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Sterling and Francine Clark Art Institute to Launch First International Tour of Masterpieces from the Collection
STERLING AND FRANCINE CLARK ART INSTITUTE TO LAUNCH FIRST INTERNATIONAL TOUR OF MASTERPIECES FROM THE COLLECTION Works to Travel to Leading Museums in Milan, Giverny, Barcelona in 2011, Fort Worth, London, and Montreal in 2012, Japan and China in 2013-2014 Tour Announcement Press Conference and Panel Discussion January 26 in Madrid For Immediate Release WILLIAMSTOWN, MA – Continuing its commitment to global outreach and cultural exchange, the Sterling and Francine Clark Art Institute will tour masterpieces from its collection of nineteenth-century European paintings to leading museums around the world beginning this spring. The Clark’s first-ever international tour of masterpieces from its collection will include many of the greatest works from its extraordinary holdings of French Impressionism and European paintings. The exhibition features 73 paintings, including works by Pierre- Auguste Renoir, Claude Monet, Edgar Degas, Édouard Manet, Berthe Morisot, and Camille Pissarro, as well as by Pierre Bonnard, Jean-Baptiste-Camille Corot, Paul Gauguin, Jean-François Millet, Alfred Sisley, Henri de Toulouse-Lautrec, William- Adolphe Bouguereau and Jean-Léon Gérôme. “As we embark on this exciting three-year tour, the Clark is delighted to have this unprecedented opportunity to share some of its best-known and most beloved works with a broader global audience,” said Director Michael Conforti. “It is our hope that this exhibition of the best of the Clark’s famous nineteenth century painting collection will encourage the cross-cultural exchange of new ideas and the discovery of common ground, paving the way to greater mutual understanding and cooperation through the arts.” The tour will launch in Milan, on March 2 at the Palazzo Reale, and remain open through June 19. -
Pele’S Lost Green Lake—Waiapele, the Water of Power Is Unforgettable
MAGAZINE FALL 2018 MATERIAL HISTORIES Following the threads that have connected Williams and Hawai‘i for 200 years p.10 CELEBRATION A street-fair themed picnic was one highlight of the induction of Maud S. Mandel as Williams’ 18th president on Sept. 8. The full day of programs and festivities explored the theme “Inside/Outside.” See more coverage at president.williams.edu/induction. PHOTOGRAPH: SHANNON O’BRIEN CONTENTS 2 Report President Maud S. Mandel on Williams’ past, present and future. 3 Comment Readers respond to our coverage of free speech, normalization, Williams rumors and more… 4 Notice Career exploration, convocation, modern science, public art and more… 10 Histories in the Making Untangling the threads of Williams’ long and complex relationship with Hawai‘i. 16 WE ARE: America Large-scale portraits of immigrants and refugees by Joe Standart ’73 explore the fabric of America. 22 Giving It Forward Initiatives to boost alumni engagement are paying off as Williams enters the last year of its comprehensive campaign. 24 North on the Wing Bruce M. Beehler ’74 followed songbirds’ spring migration 13,000 miles across the U.S. 30 Study On hands-on learning in Hopkins Forest, Williams’ WWI connections, Americans abroad and social construction. 36 Muse Suzanne Case ’78 on the new shape of Hawai‘i. facebook.com/williamscollege @williamscollege youtube.com/williamscollege @williamscollege Front cover illustration: Anna Godeassi Back cover photo: Joe Standart ’73 FALL 2018 WILLIAMS MAGAZINE 1 REPORT Our Past, Present and Future Williams FALL 2018 | VOL. 113 NO. 1 this fall has been a season of williams firsts for me as president: my fi rst classroom visit, my rstfi Convocation and Bicentennial Medals ceremony, EDITOR Amy T. -
The Clark Art Institute
