John Torreano
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Richard Artschwager °1923 (Washington DC, USA) — † 2013 (Albany, USA)
Richard Artschwager °1923 (Washington DC, USA) — † 2013 (Albany, USA) Biography Selected One-Person Exhibitions 2021 — Richard Artschwager, Gagosian Gallery, Rome, Italy 2020 — Richard Artschwager, Guggenheim Museum Bilbao, Bilbao, Spain — Live in Your Head: Richard Arstchwager’s Cabinet of Curiosities, Gagosian Gallery, London, UK 2019 — Richard Artschwager, Museum of Modern and Contemporary Art of Trento and Rovereto, Rovereto, Italy — Richard Artschwager, Hall Art Foundation, Reading, VT, USA — Primary Sources, Gagosian, New York, NY, USA 2016 — Richard Artschwager, Peter Lund, Oslo, Norway 2014 — Richard Artschwager!, Nouveau Musée National de Monaco, Monaco — No More Running Man, Gagosian Gallery, Madison Avenue, New York, NY, USA 2013 — Portraits!, Sprüth Magers Berlin London, Berlin, Germany — Richard Artschwager!, Haus der Kunst, Munich, Germany — Richard Artschwager: Blps, LAND, The Hammer Museum, and The Cosmopolitan of Las Vegas, Los Angeles and Las Vegas, CA, USA 2012 — Richard Artschwager!, Whitney Museum of American Art, New York, NY, USA 2010 — Richard Artschwager, Xavier Hufkens, Brussels, Belgium — Richard Artschwager: Hair, Contemporary Art Museum St. Louis, St. Louis, MO, USA 2009 — Richard Artschwager, Sprüth Magers Berlin London, Berlin, Germany 2008 — Sculptures, Palais provincial, Liège, Belgium — Richard Artschwager, Gagosian gallery, West 24th Street, New York, NY, USA — Richard Artschwager, Gagosian gallery, Madison Avenue, New York, NY, USA — Richard Artschwager, Objects as Images of Objects: 1967- 2008, David -
RON GORCHOV BIOGRAPHY Born in Chicago, Illinois In
RON GORCHOV BIOGRAPHY Born in Chicago, Illinois in 1930; lives and works in Brooklyn, New York 1950-51 University of Illinois, Urbana, Illinois 1948-50 Art Institute of Chicago, Chicago, Illinois 1948-50 Roosevelt College 1947-48 University of Mississippi, Oxford, MS SOLO EXHIBITIONS 2019 Ron Gorchov: The Shade Between, Maruani Merceir, Brussels (11/14– 12/21/2019) Ron Gorchov: at the cusp of the 80s, paintings 1979–1983, Cheim & Read, New York (9/26–11/15/2019) Ron Gorchov, Modern Art, London (4/5–5/11/2019) 2018 Ron Gorchov, Galerie Max Hetzler, Berlin, Germany (3/14–4/14/2018) Ron Gorchov: New Works, Maruani Mercier, Paris, France (10/16–11/17/2018) Theogony According to Ron Gorchov, Thomas Brambilla, Bergamo, Italy (11/24/2018–1/18/2019) 2017 Ron Gorchov, Maruani Mercier, Knokke, Belgium (4/1–8/5/2017) Ron Gorchov, Cheim & Read, New York (2/16–3/25/2017) 2016 Ron Gorchov: Works from the 1970s, Vito Schnabel Projects, 360 West 11th St., New York (11/10–12/17/2016) Ron Gorchov: Stacks, ADAA: The Art Show, Park Avenue Armory, New York (3/1–3/6/2016) Ron Gorchov: Concord, Vito Schnabel Gallery, St. Moritz, Switzerland (3/12–4/10/2016) 2015 Ron Gorchov, curated by Vito Schnabel, Sotheby’s S|2, London (2/5– 3/27/2015) Ron Gorchov – Recent Works, Thomas Brambilla, Bergamo, Italy (3/21– 6/30/2015) 2014 Ron Gorchov: Serapis, Contemporary Art Museum, St. Louis, Missouri (1/24–4/13/2014) Entrance, Cheim & Read, Unlimited, Art Basel, Basel, Switzerland (6/19– 6/22/2014) 2013 Ron Gorchov, 39 Great Jones, New York (1/1–3/1/2013) Ron Gorchov, Lesley Heller Workspace, New York (9/8–10/13/2013) Ron Gorchov, Monsieur X., Vito Schnabel, New York (10/4–11/3/2013) Ron Gorchov, Galerie Forsblom, Helsinki, Finland (10/25–11/17/2013) 2012 Ron Gorchov, Cheim & Read, New York (3/29–4/28/2012) Ron Gorchov: Recent Paintings, Galerie Richard, New York (10/13–11/17/2012) 2011 Ron Gorchov. -
Torreano.Press Rel.2018
