Christie's to Present Five Works from the Collection
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BLACK Baselitz, De Kooning, Mariscotti, Motherwell, Serra
Upsilon Gallery 404 Fifth Avenue, New York, NY 10018 [email protected] www.upsilongallery.com For immediate release BLACK Baselitz, de Kooning, Mariscotti, Motherwell, Serra April 13 – June 3, 2017 Curated by Marcelo Zimmler Spanish Elegy I, Lithograph, on brown HMP handmade paper, 13 3/4 x 30 7/8 in. (35 x 78.5 cm), 1975. Photo by Caius Filimon Upsilon Gallery is pleased to present Black, an exhibition of original and edition work by Georg BaselitZ, Willem de Kooning, Osvaldo Mariscotti, Robert Motherwell and Richard Serra, on view at 146 West 57 Street in New York. Curated by Marcelo Zimmler, the exhibition explores the role played by the color black in Post-war and Contemporary work. In the 1960s, Georg BaselitZ emerged as a pioneer of German Neo–Expressionist painting. His work evokes disquieting subjects rendered feverishly as a means of confronting the realities of the modern age, and explores what it is to be German and a German artist in a postwar world. In the late 1970s his iconic “upside-down” paintings, in which bodies, landscapes, and buildings are inverted within the picture plane ignoring the realities of the physical world, make obvious the artifice of painting. Drawing upon a dynamic and myriad pool of influences, including art of the Mannerist period, African sculptures, and Soviet era illustration art, BaselitZ developed a distinct painting language. Upsilon Gallery 404 Fifth Avenue, New York, NY 10018 [email protected] www.upsilongallery.com Willem de Kooning was born on April 24, 1904, into a working class family in Rotterdam, the Netherlands. -
C100 Trip to Houston
Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. -
Washington University Record, July 2, 1987
Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government. -
Art in 1960S
Abstract Expressionism 1940s-1960s A form of abstract art that emphasized spontaneous, intuitive creation of unstructured expressions of the artist’s unconscious Action Painting: emphasized the dynamic handling of paint and techniques that were partly dictated by chance. The act of painting was as significant as the finished work: Jackson Pollock, Willem de Kooning Jackson Pollock, Blue Poles, 1952 William de Kooning, Untitled, 1975 Color-Field Painting: used large, soft-edged fields of flat color: Mark Rothko, Ab Reinhardt Mark Rothko, Lot 24, “No. 15,” 1952 “A square (neutral, shapeless) canvas, five feet wide, five feet high…a pure, abstract, non- objective, timeless, spaceless, changeless, relationless, disinterested painting -- an object that is self conscious (no unconsciousness), ideal, transcendent, aware of no thing but art (absolutely no anti-art). Ad Reinhardt, Abstract Painting,1963 –Ad Reinhardt Minimalism 1960s rejected emotion of action painters sought escape from subjective experience downplayed spiritual or psychological aspects of art focused on materiality of art object used reductive forms and hard edges to limit interpretation tried to create neutral art-as-art Frank Stella rejected any meaning apart from the surface of the painting, what he called the “reality effect.” Frank Stella, Sunset Beach, Sketch, 1967 Frank Stella, Marrakech, 1964 “What you see is what you see” -- Frank Stella Postminimalism Some artists who extended or reacted against minimalism: used “poor” materials such felt or latex emphasized process and concept rather than product relied on chance created art that seemed formless used gravity to shape art created works that invaded surroundings Robert Morris, Felt, 1967 Richard Serra, Cutting Device: Base Plat Measure, 1969 Hang Up (1966) “It was the first time my idea of absurdity or extreme feeling came through. -
RICHMOND BURTON I AM Paintings (The Return) March 30 – May 8, 2016
