREET Zoning: C-3-O (Downtown-Office) 250-S Height and Bulk District Block/Lot: 0269/028 Project Sponsor: Daniel Frattin Reuben, Junius & Rose One Bush Street, Suite 600 San Francisco, CA 94104 Staff Contact: Christy Alexander – (415) 575-8724 [email protected] Recommendation: Informational Only BACKGROUND10 On November 1, 2001, the Planning Commission approved Case No. 2000.541EKXBCTHA for a newly constructed 19-story office building addition to the existing Mining Exchange Building at 350 Bush Street which is located between Montgomery Street and Kearny Street downtown. The project includes 20,400 sf of retail space in two galleria levels and 344,540 sf of office space. Pursuant to Planning Code Section 429, the Project required a public art component valued at an amount equal to one percent of the hard construction costs for the Project as determined by the Director of the Department of Building Inspection. The Project Sponsor has commissioned two artists to provide on-site public art to satisfy this requirement. CURRENT PROPOSAL The artists selected for the public art installations at 350 Bush Street are Zhan Wang and Christopher Brown. As discussed in his biography (attached), Mr. Wang is a Beijing-born sculptor who was a sculpture major at the China Central Academy of Fine Art. His work has appeared in museum exhibitions at the Shanghai Pujiang OCT Ten Year Public Art Project, Shanghai; Mori Art Museum, Tokyo; Shanghai Museum of Contemporary Art, Shanghai; Asian Art Museum, San Francisco; the Milwaukee Art Museum, Milwaukee; National Museum of China, Beijing; and the Ullens Center for Contemporary Art, Beijing. -
George Adams Gallery, New York, 2019
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com ROBERT ARNESON BORN: Benicia, CA, 1930. DIED: Benicia, CA, 1992. EDUCATION: College of Marin, Kentfield, CA California College of Arts & Crafts, Oakland, CA: B.A., 1954. Mills College, Oakland, CA: M.F.A.,1958. AWARDS: Fellow, American Craft Council, 1992. Academy-Institute Award in Art, American Academy and Institute of Arts and Letters, 1991. Honorary Doctor of Fine Arts, San Francisco Art Institute, 1987. Honorary Doctor of Fine Arts, Rhode Island School of Design, 1985. SOLO EXHIBITIONS: “Robert Arneson: The Anti-War Works 1982-1986,” George Adams Gallery, New York, 2019. Robert Arneson and William T Wiley, George Adams Gallery, New York, NY, 2017. “Guardians of the Secret II” Brian Gross Fine Art, San Francisco, CA, 2016. “Fatal Laughs: The Art of Robert Arneson” Cantor Arts Center, Stanford University, Stanford, CA, 2014-15. “Robert Arneson: Troublesome Subjects: Three Decades of Paintings, Sculpture, and Works on Paper,” George Adams Gallery, New York, NY, 2013. “Robert Arneson: Playing Dirty,” Allan Stone Gallery, New York, NY, 2012. “Robert Arneson: Installation of Works from the Collection,” San Francisco Museum of Modern Art, San Francisco, CA, 2012. “Robert Arneson: Self Portraits in Bronze” Brian Gross Fine Art, San Francisco, CA, 2012. “Robert Arneson: Founding Funk: Sculptures and Drawings 1956-66,” George Adams Gallery, New York, NY, 2010. “Robert Arneson from the 60's," Brian Gross Fine Art, San Francisco, CA, 2008. “Robert Arneson: The Black Series, Selected Works 1988-1990," George Adams Gallery, New York, NY, 2007. “Robert Arneson: Sculpture, Paintings and Drawings 1958-1992," George Adams Gallery at the ADAA Art Show, Seventh Regiment Armory, New York, NY, 2006. -
'David Park: a Retrospective' Review: Subtle Humanism in Thick Paint
ART REVIEW ‘David Park: A Retrospective’ Review: Subtle Humanism in Thick Paint The underrated Bay Area School artist—who, early on, turned from abstract painting to thoroughly modern figuration—receives his first major museum exhibition in over three decades. David Park’s ‘Rowboat’ (1958) PHOTO: © ESTATE OF DAVID PARKMODERN ART MUSEUM OF FORT WORTH By Peter Plagens July 15, 2019 429 pm ET Fort Worth, Texas David Park (1911-1960) is one of the artists who made San Francisco almost as famous for a figurative style of painting (the “Bay Area School”) as New York is for Abstract Expressionism. Park was a stupefyingly adroit applier of paint to canvas whose generous but subtle humanism makes him one of the most art-historically underrated artists of the mid-20th century. There’s a good chance, however, that “David Park: A Retrospective,” now at the Modern Art Museum of Fort Worth, will help rectify that. (After this venue, it will travel to the Kalamazoo Institute of Arts, and then back to the San Francisco Museum of Modern Art, which originated the show.) With over 120 works, including more than 70 oil paintings, it’s the first Park exhibition in a major museum in over three decades. A Bostonian who was diagnosed in childhood as being David Park: A Retrospective more than halfway blind, Park stopped wearing glasses in 1926 and never put them on again. Two years later he Modern Art Museum of Fort Worth moved to Los Angeles, where he attended the Otis Art Through Sept. 22 Institute—for less than a year, his only formal art education. -
Visions of the Davis Art Center