THE DRAWING ROOM 66H Newtown Lane East Hampton New York 11937 T 631 324 5016 FOR IMMEDIATE RELEASE JOHN TORREANO Gold Gems Balls May 11 – June 11, 2018 Gyro, 1990 (top) The Elongated Step Cut, 1989, 18 x 8 ¼ x 6 ¼ in enamel, wood balls and acrylic gems on plywood panel, 60 x 60 in (bottom) The Square Cut, 1989, 11 x 11 x 7 in gold leaf on plywood Opening May 11th and on view through June 11th, The Drawing Room in East Hampton is pleased to present JOHN TORREANO Gold Gems Balls. This is the gallery’s first solo exhibition of the artist who has a longstanding studio practice on Long Island’s East End, as well as in New York and Abu Dhabi where he is a professor at both NYU Steinhardt and NYU Abu Dhabi. A separate press release is available for the concurrent exhibition, GUSTAVO BONEVARDI New Watercolors. Gold Gems Balls highlights selected paintings on plywood and sculpture dating from 1984 to 1990 when John Torreano was among a group of American artists using wood in unprecedented ways to blur the distinction between painting and sculpture. Integral to his work in all mediums is a fascination with cosmological imagery and the paradox between illusionism and the physicality of his working materials. Inset into his painted reliefs and sculptures, luminous acrylic gems, painted and natural wood spheres, and routered hollows enhance the surface plane to suggest stars and planets or sheer abstract pictorial space. Throughout, in a process that incorporates painting, cutting, sanding and assemblage, beauty and rougher aesthetics converge in a seductive merging of apparent opposites. -
The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. -
Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist
DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays. -
Chapman CV 2020
H. PERRY CHAPMAN Department of Art History tel (302) 831-2243 University of Delaware dept (302) 831-8415 318 Old College [email protected] Newark, DE 19716 EDUCATION Princeton University, M.F.A., 1978; Ph.D., 1983. Dissertation: “The Image of the Artist: Roles and Guises in Rembrandt's Self-Portraits.” (advisers: John Rupert Martin and Egbert Haverkamp- Begemann) Swarthmore College, B.A., High Honors, Phi Beta Kappa, 1975. APPOINTMENTS University of Delaware, Department of Art History, Instructor, 1982-83; Assistant Professor, 1983-89; Associate Professor, 1989-97; Professor, 1997-; Interim Chair, 2014-15. Institute of Fine Arts, New York University, Lecturer, Spring 2010. The Art Bulletin, Editor Designate, 1999-2000; Editor-in-Chief, 2000-2004. The American University, Department of Art History, Professorial Lecturer, Spring 1982. Swarthmore College, Art Department, Instructor, Spring 1981. CURATORIAL EXPERIENCE Denver Art Museum and The Newark Museum, Consultant for exhibition Art & Home: Dutch Interiors in the Age of Rembrandt, held in 2001-2002. The National Gallery of Art, Washington, DC, Guest Co-Curator for exhibition Jan Steen: Painter and Storyteller, held at the National Gallery and the Rijksmuseum, Amsterdam, in 1996-1997. FELLOWSHIPS, GRANTS AND AWARDS University of Delaware, Institute for Global Studies, International Travel Award, 2014. Summer Teachers Institute in Technical Art History (STITAH) 2012, Yale University, July 2012 (funded by the Samuel H. Kress Foundation), participant. University of Delaware, General University Research Grant, 2012. John Simon Guggenheim Foundation Fellow, 2004 (held in 2006). Center for Advanced Study in the Visual Arts, Samuel H. Kress Senior Fellow, 2004-2005. National Endowment for the Humanities, Fellowship for University Teachers, 1993-1994. -
Jews on Trial: the Papal Inquisition in Modena, 1598–1638
Jews on trial artwork 8/7/11 15:07 Page 1 J ews on tr STUDIES IN EARLY MODERN EUROPEAN HISTORY Jews on trial ‘A welcome addition to our knowledge ... the archival material has been handled with care and sensitivity’ The Papal Inquisition in Modena, Simon Ditchfield, University of York, UK 1598-1638 esearch on the Papal Inquisition in Italy has tended to centre on trials for ial Rheresy, witchcraft and possession of prohibited books, but little is known of the activities of the Inquisition with respect to practising Jews. This book explores the role of the Papal Inquisition in Modena, the status of Jews in the KATHERINE ARON-BELLER early modern Italian duchy and the fundamental disparity in Inquisitorial procedure regarding professing Jews. It also uses the detailed testimony to be found in trial transcripts to analyse