ART 3 109 INGRAHAM ST. BROOKLYN NY 11237 art-3gallery.com For immediate release: RICHMOND BURTON I AM paintings (the return) March 30 – May 8, 2016 Opening: Wednesday, March 30, 6-9 PM Richmond Burton, I AM (SWEET SPOT), 2001, Oil on linen, 63 x 99 in. Photo: courtesy of the artist and ART 3 gallery Brooklyn, NY – ART 3 gallery is pleased to represent works and projects by Richmond Burton as well as his Solo Exhibition RICHMOND BURTON: I AM paintings (the return) featuring works from the artist’s groundbreaking I AM series of paintings. This exhibition will mark a 15-year anniversary and return to the seminal works, originally shown in 2001 at Cheim & Read, New York, NY. Richmond Burton’s works are known for their kaleidoscopic color, undulating patterns, and lyrical handling of expressionistic mark making. The I AM paintings manage to simultaneously hold two truths without becoming one or the other. They exist both as geometric, structured, formal, while concurrently being relaxed, visceral, seductive, and organic compositions. The works play with decorative patterning without compromising a conceptual backbone. Their intensity of vision allows for transcendent thought, experience, and connection while challenging any preconceived norms or rules defining abstract painting. The paintings hold a tension between ruptured grids and naturalistic, diffused light with jolts of intense jewel-like color. Metallic colors are used—gold, silver, and copper thread through the work and coalesce into details, concentrated inlay or patterned punctuation. Abstracted forms break and congeal, with imagery reminiscent of swirling sperm, egg yolks, rocks, petals, leaves, and shells. -
The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19 -
Summer SAMPLER VOLUME 13 • NUMBER 3 • SUMMER 2016
Summer SAMPLER VOLUME 13 • NUMBER 3 • SUMMER 2016 CENTER FOR PUBLIC HISTORY Published by Welcome Wilson Houston History Collaborative Last LETTER FROM EDITOR JOE PRATT Ringing the History Bell fter forty years of university In memory of my Grandma Pratt I keep her dinner bell, Ateaching, with thirty years at which she rang to call the “men folks” home from the University of Houston, I will re- fields for supper. After ringing the bell long enough to tire at the end of this summer. make us wish we had a field to retreat to, Felix, my For about half my years at six-year old grandson, asked me what it was like to UH, I have run the Houston live on a farm in the old days. We talked at bed- History magazine, serving as a time for almost an hour about my grandparent’s combination of editor, moneyman, life on an East Texas farm that for decades lacked both manager, and sometimes writer. In the electricity and running water. I relived for him my memo- Joseph A. Pratt first issue of the magazine, I wrote: ries of regular trips to their farm: moving the outhouse to “Our goal…is to make our region more aware of its history virgin land with my cousins, “helping” my dad and grandpa and more respectful of its past.” We have since published slaughter cows and hogs and hanging up their meat in the thirty-four issues of our “popular history magazine” devot- smoke house, draw- ed to capturing and publicizing the history of the Houston ing water from a well region, broadly defined. -
Great Jones Street, 1958 Enamel on Canvas Collection of Irma and Norman Braman
Great Jones Street, 1958 Enamel on canvas Collection of Irma and Norman Braman Yugatan, 1958 Oil and enamel on canvas Private collection Delta, 1958 Enamel on canvas Private collection Jill, 1959 Enamel on canvas Albright-Knox Art Gallery, Buffalo; gift of Seymour H. Knox, Jr., 1962 Die Fahne hoch!, 1959 Enamel on canvas Whitney Museum of American Art, New York; gift of Mr. and Mrs. Eugene M. Schwartz and purchase with funds from the John I. H. Baur Purchase Fund, the Charles and Anita Blatt Fund, Peter M. Brant, B. H. Friedman, the Gilman Foundation, Inc., Susan Morse Hilles, The Lauder Foundation, Frances and Sydney Lewis, the Albert A. List Fund, Philip Morris Incorporated, Sandra Payson, Mr. and Mrs. Albrecht Saalfield, Mrs. Percy Uris, Warner Communications Inc., and the