Non-IMA Poster Collection, 1968-2016 (M015)
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� --1·1 r� · --·t· r-1 � -r� --·rl �l_, r�·r p· ,("' __, .:..../ --rl 0 F 521 148 VOL 16 N01 - - - - INDIANA HISTORICAL SOCIETY BOARD OF TRUSTEES SARAH Evru'\'S BARKER, indianapolis MICH.\ELA. SIKK.\IAN, Indianapolis, Second Vice Chair �� \RY A.J-..:-...: BRADLEY, Indianapolis £0\\.\.RI) E. BREEN, �[arion, First Vice Chair 01.\.\!,E j. C\RT�tEL, Brownstown P•TRICL\ D. CeRRA!<, Indianapolis EOCAR G1 EXN 0.-\\15, Indianapolis DA.." l:. I �1. E�'T. Indianapolis RIC! lARD F'ELDMA-'-.;,Indianapolis RICHARD E. FoRD, Wabash R. RAY HAWKINS. Carmel TI!O\!A-<.; G. HOR\CK, Indianapolis MARTIN L<\KE, 1'1arion L\RRY S. L\NDIS, Indianapolis P01.1 'Jo�TI LEi'\NON,Indianapolis jAMES H. MADISON, Bloomington M \RY jA...'\'E �IEEJ.�ER. Carmel AMlRF\\ '"'· NiCKLE, South Bend GJ::.ORGJ::. F. RAPP,Indianapolis BO'<'IIE A. REILLY, Indianapolis E\'AIIt'\FII. RIIOOI:.II.AME.L,Indianapolis, Secretary LA:-.J M. Rou.�\!'-10, Fon \-\'ayne, Chair jMIES SHOOK JR., Indianapolis P. R. SwEENEY, Vincennes, Treasurer R BERT B. TOOTHAKER, South Bend WILLIAM H. WIGGINS JR., Bloomington ADMINISTRATION SALVATORE G. CILELLAjR., President RA�IOND L. SIIOI:.MAKER, Executive Vice President ANMBELLF J.JACKSON, Comroller St!SAN P. BROWN, enior Director, Human Resources STEPIIl:-.. L. Cox, Vice President, Collections, Conserv-ation, and Public Programs TIIO\IAS A. �lAsoN, Vice President, n-JS Press Ll:'\DA L. PRArr, Vice President, Development and Membership BRE:"DA MYER.<;, Vice President, Marketing and Public Relation� DARA BROOKS, Director, Membership \ROLYI\ S. SMITH, Membership Coordinator TRACES OF INDIANA AND MIDWESTERN HISTORY RAY E. BOOMHOWER, Managing Editor GEORGF R. -
Paint and Canvas a Life of T
TEACHER RESOURCE by Elaine G. Rosa for the Indiana Historical Society Press publication Paint and Canvas A Life of T. C. Steele by Rachel Berenson Perry This is a publication of the Indiana Historical Society Eugene and Marilyn Glick Indiana History Center 450 West Ohio Street Indianapolis, IN 46202-3269 USA Teacher Resource available online: http://www.indianahistory.org Book orders (telephone): (800) 447-1830 Book orders (fax): (317) 234-0562 Copyright 2012 Indiana Historical Society All rights reserved Except for copying portions of the teacher resources by educators for classroom use, or for quoting of brief passages for reviews, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise), without written permission of the copyright owner. All inquiries should be addressed to the Indiana Historical Society Press. Overview/Description ° High School, English Language Arts–– Theodore Clement Steele was an American 9–10.W.2 Write informational and explana- Impressionist painter known for his Indiana tory texts to examine and convey complex landscapes. He is considered an innovator and ideas, concepts, and information clearly and leader in American Midwest painting and one of accurately through the effective selection, the Hoosier Group of Indiana artists. organization, and analysis of content. This teacher resource provides suggested learning ° High School, English Language Arts–– activities that relate to the Indiana Historical Society 9–10.W.3 Write narratives to develop real Press youth biography Paint and Canvas: A Life of or imagined experiences or events using T. -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Grade Four Session One – the Theme of Modernism
Grade Four Session One – The Theme of Modernism Fourth Grade Overview: In a departure from past years’ programs, the fourth grade program will examine works of art in the collection of the Museum of Modern Art in preparation for and anticipation of a field trip in 5th grade to MoMA. The works chosen are among the most iconic in the collection and are part of the teaching tools employed by MoMA’s education department. Further information, ideas and teaching tips are available on MoMA’s website and we encourage you to explore the site yourself and incorporate additional information should you find it appropriate. http://www.moma.org/learn/moma_learning! To begin the session, you may explain that the designation “Modern Art” came into existence after the invention of the camera nearly 200 years ago (officially 1839 – further information available at