CLARK ART INSTITUTE ANNOUNCES REVISED PLANS FOR SUMMER 2020 SEASON (Thursday, April 30, 2020) – The Clark Art Institute today announced a revised program for its summer 2020 season, reflecting changes necessitated by its current closure due to the global health crisis and the logistical challenges related to international travel and shipping restrictions. “At a time when our foremost priority is the health and well-being of all people, concerns over exhibition schedules are insignificant in the face of the human crisis we are confronting,” said Olivier Meslay, Hardymon Director of the Clark. “Like museums around the world, our plans and schedules are not immune to the disruptions caused by the global pandemic, and so, it was inevitable that we would need to reconsider our summer season. Although we don’t yet know when we will be able to reopen our doors to welcome visitors back to the Clark, we look forward to providing a lively mix of special exhibitions that will showcase many exciting concepts and artists and, of course, to sharing our permanent collection with our visitors.” Two exhibitions previously announced for summer 2020 presentations at the Clark have been rescheduled for summer 2021. Claude and François- Xavier Lalanne: Nature Transformed will now be on view at the Clark from May 8 to October 31, 2021. Nikolai Astrup: Visions of Norway will open at the Clark on June 19, 2021, for a three-month presentation, closing on September 19, 2021. “Although we are deeply disappointed that we will have to wait another year to bring these remarkable exhibitions to the Clark, we remain incredibly enthusiastic about both of these shows and are delighted that we will be able to present them in summer 2021.” Meslay said. -
ANNUAL REPORT Report for the Fiscal Year July 1, 2018–June 30, 2019
ANNUAL REPORT Report for the fiscal year July 1, 2018–June 30, 2019 1 ANNUAL REPORT Report for the fiscal year July 1, 2018– June 30, 2019 CONTENTS Director’s Foreword..........................................................3 Milestones ................................................................5 Acquisitions ...............................................................6 Notable Library Acquisitions .................... .............................8 Exhibitions ............................................................... 9 Loans ...................................................................12 Clark Fellows .............................................................14 Scholarly Programs ........................................................15 Publications ..............................................................18 Library ..................................................................19 Education ............................................................... 20 Member Events .......................................................... 21 Public Programs ...........................................................24 New Employee List .........................................................34 Financial Report .......................................................... 35 DIRECTOR’S FOREWORD The Clark Art Institute stands with its historic beauty, welcoming visitors to Williamstown and demonstrating its ability to expand and grow as an institution. This year was marked with some exceptional special exhibitions, exciting -
Hal Foster: Curriculum Vitae
HAL FOSTER: CURRICULUM VITAE Townsend Martin Class of 1917 Professor, Art & Archaeology, Princeton University Born: Seattle, August 13, 1955 Reside: 150 Fitzrandolph Road, Princeton, NJ 08540 Telephone: 609.924.6917 Married. EDUCATION: 1990 Ph.D., Art History, City University of New York 1979 M.A., English Literature, Columbia 1977 A.B., English Literature & Art History, Princeton ACADEMIC POSITIONS: 2000- Townsend Martin 1917 Professor of Art & Archaeology, Princeton 2011- Professor, School of Architecture, Princeton 2007- Associate Faculty, Department of German, Princeton 1997- Professor, Art and Archaeology, Princeton 1996 Visiting Professor, Art History, UC Berkeley 1994-96 Professor, Art History & Comparative Literature, Cornell 1991-93 Associate Professor, Art History & Comparative Literature, Cornell 1987-91 Director of Critical & Curatorial Studies, Independent Study Program, Whitney Museum PUBLICATIONS I (Books, in English only): 1. JUNK SPACE with RUNNING ROOM (coauthored with Rem Koolhaas), Notting Hill Editions, 2012 2. THE FIRST POP AGE: PAINTING AND SUBJECTIVITY IN THE ART OF HAMILTON, LICHTENSTEIN, WARHOL, RICHTER, AND RUSCHA, Princeton University Press, 2012 3. THE ART-ARCHITECTURE COMPLEX, Verso Press, 2011 4. THE HARDEST KIND OF ARCHETYPE: REFLECTIONS ON ROY LICHTENSTEIN, National Galleries of Scotland, 2011 5. POP ART, Phaidon Press, 2005 6. ART SINCE 1900: MODERNISM, ANTI-MODERNISM, POSTMODERNISM (coauthored with Krauss, Bois, Buchloh), Thames & Hudson Press, 2004 7. PROSTHETIC GODS, MIT Press, 2004 8. DESIGN AND CRIME (AND OTHER DIATRIBES), Verso Press, 2002 9. RICHARD SERRA (ed.), MIT Press, 2000 10. THE RETURN OF THE REAL, MIT Press, 1996 11. COMPULSIVE BEAUTY, MIT Press, 1993 12. RECODINGS: ART, SPECTACLE, CULTURAL POLITICS, Bay Press, 1985 13. VISION AND VISUALITY (ed.), Bay Press, 1988 1 14. -
