Charles Ginnever Born
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The Factory of Visual
ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving. -
Class of 1965 50Th Reunion
CLASS OF 1965 50TH REUNION BENNINGTON COLLEGE Class of 1965 Abby Goldstein Arato* June Caudle Davenport Anna Coffey Harrington Catherine Posselt Bachrach Margo Baumgarten Davis Sandol Sturges Harsch Cynthia Rodriguez Badendyck Michele DeAngelis Joann Hirschorn Harte Isabella Holden Bates Liuda Dovydenas Sophia Healy Helen Eggleston Bellas Marilyn Kirshner Draper Marcia Heiman Deborah Kasin Benz Polly Burr Drinkwater Hope Norris Hendrickson Roberta Elzey Berke Bonnie Dyer-Bennet Suzanne Robertson Henroid Jill (Elizabeth) Underwood Diane Globus Edington Carol Hickler Bertrand* Wendy Erdman-Surlea Judith Henning Hoopes* Stephen Bick Timothy Caroline Tupling Evans Carla Otten Hosford Roberta Robbins Bickford Rima Gitlin Faber Inez Ingle Deborah Rubin Bluestein Joy Bacon Friedman Carole Irby Ruth Jacobs Boody Lisa (Elizabeth) Gallatin Nina Levin Jalladeau Elizabeth Boulware* Ehrenkranz Stephanie Stouffer Kahn Renee Engel Bowen* Alice Ruby Germond Lorna (Miriam) Katz-Lawson Linda Bratton Judith Hyde Gessel Jan Tupper Kearney Mary Okie Brown Lynne Coleman Gevirtz Mary Kelley Patsy Burns* Barbara Glasser Cynthia Keyworth Charles Caffall* Martha Hollins Gold* Wendy Slote Kleinbaum Donna Maxfield Chimera Joan Golden-Alexis Anne Boyd Kraig Moss Cohen Sheila Diamond Goodwin Edith Anderson Kraysler Jane McCormick Cowgill Susan Hadary Marjorie La Rowe Susan Crile Bay (Elizabeth) Hallowell Barbara Kent Lawrence Tina Croll Lynne Tishman Handler Stephanie LeVanda Lipsky 50TH REUNION CLASS OF 1965 1 Eliza Wood Livingston Deborah Rankin* Derwin Stevens* Isabella Holden Bates Caryn Levy Magid Tonia Noell Roberts Annette Adams Stuart 2 Masconomo Street Nancy Marshall Rosalind Robinson Joyce Sunila Manchester, MA 01944 978-526-1443 Carol Lee Metzger Lois Banulis Rogers Maria Taranto [email protected] Melissa Saltman Meyer* Ruth Grunzweig Roth Susan Tarlov I had heard about Bennington all my life, as my mother was in the third Dorothy Minshall Miller Gail Mayer Rubino Meredith Leavitt Teare* graduating class. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Interview Transcript
STORM KING ART CENTER ORAL HISTORY PROGRAM DAVID COLLENS January 23, 2018 July 18, 2018 July 31, 2018 August 13, 2018 August 22, 2018 Interviewed by Sarah Dziedzic Storm King Oral History 007 © 2018 Storm King Art Center Use of Oral Histories in the Storm King Art Center Archives The Storm King Art Center Archives welcomes non-commercial use of the Oral History Program Special Collection in accordance with the Storm King Archives Use and Reproduction Policy [provide link.] The following transcript is the result of a recorded oral history interview. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the person interviewed and the interviewer. The reader is asked to bear in mind that this is a transcript of the spoken word, rather than written prose. The Archives requires that researchers give proper credit when citing oral histories, including Oral history interview with ___________ (date of interview), pages _____, Oral History Program, Storm King Art Center Archives. Only the transcript may be used for citations. The recordings associated with this interview may be made available upon request. Timestamps corresponding with original audio files are included in the transcript at one-minute intervals. For commercial use of any sort, including reproduction, quotation, publication, and broadcast in any medium, distribution, derivative works, public performance, and public display, prior written permission must be obtained from the Storm King Art Center Archives. Permission will comply with any agreements made with the person interviewed and the interviewer and may be withheld in Storm King’s sole determination. Please contact the Storm King Art Center Archives with any questions or requests at [email protected] Thank you! Support for Storm King Art Center’s Oral History Program and Archival Program is made possible by generous lead support from the Henry Luce Foundation. -