National Endowment for the Arts 75.22 Avicenna, 1960 Aluminum oil paint on canvas The Menil Collection, Houston Marquis de Portago (first version), 1960 Aluminum oil paint on canvas Collection of Robert and Jane Meyerhoff Creede I, 1961 Copper oil paint on canvas Collection of Martin Z. Margulies Creede II, 1961 Copper oil paint on canvas Private collection Plant City, 1963 Zinc chromate on canvas Philadelphia Museum of Art; gift of Agnes Gund in memory of Anne d’Harnoncourt, 2008 1 Gran Cairo, 1962 Alkyd on canvas Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 63.34 Miniature Benjamin Moore series (New Madrid, Sabine Pass, Delaware Crossing, Palmito Ranch, Island No. 10, Hampton Roads), 1962 Alkyd on canvas (Benjamin Moore flat wall paint); six paintings Brooklyn Museum; gift of Andy Warhol 72.167.1–6 Marrakech, 1964 Fluorescent alkyd on canvas The Metropolitan Museum of Art, New York; gift of Mr. -
The Menil Collection Houston, Texas
The Menil Collection Houston, Texas Kristina Van Dyke Downloaded from http://direct.mit.edu/afar/article-pdf/40/3/36/1816098/afar.2007.40.3.36.pdf by guest on 28 September 2021 hen asked in 1982 about the collection she and her late husband, John, had formed, Dominique de Menil stated, “What characterizes my collection? Maybe a passionate curiosity for the past and also a vulnerability to poetry … poetry of images revealing the beauty and mystery of the world … W[I] am very moved by … art that … expresses the tragedy of man’s ephemeral condition” (de Menil 1983:50). At the time, Dominique de Menil was working with Renzo Piano on plans for The Menil Collection, the museum that would house the couple’s collection and manifest its poetry (Fig. 1). Thoughtful and meticulous, Dom- inique de Menil labored over every detail of the design and, when construction was complete in 1987, the installation of the collec- tion as well (Fig. 2). Her goals were clear: “I would like my collec- tion to be displayed in such a way that it opens new vistas, that it reveals ‘Terra Incognita’—islands beyond” (ibid.). The Menil Collection, with its 16,000 objects, is but one out- come of this French couple’s vision and philosophy. Intertwining art, social activism, and a profound spirituality, the de Menils left an indelible mark on their adopted city of Houston, both in the campus that houses their museum and related galleries and cha- pels, and in the effect their philanthropic projects had on various institutions in the city. -
Lost in Translation: Phenomenology and Mark Rothko's Writings
Lost in translation: Phenomenology and Mark Rothko’s writings Evelien Boesten s4284720 M. Gieskes 09-08-2017 Table of contents: 1. Introduction 2 2. Phenomenology and its relation to art as described by Crowther 7 3. Mark Rothko I. Life and art 15 II. Rothko’s writings on art 21 III. Rothko and Crowther: a new approach to Rothko and phenomenology 31 4. Previous essays on phenomenology and Rothko I. Dahl 43 II. Svedlow 46 III. Comparison and differences: Dahl, Svedlow versus Rothko & Crowther 48 5. Conclusion 50 6. Bibliography 52 7. Image Catalogue 53 1 1. Introduction Imagine seeing a painting by Mark Rothko (1903-1970), such as Untitled (1949, fig. 1) in an art museum. Typically, Rothko’s work will be viewed in ‘white cube’ museums, such as the modern section of the National Gallery of Art in Washington DC, where Untitled (1949) resides. The room consists of simple white walls and wooden floors. The painting’s title tells you nothing but the fact that it has none. There is no shortcut to the painting’s subject to be found in its given name, and we are expected to go in significantly less biased because of the title’s absence.1 We stand before the painting, no title or picture frame between us and the canvas. Rothko wanted the interaction between the artist and the viewer to be as direct as possible, so he tried to eliminate as many external factors as he could (such as picture frames or titles).2 In Untitled (1949), the artist – Rothko – brought colour and form to this interacttion, while the viewers are expected to bring themselves and all that they know and are.3 A large yellow rectangle serves as the background to the other coloured rectangles that are brown, orange, purple, black and a semi-transparent green, which appear to float in front of it.4 These smaller rectangles do not only relate to the yellow background, but to each other as well. -
