Annual Report 2004
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The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937
“First Surrealists Were Cavemen”: The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937 Elke Seibert How electrifying it must be to discover a world of new, hitherto unseen pictures! Schol- ars and artists have described their awe at encountering the extraordinary paintings of Altamira and Lascaux in rich prose, instilling in us the desire to hunt for other such discoveries.1 But how does art affect art and how does one work of art influence another? In the following, I will argue for a causal relationship between the 1937 exhibition Prehis- toric Rock Pictures in Europe and Africa shown at the Museum of Modern Art (MoMA) and the new artistic directions evident in the work of certain New York artists immediately thereafter.2 The title for one review of this exhibition, “First Surrealists Were Cavemen,” expressed the unsettling, alien, mysterious, and provocative quality of these prehistoric paintings waiting to be discovered by American audiences (fig. ).1 3 The title moreover illustrates the extent to which American art criticism continued to misunderstand sur- realist artists and used the term surrealism in a pejorative manner. This essay traces how the group known as the American Abstract Artists (AAA) appropriated prehistoric paintings in the late 1930s. The term employed in the discourse on archaic artists and artistic concepts prior to 1937 was primitivism, a term due not least to John Graham’s System and Dialectics of Art as well as his influential essay “Primitive Art and Picasso,” both published in 1937.4 Within this discourse the art of the Ice Age was conspicuous not only on account of the previously unimagined timespan it traversed but also because of the magical discovery of incipient human creativity. -
2019-2020 Mansion Lists
2019-2020 Mansion Lists Carriacou - First Year Students First Name M.I. Last Name Programme Gender Mansion Candy G Ackie Social Sciences Female Radix Dequan R Alves Business Studies Male Friday Royanna Bedeau Business Studies Female Radix Azim T Blair General Studies Male Radix Aalyiah M Charles Business Studies Female Radix Uddine Charles General Studies Female Radix Marissa F Clement Business Studies Female Pitt Rochel K De Roche Business Studies Female Radix Desania Emmons Business Studies Female Radix Lindy S Felix Social Sciences Female Francis La Toya F Frank Business Studies Female Francis Jaden C John Information Technology Male Radix Sade T John Business Studies Female Friday Krystal A Joseph Business Studies Female Francis Ray-J F Joseph General Studies Male Pitt Hannah P Louis Business Studies Female Friday Shadeah N Matheson Social Sciences Female Francis Cherine F Mc Donald Social Sciences Female Friday Dravid A Miller Environmental Studies Male Francis Carlene S Modeste Social Sciences Female Francis Laila R Newton Social Sciences Female Pitt Vondell S Olive Business Studies Female Francis Sherez S Patrice Business Studies Female Pitt Kadisha S Phillip General Studies Female Pitt Kymlan Y Phillip Business Studies Female Francis Nazim M Roberts General Studies Male Friday Rizel D Roberts General Studies Male Friday Samantha K Roberts Social Sciences Female Friday Codell N Stafford Social Sciences Female Friday Reana R Stanislaus General Studies Female Radix Alina C Stanislaus General Studies Female Pitt Kizzy A Stewart Business -
Biography [PDF]