Minimal Art and Body Politics in New York City, 1961-1975 By
Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work. -
Outdoor Sculpture at the University of Nebraska–Lincoln
Outdoor Sculpture at the Discover Sheldon’s collection—outside. University of Nebraska–Lincoln More than thirty sculptures from Sheldon Museum of Art’s Burnett Hall Andrews Hall Spring 2020 permanent collection are displayed year-round across the University of Nebraska–Lincoln’s City and East Campuses, 3 with major works by international artists from the early twentieth century to today. 4 Manter Hall Hamilton Please use this map to create your own self-guided tour. Hall Richards Hall 2 Love Library North 5 1 Arietta II 17 Variable Wedge 23 6 2 Old Glory 18 Nanticoke 3 Greenpoint 19 Fragment X-O 24 4 Breach 20 Birth of Venus Canfield Behlen and Brace Business Administration Prismatic Flake Laboratories Administration 5 21 Without Echo Building Love Library Geometric 1 South 22 Ulysses Woods Art Building 6 Ouranos 22 23 Balanced/Unbalanced Torn Notebook 7 Wheels #2 29 Sheldon 25 Museum 8 Granite Hi-Chair Shift 28 of Art 24 30 9 9 Fallen Dreamer 20 25 SANDY: in Defined Space 21 10 Bather (Baigneuse) Architecture 27 10 26 Untitled Hall 11 Pieta 27 Daimaru XV 19 18 13 11 8 26 12 Untitled Relief (Great Circle) 14 12 17 13 Serenity 28 Two-Part Table Westbrook Music 14 Floating Figure (on steps) Building 15 15 Willy 29 Arch Falls R St. 16 Story 30 Wind Sculpture III Temple Building Lied Center for Mary Riepma Ross Performing Arts Media Arts Center and Kimball Recital Hall Van Brunt 13th St. 16 Visitors Center 7 12th St. Q St. sheldonartmuseum.org @SheldonMuseum CITY CAMPUS 9 Tom Otterness 18 Robert Murray 27 Michael Todd Outdoor Sculpture at the born Wichita, KS 1952 born Vancouver, British Columbia, Canada 1936 born Omaha, NE 1935 1 Catherine Ferguson Fallen Dreamer Nanticoke Daimaru XV (Great Circle) University of Nebraska–Lincoln born Sioux City, IA 1943 Bronze, 1995 Painted aluminum, 1980 Steel, 1981 University of Nebraska–Lincoln, Olga N. -
The Pleasures of Challenged Perspective: Rashomon at Montalvo
For Immediate Release Contact: Leah Ammon, (408) 961-5814 March 13, 2013 [email protected] The Pleasures of Challenged Perspective: Rashomon at Montalvo Groundbreaking sculpture by Chuck Ginnever installed on newly-reopened Great Lawn launches Montalvo’s 2013 Art on the Grounds program SARATOGA, Calif. – Montalvo Arts Center is pleased to announce that on Wednesday, March 13, with the reopening of its newly replanted Great Lawn, an important work of art will go on view to the public: Rashomon , an installation created by contemporary sculptor Chuck Ginnever . Hailed by art critic Kenneth Baker as “one of the most significant and little-celebrated innovations in late 20th century art,” Rashomon is organized by the San Jose Institute of Contemporary Art, California, in cooperation with Gayle Maxon- Edgerton, Santa Fe, New Mexico. It is presented to the public as part of the 2013 season of Montalvo’s Art on the Grounds program. “It is an honor to bring Rashomon to Montalvo,” said Executive Director Angela McConnell. “The guiding vision for Art on the Grounds is to orchestrate thought-provoking interactions between visitors and contemporary art in unexpected settings. With this installation, we reaffirm our aim to be one of the Bay Area’s most ABOVE: Rashomon , by Chuck Ginnever, is an installation of 15 identical geometric forms. engaging sculpture parks.” “As part of our On the Road program—a satellite exhibitions series developed with partner venues throughout the Bay Area—we sought a new venue for the Rashomon exhibition after it closed at the ICA last month. I immediately thought of Montalvo,” said Cathy Kimball, Executive Director and Chief Curator at the ICA. -
