DOCSLIB.ORG

ATELIER 17 and Modern Printmaking in the Americas ATELIER 17 and Modern Printmaking in the Americas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ATELIER 17 and Modern Printmaking in the Americas ATELIER 17 and Modern Printmaking in the Americas ATELIER 17 and Modern Printmaking in the Americas ATELIER 17 and Modern Printmaking in the Americas DOI 10.11606/9788594195319 Organization Carolina Rossetti de Toledo Ana Gonçalves Magalhães Peter John Brownlee ebook UNIVERSIDADE DE SÃO PAULO Museu de Arte Contemporânea — MAC USP Terra Foundation for American Art São Paulo 2019 São Paulo (Partial or total part of this work is permitted, provided that the source and authorship is cited, prohibiting any use for commercial purposes) © 2019 – Museu de Arte Contemporânea da Universidade de São Paulo Avenida Pedro Álvares Cabral, 1301 • 04094-050 • Ibirapuera • São Paulo/SP email: [email protected] - www.mac.usp.br Catalog drawing elaborated by the Library Lourival Gomes Machado do Museu de Arte Contemporânea da USP Atelier 17 and modern printmaking in the Americas / organization Carolina Rossetti de Toledo, Ana Gonçalves Magalhães, Peter John Brownlee. São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo, 2019. (MAC Essencial, 16), 225 p. ; il. ISBN 978-85-94195-31-9 DOI 10.11606/9788594195319 1. Printmaking – America. 2. Modern Art – America – 20th Century. 3. Atelier 17. 4. Universidade de São Paulo. Museu de Arte Contemporânea. I. Toledo, Carolina Rossetti de. II. Magalhães, Ana Gonçalves. III. Brownlee, Peter John. CDD – 769.9 This exhibition is organized by the Museu de Arte Contemporânea da Universidade de São Paulo and the Terra Foundation for American Art. The exhibition and its publication are made possible with the generous support of the Terra Foundation for American Art. Book Credits Organization: Carolina Rossetti de Toledo, Ana Gonçalves Magalhães and Peter John Brownlee Authors: Ana Gonçalves Magalhães, Ann Shafer, Carolina Rossetti de Toledo, Christina Weyl, Claudio Mubarac, Heloísa Espada, Peter John Brownlee, Priscila Sacchettin, Ruth Fine and Silvia Dolinko. Labels: Carolina Rossetti de Toledo and Taylor L. Poulin Work Cover: Stanley William Hayter, Tarantela, 1943 • © HAYTER, Stanley William/AUTVIS, Brasil, 2019 Photographic Register: Ding Musa Documentation Preparation: Alecsandra Matias de Oliveira, Carolina Rossetti de Toledo and Taylor L. Poulin Registrars: Cristina Cabral, Fernando Piola, Marília Lopes, Michelle Alencar and Shari Felty Review: Edméa Neiva Translation: Cid Knipel Moreira Graphic Design/Art Editing: Elaine Maziero Electronic Publishing: Ana Beatriz Rodrigues and Roseli Guimarães Organization and Realization Co-organization e Sponsorship Support 2 3 Carlos Roberto Ferreira Brandão Director, MAC USP In an unprecedented partnership, Terra Foundation for American Art and the Museum of Contemporary Art of the University of São Paulo (MAC USP) come together to introduce the exhibition Atelier 17 and Modern Printmaking in the Americas, along with an international conference and a minicourse. The show brings together 53 works in printmaking from both MAC USP and US institutions, with Terra Foundation granting the resources that made possible the exhibition and the catalog, including the loan of works from its own collection and from two other museums: the Brooklyn Museum and the Art Institute of Chicago. MAC USP, FAPESP and CAPES took the charge of providing the funds for the conference and bringing to São Paulo art historian Christina Weyl, the minicourse lecturer at the museum. The exhibition has its origins in the research by Carolina Rossetti de Toledo for her Master thesis on the Nelson Rockefeller (1908-1979) donations to encourage the creation of modern art museums in Brazil. The research has found that the engravings now gathered in the MAC USP collection here exhibited were donated to the Museum of Modern Art of São Paulo (MAM) by Rockefeller in 1951. The experiments made by Atelier 17 go far beyond the borders of the United States of America and Europe, with echoes on the production of Brazilian artists at the time, such as Geraldo de Barros and Lívio Abramo (these names having large presence in the MAC USP collection). In summary, the research that supports the exhibition and its developments sheds light on a significant chapter in the Brazilian art and the exchanges that have made possible the putting together of the MAC USP collection. 