NICELLE BEAUCHENE GALLERY THE GEE’S BEND QUILTMAKERS Live and work in Boykin, AL EXHIBITION HISTORY 2020-21 In the Presence of Our Ancestors: Southern Perspectives in African American Art, Minneapolis Institute of Art, Minneapolis, MN (forthcoming) 2020 The Gee’s Bend Quiltmakers, Alison Jacques Gallery, London, UK (forthcoming) Power in My Hand: Celebrating Women’s Suffrage, Palmer Museum of Art at Penn State University, University Park, PA My Way: The Gee’s Bend Quiltmakers and Contemporary Abstraction, Parts & Labor Beacon, Beacon, NY Out of Place: A Feminist Look at the Collection, Brooklyn Museum, Brooklyn, NY Trip to the Mountaintop: Recent Acquisitions from the Souls Grown Deep Foundation, Toledo Museum of Art, Toledo, OH We Will Walk: Art and Resistance in the American South, Turner Contemporary, Margate, UK Souls Grown Deep: Artists of the African American South, Philadelphia Museum of Art, Philadelphia, PA The Power of She: A Permanent Collection Exhibition, Myrtle Beach Art Museum, Myrtle Beach, SC 2019-20 The Quilt’s of Gee’s Bend, New Orleans Museum of Art, New Orleans, LA A Different Mountain: Selected Works from The Arnett Collection, Marlborough Gallery, New York, NY 2019 Women of Gee’s Bend, Cincinnati Art Museum, Cincinnati, OH Cosmologies from the Tree of Life: Art from the African American South, Virginia Museum of Fine Arts, Richmond, VA 2018-19 Outliers and American Vanguard Art, National Gallery of Art, Washington, D.C. (Jan-May 2018); High Museum of Art, Atlanta, GA (Jun-Sept 2018); Los Angeles County Museum of -
Art from the African American South
REVELATIONS ART FROM THE AFRICAN AMERICAN SOUTH “Art is like a bright star up ahead This exhibition celebrates the Fine Arts Museums of San Francisco’s in the darkness of the world. It acquisition of sixty-two artworks created by twenty-two African can lead peoples through the darkness and help them from Americans born in the South during the late-nineteenth and being afraid of the darkness. Art twentieth centuries. Collectively their lives and works were shaped is a guide for every person who is by four major historical events: the African Diaspora in which looking for something.” approximately four-hundred thousand Africans were forcibly —Artist Thornton Dial abducted from their homes and sold into bondage in the United States beginning in 1619; the American slavery system that brutalized and divided their families and descendants until the end “Like anybody, I would like to live a long life. Longevity has its place. of the Civil War in 1865; the institutionalized segregation of the But I’m not concerned about that Jim Crow laws that followed the Reconstruction Era (1865–1877); now. I just want to do God’s will. and the rise of the modern Civil Rights movement in the 1950s. And He’s allowed me to go up to the mountain. And I've looked Out of this shared history, these artists forged compelling new over. And I’ve seen the promised land. I may not get there with you. aesthetic languages that confronted their unique experiences as But I want you to know tonight, African Americans while also addressing universal aspects of the that we, as a people, will get to the human condition. -
OUTSTANDING WARRANTS As of 10/10/2017