Hartwood-RFQ.Pdf
Request for Qualifications for An Outdoor Sculpture Commission at Hartwood Acres Park Release date: Friday, October 30, 2020 Allegheny County Parks Foundation in Partnership with Allegheny County Budget: $100,000 Deadline: December 21, 2020 at 4:00 PM EST SUMMARY The Allegheny Parks Foundation in partnership with Allegheny County is soliciting proposals from individual artists or an artist team to install sculptural work outside at Hartwood Acres, one of the nine county parks. The artist or artist team will work in collaboration with the Allegheny County Parks Foundation to coordinate the design, fabrication and installation of the new artwork. The budget for this project is $100,000. PROJECT DESCRIPTION The Allegheny County Parks Foundation strengthens the health and vibrancy of the community by improving, conserving and restoring the nine parks in Allegheny County, Pennsylvania. Working in partnership with Allegheny County, the Parks Foundation brings together ideas, leadership and resources to make the parks more sustainable and enjoyable for all. Originally designed as a country estate for an equestrian family, Hartwood Acres Park channels its opulent past in 629 acres of beauty. The original bridle trails still serve runners, bikers and cross-country skiers today. The park is well-known for its popular outdoor entertainment, including free summer concerts at the amphitheater. The newest treasure is the reimagined Hartwood Acres Sculpture Garden, an outdoor exhibition space for public art. Eleven sculptures were gifted to Hartwood Acres Park in the 1980s, when it was envisioned as an arts and culture park. A twelfth sculpture was added years later and another is on loan from the Carnegie Museums of Pittsburgh. -
Exhibition Gazette (PDF)
ARTIST-RUN GALLERIES IN NEW YORK CITY Inventing 1952–1965 Downtown JANUARY 10–APRIL 1, 2017 Grey Gazette, Vol. 16, No. 1 · Winter 2017 · Grey Art Gallery New York University 100 Washington Square East, NYC InventingDT_Gazette_9_625x13_12_09_2016_UG.indd 1 12/13/16 2:15 PM Danny Lyon, 79 Park Place, from the series The Destruction of Lower Manhattan, 1967. Courtesy the photographer and Magnum Photos Aldo Tambellini, We Are the Primitives of a New Era, from the Manifesto series, c. 1961. JOIN THE CONVERSATION @NYUGrey InventingDowntown # Aldo Tambellini Archive, Salem, Massachusetts This issue of the Grey Gazette is funded by the Oded Halahmy Endowment for the Arts; the Boris Lurie Art Foundation; the Foundation for the Arts. Inventing Downtown: Artist-Run Helen Frankenthaler Foundation; the Art Dealers Association Galleries in New York City, 1952–1965 is organized by the Grey Foundation; Ann Hatch; Arne and Milly Glimcher; The Cowles Art Gallery, New York University, and curated by Melissa Charitable Trust; and the Japan Foundation. The publication Rachleff. Its presentation is made possible in part by the is supported by a grant from Furthermore: a program of the generous support of the Terra Foundation for American Art; the J.M. Kaplan Fund. Additional support is provided by the Henry Luce Foundation; The Andy Warhol Foundation for the Grey Art Gallery’s Director’s Circle, Inter/National Council, and Visual Arts; the S. & J. Lurje Memorial Foundation; the National Friends; and the Abby Weed Grey Trust. GREY GAZETTE, VOL. 16, NO. 1, WINTER 2017 · PUBLISHED BY THE GREY ART GALLERY, NYU · 100 WASHINGTON SQUARE EAST, NYC 10003 · TEL. -
Artists at Bennington Visual Arts Faculty 1932 - 1976