http://www.metmuseum.org/toah/hd/dagu/hd_dagu.htm). Artists no longer had to rely on their own hand (painting or drawing) to realistically depict the world around them, as the camera could mechanically reproduce what artists had been doing with pencils and paintbrushes for centuries. With the invention of the camera, artists were free to break from convention and academic tradition and explore different styles of painting, experimenting with color, shapes, textures and perspective. Thus MODERN ART was born. Grade Four Session One First image Henri Rousseau The Dream 1910 Oil on canvas 6’8 1/2” x 9’ 9 ½ inches Collection: Museum of Modern Art, New York (NOTE: DO NOT SHARE IMAGE TITLE YET) Project the image onto the SMARTboard. -
Academicism to Modernism.Pdf
Academicism to Modernism Fresh Perspectives on Historic Indiana Art Academicism to Modernism Fresh Perspectives on Historic Indiana Art October 28, 2005 – May 21, 2006 William Weston Clarke Emison Museum of Art DePauw University Foreword Kaytie Johnson Essay and acknowledgements Laurette E. McCarthy Editor Vanessa Mallory FOREWORD DePauw University is pleased to present from their collections for the show: Dr. Stephen Academicism to Modernism: Fresh Perspectives Butler and Dr. Linda Ronald; the Jack D. Finley on Historic Indiana Art, an exhibition that focuses Collection; Indiana State Museum and Historic on the lesser-known and understudied aspects of Sites; Indianapolis Public Schools; the Richmond Indiana art from the late nineteenth through early Art Museum; the Sheldon Swope Art Museum; Judy twentieth centuries. A majority of exhibitions and Waugh; and Wishard Health Services. publications that focus upon this period tend to The contributions of several individuals have concentrate primarily on what is referred to as enabled DePauw to present this exhibition. My “Hoosier Impressionism,” – most notably paintings thanks go out to my dedicated staff – Christie by artists such as T.C. Steele, John Ottis Adams Anderson and Christopher Lynn – for their tireless and William Forsyth – which has perpetuated an energy and enthusiasm in bringing this show to incomplete, and exclusive, history of the artistic fruition. My appreciation is also extended to Kelly legacy of Indiana. By introducing our audience to Graves for her design expertise and assistance with works by unfamiliar – and familiar – artists, in a wide producing this publication, and to Vanessa Mallory, range of artistic styles, we hope to emphasize, and whose editing skills are unrivaled. -
Reflected in the Mirror There Was a Shadow Roy Lichtenstein Andy Warhol
REFLECTED IN THE MIRROR THERE WAS A SHADOW ROY LICHTENSTEIN ANDY WARHOL 1 2 3 4 REFLECTED IN THE MIRROR THERE WAS A SHADOW ROY LICHTENSTEIN ANDY WARHOL November 1 – December 23, 2011 LEO CASTELLI To confront a person with his shadow is to show him his own light. Once one has experienced a few times what it is like to stand judgingly between the opposites, one begins to understand what is meant by the self. Anyone who perceives his shadow and his light simultaneously sees himself from two sides and thus gets in the middle. (Carl Jung, Good and Evil in Analytical Psychology, 1959) Roy Lichtenstein’s new paintings based on mirrors show that he has taken on another broad challenge – that of abstract, invented forms. The Mirror paintings are close to being total abstractions. Nothing recognizable is “reflected” in them, but their surfaces are broken into curving shards of “light,” or angular refractive complexities. They are, in effect elaborately composed pictures of reflections of air. (…) The specific source for the “imagery” of the mirrors is the schematic denotation of reflections and highlights derived from cheap furniture catalogues or small glass company ads. However the distance of Lichtenstein's illusory Mirrors from their sources is so great that the interest is frankly elsewhere. Any tacky connotations (formerly to be cherished) are now dissipated in the paintings’ final fastidious grandeur. (Elizabeth Baker, “The Glass of Fashion and the Mold of Form,” ArtNews, April 1971) Roy Lichtenstein, Paintings: Mirror, 1984 Oil and Magna on canvas, 70 x 86 inches 4 To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools This way to dusty death. -
Of Indiana and Midwestern History