OUTSTANDING WARRANTS as of 10/10/2017 AGUILAR, CESAR JESUS ALEXANDER, SARAH KATHEREN ALLEN, RYAN MICHAEL A AGUILAR, ROBERTO CARLOS ALEXANDER, SHARRONA LAFAYE ALLEN, TERRELL MARQUISE AARON, WOODSTON AGUILERA, ROBERTO ALEXANDER, STANLEY TOWAYNE ALLEN, VANESSA YVONNE ABABTAIN, ABDULLAH AGUILIAR, CANDIDO PEREZ ALEXANDER, STEPHEN PAUL ALMAHAMED, HUSSAIN HADI M MOHAMMED A AHMADI, PAULINA GRACE ALEXANDER, TERRELL ALMAHYAWI, HAMED ABDELTIF, ALY BEN AIKENS, JAMAL RAHEEM ALFONSO, MIGUEL RODRIGUEZ ALMASOUDI, MANSOUR ABODERIN, OLUBUSAYO ADESAJI AITKEN, ROBERT ALFORD, LARRY ANTONIO MOHAMMED ALMUTAIRI, ABDULHADI HAZZAA ABRAMS, TWANA AKIBAR, BRIANNA ALFREDS, BRIAN DANIEL ALNUMARI, HESHAM MOHSMMED ABSTON, CALEB JAMES AKINS, ROBERT LEE ALGHAMDI, FAHADAHMED-A ALONZO, RONY LOPEZ ACAMPORA, ADAM CHRISTOPHER AL NAME, TURKI AHMED M ALHARBI, MOHAMMED JAZAA ALOTAIBI, GHAZI MAJWIL ACOSTA, ESPIRIDION GARCIA AL-SAQAF, HUSSEIN M H MOHSEB ALHARBI, MOHAMMED JAZAA ALSAIF, NAIF ABDULAZIZ ACOSTA, JADE NICOLE ALASMARI, AHMAD A MISHAA ALIJABAR, ABDULLAH ALSHEHRI, MAZEN N DAFER ADAMS, ANTONIO QUENTERIUS ALBERDI, TOMMY ALLANTAR, OSCAR CVELLAR ALSHERI, DHAFER SALEM ADAMS, BRIAN KEITH ALBOOSHI, AHMED ABALLA ALLEN, ANDREW TAUONE ALSTON, COREY ROOSEVELT ADAMS, CHRISTOPHER GENE ALBRIGHT, EDMOND JERRELL ALLEN, ANTHONY TEREZ ALSTON, TORIANO ADARRYL ADAMS, CRYSTAL YVONNE ALCANTAR, ALVARO VILCHIS ALLEN, ARTHUR JAMES ALTMAN, MELIS CASSANDRA ADAMS, DANIEL KENNETH ALCANTAR, JOSE LUIS MORALES ALLEN, CHADWICK DONOVAN ALVARADO, CARLOS ADAMS, DARRELL OSTELLE ALCANTARA, JESUS ALLEN, CHRISTOPHER -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
Historia De Mujeres Artistas En México Del Siglo Xx
Mónica Castillo, Autorretrato como cualquiera, 1996 – 1997, óleo sobre tela, 80 x 70 cm HISTORIA DE MUJERES ARTISTAS EN MÉXICO DEL SIGLO XX ÍNDICE Presentación 3 Contexto La mujer en la historia 4 Presencia femenina en el arte 5 Ejes temáticos 7 Mujeres artistas en México. (fragmentos) 12 Una constelación de implacables buscadoras Germaine Gómez Haro Punto de Fuga (fragmentos) 16 Pura López Colomé Artistas 20 Glosario 39 Links 40 Departamento de Educación 2 PRESENTACIÓN El reconocimiento de la presencia de mujeres artistas en la historia del arte ha permitido que los contenidos, los modos de interpretación y las categorías de análisis se transformen, se especifiquen, y al mismo tiempo, se expandan: las reflexiones teóricas y prácticas se han diversificado cada vez más, desde los temas y conceptos hasta los medios por los que se expresan los artistas; permitiendo, así, las relecturas y re-significados de las obras. Historia de mujeres es una exposición que reconoce la colaboración de las mujeres artistas mexicanas, quienes aportaron con sus particulares puntos de vista a la historia del arte nacional e internacional. Así, la exposición muestra tres generaciones de creadoras a lo largo del siglo XX: La primera generación son las artistas nacidas a principios del siglo que se distinguieron por un trabajo de gran calidad técnica, como Angelina Beloff, Tina Modotti, Frida Kahlo, Remedios Varo, etc. La segunda generación incluye a las que nacieron alrededor de los años 20 y 30, como Lilia Carrillo, Joy Laville, Helen Escobedo, Marta Palau y Ángela Gurría; ellas iniciaron una etapa de experimentación en las nuevas tendencias. -
This Selection of Artist Statements Is Taken from Gee's Bend
This selection of artist statements is taken from Gee’s Bend: The Women and Their Quilts, published by Tinwood Books of Atlanta, GA in 2002. Artists included in this unpaginated selection: Allie Pettway (b. 1917) Annie E. Pettway (1904-1971) Arlonzia Pettway (b. 1923) Creola Pettway (b. 1927) Essie Bendolph Pettway (b. 1956) Lucy Mingo (b. 1931) Lucy T. Pettway (1921-2004) Mary Lee Bendolph (b. 1935) Mary L. Bennett (b. 1942) Qunnie Pettway (b. 1943) Rita Mae Pettway (b. 1941) Ruth P. Mosely (b. 1928) (Please note: The actual quilts are not as bright as they appear in this document. The colors in Gee’s Bend: The Women and Their Quilts are accurate.) allie pettway The middle of three quiltmaking sisters in Gee’s Bend (the others being Sweet T. and