Houston, Texas October 18-20, 2019
2019 Annual Chapter Meeting Houston, Texas October 18-20, 2019 Please join us at the ARLIS/NA Texas-Mexico Chapter fall meeting in Houston, Texas, October 18 – 20, 2019! This year’s conference will provide opportunities for chapter members to visit Houston art libraries and museums and catch up with fellow TXMX colleagues. The weekend’s tours and activities will be centered in the vibrant and diverse Houston Museum District. Continuing in its 4th year, the chapter Research Roundtable presents a great opportunity to hear about research and projects undertaken at chapter members’ institutions. Registration Registration is now open through October 4th! Visit the EventBrite page to register: 2019 Texas-Mexico Chapter Meeting EventBrite Registration Rates: • Registration (US Residents): $40.00 • Registration (Mexico Residents, Students, and Retirees): $30.00 The registration rate for US residents does not include 2020 chapter membership dues. Individuals may join or renew both chapter and national memberships using the new bundled option via the ARLIS/NA membership* page. The registration rate for Mexico residents, students, and retirees includes 2020 chapter membership dues. Individuals may join or renew national membership via the ARLIS/NA membership* page. *The ARLIS/NA membership platform’s join, renew, and update profile functions are temporarily unavailable, but will be restored soon. Accommodations We do not have an official hotel for this meeting, so attendees should arrange accommodations on their own. Below is a list of hotels within a reasonable distance from all event venues. Hotel ZaZa, Houston Museum District, 5701 Main St, Houston, TX 77005-1824 Wyndham Houston, Medical Center Hotel and Suites, 6800 Main St, Houston, TX 77030 Modern B&B, 4003 Hazard St, Houston, 77098 Extended Stay America, Houston Medical Center, 1301 S. -
Retrospective Is Curated by Toby Kamps with Dr
Wols: Retrospective is curated by Toby Kamps with Dr. Ewald Rathke. This exhibition is generously supported by the National Endowment for the Arts; Anne and Bill Stewart; Louisa Stude Sarofim; Michael Born Alfred Otto Wolfgang Schulze to a prominent Berlin family Zilkha; Skadden, Arps; and the City of Houston. on May 27, 1913, the artist spent his childhood in Dresden. Despite obvious intelligence, Wols failed to complete school, and in 1932, not long after the death of his father, with whom he had a contentious relationship, he moved to Paris in an attempt to break away from his bourgeois roots. Except for a brief stint in Spain, he remained in France until his untimely death in 1951. The story of Wols’s dramatic trans- PUBLIC PROGRAMS formation from sensitive, musically gifted German youth to eccentric, Panel Discussion near-homeless Parisian artist is legendary. So too are accounts of his Thursday, September 12, 2013, 6:00 p.m. many adventures and misadventures during the tumult of wartime Following introductory remarks by Frankfurt-based scholar Dr. Ewald Europe: his marriage to the fiercely protective Romanian hat maker Rathke, Curator of Modern and Contemporary Art Toby Kamps is joined Gréty Dabija; his grueling incarceration as an expatriate at the outset by art historians Patrycja de Bieberstein Ilgner, Archivist at the Karin and of the war and subsequent moves across rural France; his late-night Uwe Hollweg Foundation, Bremen, Germany; and Katy Siegel, Professor perambulations in liberated Paris; and his ever-worsening alcoholism, of Art History at Hunter College, New York, and Chief Curator of the Wols, Selbstporträt (Self-Portrait), 1937 or 1938, modern print.