Lost and Found: Visions of the Davis Art Center Permanent Collection 1967-1992 October 8 – November 19, 2010 This page is intentionally blank 2 Lost and Found: Visions of the Davis Art Center In the fall of 2008, as the Davis Art Center began preparing for its 50th anniversary, a few curious board members began to research the history of a permanent collection dating back to the founding of the Davis Art Center in the 1960s. They quickly recognized that this collection, which had been hidden away for decades, was a veritable treasure trove of late 20th century Northern California art. It’s been 27 years since the permanent collection was last exhibited to the public. Lost and Found: Visions of the Davis Art Center brings these treasures to light. Between 1967 and 1992 the Davis Art Center assembled a collection of 148 artworks by 92 artists. Included in the collection are ceramics, paintings, drawings, lithographs, photographs, mixed media, woodblocks, and textiles. Many of the artists represented in the collection were on the cutting edge of their time and several have become legends of the art world. Lost and Found: Visions of the Davis Art Center consists of 54 works by 34 artists ranging from the funky and figurative to the quiet and conceptual. This exhibit showcases the artistic legacy of Northern California and the prescient vision of the Davis Art Center’s original permanent collection committee, a group of volunteers who shared a passion for art and a sharp eye for artistic talent. Through their tireless efforts acquiring works by artists who were relatively unknown at the time, the committee created what would become an impressive collection that reveals Davis’ role as a major player in a significant art historical period. -
Lobdell Resume 2013
Frank Lobdell b. Kansas City, MO 1921 EDUCATION 1950–51 Académie de la Grande Chaumière, Paris, France 1947–50 California School of Fine Arts, San Francisco, CA (now the San Francisco Art Institute) 1939 St. Paul School of Fine Arts, St. Paul, MN SELECTED SOLO EXHIBITIONS 2009 Frank Lobdell: Figurative Drawings, Cantor Arts Center, Stanford University, Palo Alto, CA (will travel to Iowa State University, Ames, IA; Portland Art Museum, OR; Fresno Art Museum, CA) 2008 The Dance Series, 1969-72, Hackett-Freedman Gallery, San Francisco, CA Frank Lobdell Retrospective, Marin Museum of Contemporary Art, Novato, CA 2004 Frank Lobdell: Recent Work 1990–2004, Hackett-Freedman Gallery, San Francisco, CA 2003 Frank Lobdell: Figure Drawings, Hackett-Freedman Gallery, San Francisco, CA The Art of Making and Meaning, California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, CA (traveled to Portland Art Museum, OR, and Fresno Art Museum, CA) Frank Lobdell: Etchings & Aquatints, B. Sakata Garo Gallery, Sacramento, CA 2002 Frank Lobdell: Early Works, Charles Cowles Gallery, New York, NY Three Phases, 1947–2001, Hackett-Freedman Gallery, San Francisco, CA 2000 Frank Lobdell: Recent Paintings and Drawings, Campbell-Thiebaud Gallery, San Francisco, CA Frank Lobdell: A Decade of Etchings, The Art Exchange, San Francisco, CA 1998 Etchings by Frank Lobdell, Western Michigan University, Kalamazoo, MI Master Artist V, Hearst Art Gallery, St. Mary's College of California, Moraga, CA Campbell-Thiebaud Gallery, San Francisco, CA (also ‘95,’92,’91,’90, ‘88) Shorenstein Building, 425 Market Street, San Francisco, CA 1997 Emmie Smock Gallery, San Francisco, CA 1995 Frank Lobdell, Aquatint Etchings, Printworks, Chicago, IL 1993 Works, 1947–1992, Stanford University Museum of Art, Palo Alto, CA Frank Lobdell: Recent Paintings and Monotypes, Oscarsson-Hood, New York, NY 1992 IPA Gallery, Boston, MA Viewpoints XVIII: Frank Lobdell, M. -
As I Am Painting the Figure in Post-War San Francisco Curated by Francis Mill and Michael Hackett
As I Am Painting the Figure in Post-War San Francisco Curated by Francis Mill and Michael Hackett David Park, Figure with Fence, 1953, oil on canvas, 35 x 49 inches O P E N I N G R E C E P T I O N April 7, 2016, 5-7pm E X H I B I T I O N D A T E S April 7 - May 27, 2016 Hackett | Mill presents As I Am: Painting the Figure in Post-War San Francisco as it travels to our gallery from the New York Studio School. This special exhibition is a major survey of artwork by the founding members of the Bay Area Figurative Movement. Artists included are David Park, Elmer Bischoff and Richard Diebenkorn, as well as Joan Brown, William Theophilus Brown, Frank Lobdell, Manuel Neri, Nathan Oliveira, James Weeks and Paul Wonner. This exhibition examines the time period of 1950-1965, when a group of artists in the San Francisco Bay Area decided to pursue figurative painting during the height of Abstract Expressionism. San Francisco was the regional center for a group of artists who were working in a style sufficiently independent from the New York School, and can be credited with having forged a distinct variant on what was the first American style to have international importance. The Bay Area Figurative movement, which grew out of and was in reaction to both West Coast and East Coast varieties of Abstract Expressionism, was a local phenomenon and yet was responsive to the most topical national tendencies.