of Indiana and Midwestern History Summer 1991 Viol. 3, No. 3 A Publication pf the Indiana Historical Society $5.00 Painters of the Indiana Landscape Abraham Lincoln’s Hoosier Home Indiana’s 1916 Centennial The Legacy of the WPA F 521 148 VOL3 NQ3 Indiana Historical Society Board of Trustees INDIANA HISTORICAL SOCIETY James J. Barnes, Crawfordsville Dianne J. Cartmel, Seymour William E. Ervin, Hartford City Bert R. Fenn, Tell City Ralph D. Gray, Indianapolis Ronald Morris, Greenwood Mission Statement Mary M. Mullin, Brookville Kathleen Stiso Mullins, South Bend Alan T. Nolan, Indianapolis, Chairman Larry K. Pitts, Indianapolis, Treasurer William G. Prime, Madison Evaline H. Rhodehamel, Indianapolis, ^ A SATURDAY NIGHT IN DECEMBER 1830 A GROUP OF THE MOST Vice President Richard O. Ristine, Crawfordsville DISTINGUISHED FIGURES IN INDIANA’S EARLY HISTORY—INCLUDING Richard S. Simons, Marion, President John Martin Smith, Auburn JOHN FARNHAM, CALVIN FLETCHER, WILLIAM CONNER, JOHN TIPTON, AND Theodore L. Steele, Indianapolis Stanley Warren, Greencastle Herman B Wells, Bloomington MORE THAN HALF OF THE INDIANA GENERAL ASSEMBLY—MET AT THE Administration MARION COUNTY COURTHOUSE IN INDIANAPOLIS TO FORM WHAT BECAME Peter T. Harstad, Executive Director Raymond L. Shoemaker, Assistant Executive THE INDIANA HISTORICAL SOCIETY THAT GROUP COMPOSED THE Director and Business Manager Annabelle J. Jackson, Exec. Assist. Financial ORGANIZATION’S CONSTITUTION AND DECLARED: Administration Susan P. Brown, Exec. Assist. Personnel/Policy Carolyn S. Smith, Membership Secretary Division Directors The objects of the Society shall be the collection of all Bruce L. Johnson, Library materials calculated to shed light on the natural, civil and Thomas K. Krasean, Field Services Thomas A. -
James Rosenquist - Select Chronology
James Rosenquist - Select Chronology THE EARLY YEARS 1933 Born November 29 in Grand Forks, North Dakota. Parents Louis and Ruth Rosenquist, oF Swedish and Norwegian descent. Family settles in Minneapolis, Minnesota in 1942. 1948 Wins junior high school scholarship to study art at the Minneapolis School of Art at the Minneapolis Art Institute. 1952-54 Attends the University oF Minnesota, and studies with Cameron Booth. Visits the Art Institute oF Chicago to study old master and 19th-century paintings. Paints storage bins, grain elevators, gasoline tanks, and signs during the summer. Works For General Outdoor Advertising, Minneapolis, and paints commercial billboards. 1955 Receives scholarship to the Art Students League, New York, and studies with Morris Kantor, George GrosZ, and Edwin Dickinson. 1957-59 Becomes a member oF the Sign, Pictorial and Display Union, Local 230. Employed by A.H. Villepigue, Inc., General Outdoor Advertising, Brooklyn, New York, and ArtkraFt Strauss Sign Corporation. Paints billboards in the Times Square area and other locations in New York. 1960s 1960 Quits working For ArtkraFt Strauss Sign Corporation. Rents a loFt at 3-5 Coenties Slip, New York; neighbors include the painters Jack Youngerman, Ellsworth Kelly, Agnes Martin, Robert Indiana, Lenore Tawney, Robert Rauschenberg, Jasper Johns, Barnett Newman, and the poet Oscar Williamson. 1961 Paints Zone (1960-61), his First studio painting to employ commercial painting techniques and Fragmented advertising imagery. 1962 Has first solo exhibition at the Green Gallery, New York, which he joined in 1961. Early collectors include Robert C. Scull, Count Giuseppe PanZa di Biumo, Richard Brown Baker, and Burton and Emily Tremaine. -
“Robert Morris: the Order of Disorder”, Art in America, May 2010
2% #2%!4)/. 2/"%24 -/22)3 4(% /2$%2 /& $)3/2$%2 Decades after its debutÑand disappearanceÑan early work is re-created by Robert Morris for the gallery that first sponsored it. "9 2)#(!2$ +!,).! This page and next, Robert Morris: Untitled (Scatter ROBERT MORRIS HAS re-created one Morris retrospective, but was not Piece), 1968-69, felt, steel, of the key works of Post-Minimalism, sent to the exhibition’s next venue, lead, zinc, copper, aluminum, Untitled (Scatter Piece), 1968-69, at the Detroit Institute of Arts. Instead, it brass, dimensions variable; at Leo Castelli Gallery, New York. Leo Castelli Gallery on 77th Street. was returned to storage, and subse- Photo Genevieve Hanson. First exhibited along with Continuous quently disappeared—curious, since