Portia Munson: Color Forms I Gallery Guide
The Pink & Blue Projects About the Artist explore how we are defined by the objects that we mass-produce, Portia Munson is a visual artist who works in a variety of media including installation, painting, photography, and sculpture. Solo shows include exhibitions at PPOW Gallery, Yoshii Gallery and play with, wear and throw away. Made up of thousands of inex- White Columns in New York City, among others. Her work has been exhibited throughout the US, pensive pink and blue products, the eye-popping installation gives Canada & Europe in such venues as the Museum of Contemporary Art in Helsinki, Finland; the dramatic form to what we think we know about gender, marketing, Kunstahallen_ Brandts Klaedefabrik, Odensec, Denmark; and in New York City at the New Museum, Ace Gallery, Exit Art, DC Moore Gallery and Affirmation Arts. Munson has taught at the Yale School and consumption. of Art, Vassar College and SUNY Purchase. She holds a BFA from Cooper Union and an MFA from Rutgers University, and has received fellowships from Yaddo, MacDowell, Skowhegan, Fine Arts Color Forms I Consider the color-coding of the toy section in mainstream stores: there is no mistaking which Work Center Provincetown, Art Omi, and others. Her work has been reviewed and written about in aisles are meant for boys and which ones for girls. The packaging and products themselves are many publications including The New York Times, Art in America, Newsweek, Harper’s, USA Today, clearly marked, branded with the identifying dominant pink or blue color. Girls are sold pink The New Yorker, Flash Art and Artforum. -
The Economic Impact of the Sterling and Francine Clark Art Institute By
© The Economic Impact of the Sterling and Francine Clark Art Institute By: Stan McMillen, Ph.D., Manager, Research Projects Kathryn Parr, Senior Research Assistant Xiumei Song, Research Assistant Research assistance provided by: Bryant Goulding, Research Assistant Eric Lewis, Undergraduate Research Assistant Brian Baird, Research Assistant October 2005 CONNECTICUT CENTER FOR ECONOMIC ANALYSIS© Fred V. Carstensen, Director William F. Lott, Director of Research University of Connecticut 341 Mansfield Road Unit 1240 Storrs, CT 06269 Voice: 860-486-0485 Fax: 860-486-0204 http://ccea.uconn.edu Executive Summary The cultural arts constitute a multi-billion dollar industry in the United States and produce a total annual economic impact of over $3.4 billion in Massachusetts alone.1 These staggering numbers have spurred national interest in the economic impact of the arts, and have initiated extensive research by the RAND Corporation, Richard Florida of Carnegie Mellon University, and others. Growing national recognition of the value of the arts, in terms of economic generation and cultural benefit, has had particular resonance in the Berkshires. With the arts and tourism ranked a top sector of the region’s economy, cultural and community leaders have long recognized the importance of the distinctive cluster of cultural institutions in the Berkshires, and have actively pursued initiatives to further develop and sustain the creative economy of the region.2 In anticipation of fifty years of continuous, year-round public service in the Berkshires, the Sterling and Francine Clark Art Institute commissioned the Connecticut Center for Economic Analysis (CCEA) at the University of Connecticut in 2004 to analyze the Clark’s economic impact on the surrounding region. -
GRADUATE PROGRAM in the HISTORY of ART Williams College/Clark Art Institute