4 Elizabeth Glassman President & CEO Terra Foundation for American Art Businessman and art collector Daniel J. Terra (1911-1996) only began collecting prints during the final years of his life. In a very short time, however, he was able to assemble a small but representative collection of important impressions by some of the United States’ greatest printmakers. The holdings include, among others, Mary Cassatt, James Abbott McNeill Whistler, Arthur Wesley Dow, John Marin, and, of course, Stanley William Hayter. Dan Terra, a man committed to international conversation, would certainly be pleased to see prints from his collection exhibited in dialogue with their counterparts from Brazil. In this regard, Nelson Rockefeller’s 1951 gift of U.S. prints to the Museum of Modern Art of São Paulo has provided a marvelous opportunity to assess key trends in mid-twentieth century printmaking as these ideas percolated throughout the Americas, partly a result of Hayter’s influence, which this exhibition also seeks to examine in greater depth. We are particularly enthusiastic to present these rarely seen works from the Terra Foundation collection, especially in conversation with prints by Brazilian artists from the same period. In addition we thank the Art Institute of Chicago and the Brooklyn Museum for their generous loans. Furthermore, we welcome the opportunity to work again in the cosmopolitan art milieu of São Paulo, where in the 2015-2016 season we partnered to present the award-winning exhibition, Paisagem nas Américas: Pinturas da Terra do Fogo ao Ártico, co-organized by the Pinacoteca of State of São Paulo, the Art Gallery of Ontario, and the Terra Foundation. In fact, it was during the opening of that exhibition that this current project was first discussed between the exhibition’s curators. Since that time, our connections with Brazilian colleagues and institutions have only grown. It is especially gratifying that through projects such as this, colleagues from across the Americas engage deeply in ways that will surely lead to future conversations in Brazil and across the continents. This exhibition has been a close collaboration between curators, registrars, designers, and educators at MAC USP and the Terra Foundation for American Art. With its bilingual publication, an international conference, and related mini-course, the exhibition also fulfills our goal to align the use of our collection with teaching at the undergraduate and graduate levels. Thus, we thank our partners at the MAC USP for this rich partnership, so expertly layered with lectures, classroom teaching, and the close study of objects. 5 SUMMARY Ana Magalhães 08 Atelier 17 in the Tropic of Capricorn. The Museum of Modern Art (MAM), São Paulo Biennial, and American Printmaking as Viewed from Brazil Peter John Brownlee 16 Print Diplomacy: Prints in the Collection of the Terra Foundation for American Art Carolina Rossetti de Toledo 21 American Prints at MAC USP: Itinerary of a Collection Ruth Fine 33 Art is Something You Pass On Ann Shafer 48 Atelier 17 and its Founder, Stanley William Hayter Christina Weyl 67 Shifting Focus: Women Printmakers of Atelier 17 Priscila Sacchettin 83 Lívio Abramo: Learning and Teaching Heloisa Espada 96 The Collection of Prints by Geraldo de Barros at MAC USP and some Hypotheses About his Passing Through Atelier 17 Silvia Dolinko 109 Hayter with Airs of Tango. Presence and Impact of Atelier 17 on Argentine Printmaking in Mid-20th Century Claudio Mubarac 128 New and Old Journeys of the Engraving Print Fred BECKER • Floresta Aérea IV (Aerial Jungle IV), 1948 134 6 Minna CITRON • Lula sob Pier (Squid Under Pier), 1948 137 Arthur Wesley DOW • Moonrise, c. 1898-1905 140 John FERREN • Sea Forms, 1937 143 Sue FULLER • Hen (Galinha), 1945 146 Stanley William HAYTER Tarantela (Tarantelle), 1943 149 Cinq Personnages, 1946 152 Rockwell KENT • Flame, 1928 155 Armin LANDECK Studio Interior nº 1, 1935 158 Alleyway (Passagem no Beco), 1948 161 Blanche LAZZELL • Still Life, 1919 [block cut], 1931 (printed) 165 Boris MARGO • The Sea (O Mar), 1948-49 168 John MARIN • Brooklyn Bridge nº 6, 1913 172 Seong MOY • The Little Act on Horseback (Pequeno Ato a Cavalo), 1949 175 Gabor PETERDI • Sign of the Lobster (Marca da Lagosta), 1947-1948 178 Walter ROGALSKI • Fiddlers (Caranguejos), s.d. 181 Louis SCHANKER • Carnival (Carnaval), 1948 184 William ZORACH • Mountain Stream, 1915 187 Ruth Fine • Glossary 192 List of Works 194 7 Atelier 17 in the Tropic of Capricorn. The Museum of Modern Art (MAM), São Paulo Biennial, and American Printmaking as Viewed from Brazil1 Ana Magalhães 1 This publication is a record of both the exhibition and the international conference, organized in partnership between the Museum of Contemporary Art of the University of São Paulo (MAC USP) and the Terra Foundation for American Art, which takes as its theme Atelier 17 as a hub of modern printmaking between the United States and Brazil in the 1950s. It was made possible by two elements: scholarly research and the resources to support the loans, not only from the Terra Foundation, but from two other institutions in the United States: The Brooklyn Museum and the Art Institute of Chicago. Support from the Terra Foundation was also given to provide all the resources to the preparation of the exhibition and respective publication, whereas MAC USP, as a counterpart, searched for resources to the conference and to bring art historian, Christina Weyl, to give a minicourse at the Museum, between April 15 and 18, 2019. Through this partnership, São Paulo will see for the first time the impressive collection of American prints gathered by the Museum of Modern Art (MAM) through important donations, in comparison to a group of works that give the Brazilian audience a panorama of the making of American print collections, in those years, and their impact on the Brazilian artistic milieu.