All works this article © 2010 Project Altered Daily at the Castelli it consisted of 100 hefty pieces of Robert Morris/Artists Rights Warehouse on West 108th Street in metal and 100 pieces of heavy-duty Society (ARS), New York. March 1969, Untitled (Scatter Piece) felt, and weighed about 2 tons. traveled to the Corcoran Gallery of Re-creation, with its implication of exact Art in Washington, D.C., the follow- reproduction, is perhaps an imprecise ing November as part of an early word for the 2010 project. The ele- exist in a perfectly valid iteration while ments in the new work are indeed the in storage—presumably neatly stacked same type as in the original, but rather than strewn about. their disposition (not rule-bound The rectilinear metal pieces are CURRENTLY ON VIEW “Robert Morris: Untitled (Scatter Piece), but arrived at intuitively) responds to made of copper, aluminum, zinc, 1968-69” at Leo Castelli Gallery, New the work’s location: Morris maintains brass, lead or steel, and arrived at York, through May 15. -
TRI-KAPPA COLLECTION of ARTWORKS at ROSE-HULMAN
TRI-KAPPA COLLECTION OF ARTWORKS at ROSE-HULMAN The Tri-Kappa Art Collecion of Indiana artists is valuable and unique. Started in 1932, the collection contains over 100 artworks by almost as many artists. The value of the collection has increased manyfold since then. After years of traveling all over the state, it was found necessary to permanently house the collection. As a result of an all-chapter poll in 1973, the chapters voted to loan nearly every painting to Rose-Hulman Institute of Technology. The works would be reframed and restored if necessary, insured, and hung permanently in the John Logan Library, which is hailed as a fire-proof building. A few paintings have been added to the collection in the library since 1973. The Tri-Kappa chapters are encouraged to plan outings to view the collection. 1 PATRIARCH MAPLE 69th Hoosier Salon 1993 Ken Bucklew (b. 1957) No. 1 Oil 15.5 X 11.5 Ken was born in Greencastle, Indiana on March 8, 1957. He grew up on the edge of Spencer in Owen County, Indiana about 13 miles northeast of Bloomington. The Bucklew Gallery is currently located in Spencer near the entrance to Indiana’s oldest “ McCormick’s Creek” State Park. Ken’s natural talent for drawing and painting was recognized by his elementary school art teacher, Ms. Ina Hight, who gave him an awareness of his potential. Ken’s work began earning him recognition, awards and a limited income during his high school years. Ken was accepted by a technical school and planned on earning his degree in commercial art. -
Reifel, J. Ottis Adams Research Collection, 1872-1972 | Indianapolis Museum of Art Archives
M010 Reifel, J. Ottis Adams Research Collection, 1872-1972 | Indianapolis Museum of Art Archives By Rebecca Denne Collection Overview Title: Reifel, J. Ottis Adams Research Collection, 1872-1972 Primary Creator: Adams, J. Ottis (John Ottis) (1851-1927) Extent: 1.71 linear feet Arrangement: The collection is arranged in two series: Series I: Primary Source Material Series II: Research Files Languages: English, French, German Scope and Contents of the Materials The Reifel, J. Ottis Adams Research Collection contains primary source documents and research files about the life and times of Indiana artist J. Ottis Adams, collected by Dorothy Reifel. The archival collection came to the Indianapolis Museum of Art from the Dorothy Reifel estate. The collection has been divided into two series which are described below. Series I: Primary Source Material, 1972-1944, n.d. contains photographs of Brookville, The Hermitage, and J. Ottis Adams' family. Also included are letters addressed to J. Ottis Adams and his wife Winifred Ottis Adams. Amongst these are messages of sympathy and condolence following the artist's death in 1927, a letter from Mrs. T.C. Steele, and letters from architect Edwin Fulwider. The series also includes a detailed family tree of J. Ottis Adams created in 1937. Passports in addition to a consignment note, a souvenir, and a hand-drawn map of Munich document the time Adams spent studying in Germany in the late nineteenth century. The series is arranged primarily by date. Series 2: Research Files, 1898-1972, n.d. contains the research files of Dorothy Reifel. Her research is comprised of newspaper clippings about J.