GRADUATE PROGRAM IN THE HISTORY OF ART Williams College/Clark Art Institute Summer 2003 NEWSLETTER The Class of 2003 at its Hooding Ceremony. Front row, from left to right: Pan Wendt, Elizabeth Winborne, Jane Simon, Esther Bell, Jordan Kim, Christa Carroll, Katie Hanson; back row: Mark Haxthausen, Ben Tilghman, Patricia Hickson, Don Meyer, Ellery Foutch, Kim Conary, Catherine Malone, Marc Simpson LETTER FROM THE DIRECTOR CHARLES w.: (MARK) HAxTHAUSEN Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program With the 2002-2003 academic year the Graduate Program began its fourth decade of operation. Its success during its first thirty years outstripped the modest mission that shaped the early planning for the program: to train for regional colleges art historians who were drawn to teaching careers yet not inclined to scholarship and hence having no need to acquire the Ph.D. (It was a different world then!) Initially, those who conceived of the program - members of the Clark's board of trustees and Williams College President Jack Sawyer - seem never to have imagined that it would attain the preeminence that it quickly achieved under the stewardship of its first directors, George Heard Hamilton, Frank Robinson, and Sam Edgerton. Today the Williams/Clark program enjoys an excellent reputation for preparing students for museum careers, yet this was never its declared mission; unlike some institutions, we have never offered a degree or even a specialization in "museum studies" or "museology." Since the time of George Hamilton, the program has endeavored simply to train art historians, and in doing so it has assumed that intimacy with objects is a sine qua non for the practice of art history. -
Annual Report
Annual Report Report for the fiscal year July 1, 2010–June 30, 2011 Annual Report Report for the fiscal year July 1, 2010–June 30, 2011 Contents Milestones . 3 Acquisitions . 4 Exhibitions . 6 Loans . 9 Clark Fellows . 10 Scholarly Programs . 12 Publications . 16 Library . 17 Education . 19 CEVA . 20 Member Events . 21 Public Programs . 24 Donors . 34 Financial Report . 40 Milestones • The Museo Nacional del Prado in Madrid opened a special exhibition of the Clark’s full collection of thirty-two paintings by Pierre-Auguste Renoir in October 2010. The historic presentation drew critical acclaim across Europe and attracted some 370,000 visitors over the course of sixteen weeks, making it the fourth-highest-attended special exhibition in the Prado’s history. The exhibition marked the first time that the Clark’s entire Renoir collection was presented outside of Williamstown and initiated a cross-cultural collaboration between the two museums that will continue in 2014 when the Clark hosts an exhibition of Rubens, Velázquez, and other masterpieces from the Prado’s royal collections. • In March 2011, the Clark’s first international tour of eighty of the best of its nineteenth- century French paintings began with an exhibition at the Palazzo Reale in Milan that drew enthusiastic crowds and strong critical reviews. The exhibition then traveled to the Musée des impressionnismes in Giverny, where French audiences attended in record numbers to welcome these works to their country. The exhibition set new attendance records for the museum’s summer exhibition program. • The Clark’s educational outreach program for juvenile offenders, RAISE (Responding to Art Involves Self Expression), was honored by the Commonwealth of Massachusetts with a Champions of Arts Education Advocacy Award for Outstanding Arts Collaborative in the field of Visual Arts. -
Michael Conforti Director, Clark Art Institute Since Michael Conforti
Michael Conforti Director, Clark Art Institute Since Michael Conforti joined the Clark as its director in 1994, the Institute has put new emphasis on its dual mission as both an art museum and a center for research and higher education. He has led the Clark in establishing a worldwide reputation as an international forum for the generation, discussion, and dissemination of ideas surrounding art and visual culture through the development of the Clark’s Research and Academic Program, as well as through its special exhibition program, its cultural exchange initiatives, and its engagement with contemporary art and artists, specially articulated through the Clark’s support of the Massachusetts Museum of Contemporary Art (MASS MoCA), a partnership he