Jewish interaction with Christian society in an early modern European community. Jews on trial concentrates on Inquisitorial activity during the period which historians have argued was the most active in the Inquisition’s history – the first forty years of the tribunal in Modena, from 1598 to 1638, the year of the Jews’ enclosure in the ghetto. This book will appeal to scholars of inquisitorial studies, social and cultural interaction in early modern Europe, Jewish Italian social history and anti-Semitism. Katherine Aron-Beller is a lecturer in Jewish History both at the Hebrew University of Jerusalem and at Tel Aviv University. In 2006-07 she served as a Visiting Assistant Professor at the George Washington University in Washington, DC AR ON-BELLER ‘The Strappada’ From Thomas Murner Die Entehrung Mariae durch die Juden, reproduced in Jahrbuch für Geschichte, Sprache und Literatur Elsass-Lothringen 21 (1905) ISBN 978-0-7190-8519-2 9 7 8 0 7 1 9 0 8 5 1 9 2 www.manchesteruniversitypress.co.uk Jews on trial Aron-Beller_01_TextAll.indd 1 18/02/2011 14:22 STUDIES IN EARLY MODERN EUROPEAN HISTORY This series aims to publish challenging and innovative research in all areas of early modern continental history. -
TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
TASTE AND PRUDENCE IN THE ART OF JUSEPE DE RIBERA by Hannah Joy Friedman A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May, 2016 Copyright Hannah Joy Friedman, 2016 (c) Abstract: Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591- 1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist’s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera’s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term “taste,” gusto, links the assessment of Ribera’s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera’s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein. -
Caravaggio' S Crucifixion of St Andrew: from the Abstraction of the Law to the Afflicted Body
CARAVAGGIO' S CRUCIFIXION OF ST ANDREW: FROM THE ABSTRACTION OF THE LAW TO THE AFFLICTED BODY by JASMINA KARABEG B.A., The University of Belgrade, 1995 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FRO THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Art History, Visual Art and Theory) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 2003 © Jasmina Karabeg, 2003 UBC Rare Books and Special Collections - Thesis Authorisation Form http://www.library.ubc.ca/spcoll/thesauth.html In presenting this thesis in partial fulfilment, of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. ^—> Department of The University of Briti'sh Columbia Vancouver, Canada Date lof 1 10/10/03 4:23 PM ii ABSTRACT This thesis examines the Crucifixion of St. Andrew (1607) painted by Michelangelo Merisi da Caravaggio (1573-1610) during his first sojourn in Naples. This painting was probably commissioned by Conde de Benavente, who was viceroy of Neapolitan kingdom, at this time part of the Spanish imperial state. The unusual choice of Latin cross depicted in this painting links the image to the debates about Andrew's martyrdom that circulated at the end of sixteenth and the beginning of seventeenth centuries, especially through the writing of Justus Lipsius. -
Art Journal 2019 Editors Isabella Christilles Liv D'elia Noreen Mcgonigle Rita Murphy Jessica Rogers
P S Perspectiveerspective S Providence College Art Journal 2019 Editors Isabella Christilles Liv D'Elia Noreen McGonigle Rita Murphy Jessica Rogers Photography Scott Alario Cover Art Liv D'Elia Jessica Rogers Special Thanks To Dr. Deborah Johnson Judd Schiffman Scott Alario Department of Art and Art History Kevin Sheahan Printing Sheahan Printing Corporation 1 Front Street Woonsocket, RI Copyright 2019 Providence College Table of Contents Art History Vivienne Strmecki....................................................3 Mary Grace Day......................................................17 Rita Murphy............................................................33 Noreen McGonigle.................................................49 Studio Art Isabella