ARTISTS AT BENNINGTON VISUAL ARTS FACULTY 1932 - 1976 Since its inception, Bennington College has maintained an invaluable art exhibition program. With the recent completion of The Suzanne Lemberg Usdan Gallery, the possibilities for broadening the range of significant art shown at Bennington become even greater. Bringing vital, challenging, and historic exhibitions to the College instructs and exposes students, facul- ty, and the community at large to the continuum of artistic traditions and ferment usually centered in the larger cities. Seeing art of high quality is the first stimulus to its creation. Many who have already visited Usdan Gallery have remarked on its excellent exhibition facilities as being unparalleled outside a major museum setting. To those who have yet to experience the gal- lery's luminous spaciousness, this dedication exhibition offers a grand opportunity. And to all those most involved in the planning, funding, and completion of Usdan Gallery, thanks and congratulations are due. A PERSONAL REC O LLECTI O N In the fa ll of 1957 Alexander Doerner d ied while he was on sabbatical in Naples. I was invited to and Stanley Rosen joined the art faculty. In all my experience I have never known a faculty which more or less ta ke his place. At my insistence and with the help of Paul Feeley I convinced Bill Fels that worked together more amiably and more intensely. This is not to say that our d iscussions and our p a rt of my job w ould be to organize and direct art exhibitions for the College and that the New manners were always based in benignity. -
The Art of the Real USA, 1948-1968 [By] E.C
The art of the real USA, 1948-1968 [by] E.C. Goossen Author Goossen, E. C Date 1968 Publisher The Museum of Modern Art: Distributed by New York Graphic Society, Greenwich, Conn. Exhibition URL www.moma.org/calendar/exhibitions/1911 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE ART OF THE USA 1948-1968 THE ART OF THE REALUSA 1948-1968 E. C. GOOSSEN THE ART OF THE REALUSA 1948-1968 THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY NEW YORK GRAPHIC SOCIETY LTD., GREENWICH, CONNECTICUT Trustees of The Museum of Modern Art Lenders to the Exhibition David Rockefeller, Chairman of the Board; Henry Allen Moe, William S. Lewis Cabot, Helen Webster Feeley, Hollis Frampton, Mr. and Mrs. Victor Paley, and John Hay Whitney, Vice Chairmen; Mrs. Bliss Parkinson, W. Ganz, Henry Geldzahler, Philip Johnson, Donald Judd, Ellsworth President; James Thrall Soby, Ralph F. Colin, and Gardner Cowles, Vice Kelly, Lyman Kipp, Alexander Liberman, Mrs. Barnett Newman, Kenneth Presidents; Willard C. Butcher, Treasurer; Walter Bareiss, Robert R. Noland, Georgia O'Keeffe, Raymond Parker, Betty Parsons, David M. Barker, Alfred H. Barr, Jr., Mrs. Robert Woods Bliss*, William A. M. Burden, Pincus, Steve Shapiro, Seth Siegelaub, Marie-Christophe Thurman, Sam Ivan Chermayeff, Mrs. W. Murray Crane*, John de Menil, Rene d'Harnon- uel J. Wagstaff, Jr., David Whitney, Donald Windham, Sanford Wurmfeld. court, Mrs. C. Douglas Dillon, Mrs. -
A Finding Aid to the Betty Parsons Gallery Records and Personal Papers, 1916-1991, Bulk 1946-1983, in the Archives of American Art
A Finding Aid to the Betty Parsons Gallery Records and Personal Papers, 1916-1991, bulk 1946-1983, in the Archives of American Art Kathleen Brown, Jennifer Meehan, and Stephanie Ashley Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation. 2010, 2019 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 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 4 Arrangement..................................................................................................................... 6 Names and Subjects ...................................................................................................... 6 Container Listing ............................................................................................................. 8 Series 1: Artists Files, 1935-1983............................................................................ 8 Series 2: Exhibition Files, 1941-1983...................................................................