Lutisha), Allie Pettway (b. 1917) talks about the difficult days of growing up as a subsistence farmer and the consolation that comes from making quilts with friends and relatives. I was born in 1917. My mother was named Patty Pettway, my daddy was named Warren Pettway. They farmed. I was a little girl when my mother passed. My daddy remarried after my mother passed, and I had one of the hardest times you going to have. I started raising the little children, my brothers and sisters, and I had to go to the fields and work in the mud and water. And my stepmother was kind of really mean. I do the best I could. I came up hard. In the fields I was hoeing corn, picking cotton, pulling fodder. -
La Tierra Prometida
PRESENTACION La tierra prometida Cuando las últimas luces de la temporada navideña aún no se apagan, viene a mi mente una reflexión a propósito de una lectura bíblica muy conocida, la salida del pueblo hebreo de Egipto. Imaginando los preparativos del viaje, veo cómo todo se empacó cuidadosamente, con seguridad se habrán puesto ropas abrigadoras y resistentes y un calzado de las mismas características que garantizara cierta comodidad para dar inicio a unas jornadas inciertas, pero el aire también debió de estar lleno de algarabía, alegría y esperanzas. Guardando cierta distancia, y buscando algún paralelismo, es esta misma voz la que los constructores esperan nerviosamente para tomar sus bártulos y “ceñirse los lomos” – esta es un expresión muy utilizada en la cultura hebrea que significa estar prestos para iniciar el trabajo–. La maquinaria, los presupuestos y la necesidad de construcción de obra pesada están ahí, pero la anhelada señal de arranque no llega. Esperemos que en estas primeras semanas se dé la señal de avance y pronto podamos ver cómo las promesas de campaña se hacen realidad. Hacemos votos para que la construcción no tenga que vagar por el desierto cuarenta años antes de llegar a la tierra prometida de la actividad. Luis Martínez Argüello Presidente del IMCYC La escultura y la dimensión del concreto Por Enrique Chao EL concreto se integró a las nuevas formas que exigían los artistas, los constructores y los decoradores hace apenas unas cuantas décadas, aunque las obras de concreto realizadas por el escultor inglés Henry Moore, de las primeras en su género, datan de mediados de los años 20 del siglo pasado. -
Participation in Creation and Redemption Through Placemaking and the Arts
MAKING A PLACE ON EARTH: PARTICIPATION IN CREATION AND REDEMPTION THROUGH PLACEMAKING AND THE ARTS Jennifer Allen Craft A Thesis Submitted for the Degree of PhD at the University of St Andrews 2013 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3732 This item is protected by original copyright This item is licensed under a Creative Commons Licence UNIVERSITY OF ST ANDREWS ST MARY’S COLLEGE INSTITUTE FOR THEOLOGY, IMAGINATION AND THE ARTS MAKING A PLACE ON EARTH: PARTICIPATION IN CREATION AND REDEMPTION THROUGH PLACEMAKING AND THE ARTS A THESIS SUBMITTED BY: JENNIFER ALLEN CRAFT UNDER THE SUPERVISION OF TREVOR HART TO THE FACULTY OF DIVINITY IN PARTIAL FULFILLMENT FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ST ANDREWS, SCOTLAND MARCH 2013 2 TABLE OF CONTENTS Declarations 3 Acknowledgements and Dedication 5 Abstract 7 General Introduction 8 1 The Wide Horizons of Place: An Introduction to Place and Placemaking 16 §1: A Theological Engagement with Place and Placemaking 45 2 Placemaking in the Community of Creation: The Theological Significance of Place in Genesis 1-3 47 3 Divine and Human Placemaking in the Tabernacle and Temple: Place, Human Artistry, and Divine Presence 70 4 Making a Place on Earth: Divine Presence, Particularity, and Place in the Incarnation and its Implications for Human Participation in Creation and Redemption through Placemaking 93 Summary of Section One 125 §2: -