Christilles..................................................63 Catherine Day.........................................................71 Liv D'Elia.................................................................79 Marcus Karamanolis..............................................87 Amy Pineda.............................................................95 Jessica Rogers........................................................103 Grace Sneesby........................................................111 1 2 ART HISTORY ART HISTORY ART HISTORY ART HISTORY ART HISTORY VIVIENNE STRMECKI VIVIENNE STRMECKI VIVIENNE STRMECKI VIVIENNE STRMECKI VIVIENNE STRMECKI Shifts in Mindset: An Exploration of Art in the Paleolithic and Neolithic Periods he dramatic shift in prehistoric life- paper all have historical -
Rembrandt's Laughter and the Love of Art*
REMBRANDT’S LAUGHTER AND THE LOVE OF ART* H. Perry Chapman From the beginning of his career to the end, Rembrandt advertised his ability to represent not just emotions but also more enduring inner states or character traits through expressive self-portraits. This essay argues that through laughter, an unusual expression in a self-portrait, Rembrandt claimed to be an impassioned representer of the passions. To this end, it examines some of his earliest painted and etched self-portraits, his Self-Portrait with Saskia of about 1636, in Dresden, and the late Self-Portrait, in Cologne, all of which feature Rembrandt’s laughing face. It concludes that Rembrandt’s laughter also displays his delight in his mastery of the emotions. DOI: 10.18277/makf.2015.06 embrandt’s early supporters and critics lauded him for his naturalistic rendering of the emotions, which they- called the affecten (passions or motions of the mind). In 1718, in the first extensive biography of Rembrandt, Arnold Houbraken criticized Rembrandt as a breaker of rules, both artistic and social, yet the only work of Rart that Houbraken chose to reproduce in his entire three-volume book of biographies was a drawing of the Supper at Emmaus (fig. 1) that revealed Rembrandt’s “close observation of the various emotions.”1 Rembrandt’s former pupil Samuel van Hoogstraten, writing in 1672, characterized Rembrandt as a master at representing the “movements of the soul.”2 Even before Rembrandt had left Leiden, his earliest champion, Constantijn Huygens, secretary to Stadtholder Frederik Hendrik, had predicted that Rembrandt would be unsurpassed in rendering emotions. -
ALIGNING with BEAUTY Exhibition Catalogue: Aligning with Beauty - Copyright © Varley Art Gallery of Markham, 2008
ALIGNING with BEAUTY Exhibition catalogue: Aligning With Beauty - Copyright © Varley Art Gallery of Markham, 2008 Guest Exhibition Curator: Julie Oakes Published in conjunction with the exhibition “Aligning with Beauty, organised by the Varley Art Gallery of Markham, Ontario. The exhibition opens in Markham November 23rd, 2008, and continues to January 11, 2009. Artworks are Copyright © 1998-2008 Carin Covin, Angiola Churchill, Ortansa Moraru, Jim Ruxton & Camille Turner, John Noestheden, Khaled Mansur, John Torreano, Donna Kriekle, Christian Bernard Singer, Diane Feught, Heidi Thompson, Lorraine Pritchard and Johann Feught Photographs and images have been provided by the owners or custodians of the works reproduced. Cover: Detail of Sync 2004, by Jim Ruxton and Camille Turner Introduction and commentaries Copyright © 2008, Julie Oakes Rich Fog Micro Publishing, printed in Toronto, 2008 Layout and Design, Julie Oakes & Richard Fogarty All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 copyright act or in writing from Rich Fog Micro Publishing. Requests for permission to use these images should be addressed in writing to the artist c/o Rich Fog Micro Publishing. www.richfog.com ISBN: 978-1-926605-03-6 Varley Art Gallery of Markham 216 Main Street, Unionville, ON www.varleyartgallery.ca ALIGNING with BEAUTY VARLEY ART GALLERY OF MARKHAM RICH FOG Micro Publishing Toronto Canada Aligning with Beauty Beauty Benefits Beauty has been said to reside in the eye of the beholder.