initiated at the time of his arrival at the Institute. The growth of its programs and needed enhancements to its facilities gave the Clark the opportunity to reconsider the best use of its 140-acre site. Over the last decade, Conforti has worked with Tadao Ando Architect & Associates, Selldorf Architects, Reed Hilderbrand Landscape Architecture, and Gensler to conceive a dramatic plan involving renovation and new construction that transforms the visitor experience of the Clark and provides the facilities the Clark requires to serve its programs and fulfill its mission. Conforti serves on the trustee executive committee of the Amon Carter Museum, and he is also a trustee of MASS MoCA. A member of the Hermitage International Advisory Committee, he is a former trustee of ICOM US (International Council on Museums) and was on the CIHA (Comité international d'histoire de l'art) National Committee for the History of Art (2000–12). -
Meyer Riegger Franz Ackermann 1963 Born in Neumarkt St. Veit, DE Lives in Berlin and Karlsruhe, DE Education 1984-1988 Academy
Meyer Riegger Franz Ackermann 1963 born in Neumarkt St. Veit, DE lives in Berlin and Karlsruhe, DE Education 1984-1988 Academy of Fine Arts München, DE 1989-1991 University for Fine Arts Hamburg DAAD, Hong Kong Seit 2001 Professor at Academy for Fine Arts Karlsruhe Solo Exhibitions (selection) 2020 Die Scheune [The Barn], outdoor project, Meyer Riegger, Berlin, DE 2019 New Neighbours, Gió Marconi, Milano, IT Franz Ackermann, PIFO Gallery, Beijin, CN Our Houses, Templon, Brussels, BE 2018 Die Aufwertung der Lage, Meyer Riegger, Berlin, DE 2017 Come On!, Dirimart Dolapdere, Istanbul, TR 2016 Freunde 1, Studio Hirschstrasse, Karlsruhe, DE Dessins, Daniel Templon, Paris, FR 2014 CLASSIC LINE, Mai 36 Galerie, Zurich, CH White Cube, Bermondsey, London, UK Mental Maps - Eikones, Staatliche Kunsthalle Karlsruhe, Karlsruhe, DE 2013 Painting Forever: Franz Ackermann, Berlinische Galerie, Berlin, DE 2012 Walking South, Faena Arts Center, Buenos Aires, AR Transit: Again / Always / Forever, Dirimart, Istanbul,TK Heading East, Tomio Koyama Gallery, Kyoto, JP FAENA Arts Center, Buenos Aires, Argentina, AR 2011 Galeria Fortes Vilaça, São Paulo, BR 2010 No Roof But The Sky, neugerriemschneider, Berlin, DE Wait, White Cube, London, UK 2009 Franz Ackermann - Kunstmuseum Bonn, Bonn, DE 2008 Franz Ackermann, Mai 36, Zurich, CH Terminal, Meyer Riegger, Karlsruhe, DE Kunstmuseum St. Gallen, St. Gallen, CH My secondary coming, Para/Site Art Space, Hong Kong, HK 2007 No direction home, Galeria Fortes Vilaça, São Paulo, BR Gió Marconi, Mailand, IT From eden to -
Fin De Siècle
This exhibition and the publication that By the mid-1990s she began to sketch from accompanies it are as much about an artist, life, but the difference it made in the look of Elizabeth Peyton, as they are about an era. her paintings is subtle, almost negligible; Although it began in the early to mid-1990s, all the work retains a mixture of intimacy and Fin it is difficult to pinpoint when this era ended; stylization whether it was painted from all that can be conclusively said is that it is photographs or from life. de definitely over. Peyton’s work, though, In the very contemporary art world, fifteen endures, and to this day it continues to years is a long time to be at the center of a speak to us in the present tense. discourse. Peyton was not the only figurative Siècle One of the extraordinary things about painter to attract attention and controversy Peyton’s oeuvre is that it can serve as a during this time, but her work arguably Laura Hoptman chronicle of a particular period — at a certain attracted more attention and more contro- moment in the history of culture in certain versy than most others, at least during places among a few people who were enthu- the first ten years of her career. It did this siastically making it. Sometimes they knew because it was and is the most radical each other; sometimes they were just mutual example of a particular kind of popular fans. In retrospect, her paintings have realism that emerged in the 1990s and become a kind of essence of a fifteen-year reached its apex during the first few years period in popular culture, something like a of the new millennium.