With Every Fiber Feb 6 - April 3, 2021
With Every Fiber Feb 6 - April 3, 2021 Exhibition Checklist Counterclockwise from entrance: Mary Ann LOMONACO Mop with Checkerboard, 2010 Cotton kitchen mop, glass beads 25 x 12 in $4200 Mary Ann LOMONACO Mop with Fancy Plumage, 2020 Cotton kitchen mop, Delica glass beads, rayon yarn 28 x 9 x 6 in $4500 Liz Whitney QUISGARD Hundreds of Circles, 2012 - ongoing Yarn with bling 75 sq. ft. $75,000 Victoria UDDONDIAN Onile--Gogoro, 2015 Repurposed clothes, fabric, wire, metal, rod, Resin, bicycle tubes Variable dimension Not for Sale Main Gallery Ruby CHISHTI An Essence of Time I, II, III, 2020 Recycled fabric, thread, wire mesh, embellishment Variable dimensions $3,000 each Ruby CHISHTI Mother Wake Me Up At 7:00, 2020 Recycled fabric, thread, wire mesh 40 x 25 x 7 in $8,500 Joy CURTIS Plants and Animals, 2020 Indigo, Osage orange, cochineal, walnut, madder and procion dyes on cotton, metal, spandex, sea sponges and raffia 72 × 66 × 16 in $20,000 Joy CURTIS Ghost Dance, 2020 Indigo and procion dyes on cotton, burlap, and rope; steel, rust, and wax 11 x 12 x 15 in $10,000 Mary Ann LOMONACO Mop with Royal Flycatcher, 2019 Cotton kitchen mop, glass beads, feathers 29 x 10 x 5 in $4500 Mary Ann LOMONACO Mop with Elegant Feathers, 2020 Cotton kitchen mop, Delica glass beads, feathers 28 x 9 x 6 in $4500 Mary Ann LOMONACO Mop with Soda Can Tabs, 2009 Cotton kitchen mop, wooden rods, grommets, soda can tabs 24 x 12 x 8 in $4200 Mary Tooley PARKER Annie Mae Young, Gee’s Bend Quilter, in Klimt 2020 Hooked Tapestry 40 x 33 in $3000 Mary Tooley PARKER Nettie Young, Gee’s Bend Quilter, in Klimt 2017 Hooked Tapestry 40 x 33 in $3000 Mary Tooley PARKER Loretta Pettway, Children 2017 Hooked Tapestry 40 x 33 in $3000 Mary Tooley PARKER Jessie T. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School College of Arts and Architecture UNSETTLED MASSES: PUBLIC TRANSPORTATION IN THE ART OF NEW YORK CITY, 1929–1941 A Dissertation in Art History by Emily A. Schiller © 2016 Emily A. Schiller Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2016 The dissertation of Emily A. Schiller was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Co-Adviser Co-Chair of Committee Leo G. Mazow Louise B. and J. Harwood Cochrane Curator Head of the Department of American Art Virginia Museum of Fine Arts Dissertation Co-Adviser Co-Chair of Committee Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Craig Zabel Associate Professor of Art History Head of the Department of Art History Anne Rose Distinguished Professor of History and Religious Studies *Signatures are on file in the Graduate School. ii ABSTRACT During the Great Depression and World War II, public transportation thrived as an alternative to costly travel by railroads or private cars. This dissertation uses depictions of mass transit as points of departure into contextual examinations of three artists who repeatedly used passengers as subjects: Reginald Marsh (1898–1954), Donald Freeman (1908–1978), and Walker Evans (1903–1975). I argue that travel imagery attests to mobility as a common experience—an aspect of American life that viewers would recognize. Through a close examination of representations of mobility, it becomes clear that the motif appealed to these artists because it was simultaneously common and complicated—implicitly moving but explicitly stationary.