Load more

Recommended publications
  • PAAM Collection Oct 18.Pdf
    First Middle Last Birth Death Sex Accession Acc ext Media code Title Date Medium H W D Finished size Credit Jules Aarons 1921 2008 m 1828 Ph06 Jules Aarons Portfolio: In the Jewish Neighborhoods 1946-76 box, 100 silver gelatin prints, signed verso 15.5 12 3 Gift of David Murphy, 2006 Jules Aarons 1921 2008 m 1928 001 Ph08 untitled (Weldon Kees speaking to assembly of artists) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 002 Ph08 Sunday (The fishermen's children playing on the loading wharf.) c.1949-50 silver gelatin photograph 8 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 003 Ph08 untitled (Sunday II, fishermen's children playing on loading wharf.) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 004 Ph08 untitled (the flag bearers) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 005 Ph08 Parting c.1949-50 silver gelatin photograph 9 7 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 006 Ph08 untitled (2 ladies at an exhibition) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 007 Ph08 Dante (I, Giglio Raphael Dante sitting on floor, ptg. behind) c.1949-50 silver gelatin photograph 10 8 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 008 Ph08 Lawrence Kupferman, a Prominent Modern American Artist (etc.) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 009 Ph08 Kahlil (Gibran, playing music on bed) c.1949-50 silver gelatin photograph 7 7.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 010 Ph08 Kahlil & Ellie G.
    [Show full text]
  • Floating World: the Influence of Japanese Printmaking
    Floating World: The Influence of Japanese Printmaking Ando Hiroshige, Uraga in Sagami Province, from the series Harbors of Japan, 1840-42, color woodcut, collection of Ginna Parsons Lagergren Utagawa Kuniyoshi, Poem by Sarumaru Tayû: Soga Hakoômaru, from the series Ogura Imitations of One Hundred Poems by One Hundred Poets, 1845-48, color woodcut, collection of Jerry & Judith Levy Floating World: The Influence of Japanese Printmaking June 14–August 24, 2013 Floating World explores the influence of Japanese ukiyo-e woodblock printmaking on American and European artists from the late 19th century to the present. A selection of Japanese prints sets the stage for Arts & Crafts era works by Charles Bartlett, Elizabeth Colborne, Arthur Wesley Dow, Frances Gearhart, Edna Boies Hopkins, Bertha Lum and Margaret Jordan Patterson. Woodcuts by Helen Franken- thaler illuminate connections between Abstract Expressionism and Japanese art. Prints by Annie Bissett, Kristina Hagman, Ellen Heck, Tracy Lang, Eva Pietzcker and Roger Shimomura illustrate the ongo- ing allure of ukiyo-e as the basis for innovations in printmaking today. In 1891, AmerIcAn ArtisT woodblock prints that depicted the ARThuR WESLEY DOW wrote that “floating world” of leisure and en- “one evening with Hokusai gave me tertainment. Artists began depicting more light on composition and deco- teahouses, festivals, theater and activi- rative effect than years of study of ties like the tea ceremony, flower ar- pictures. I surely ought to compose in an ranging, painting, calligraphy and music. entirely different manner.”1 Dow wrote Landscapes, birds, flowers and scenes of the letter after discovering a book of daily life were also popular.
    [Show full text]
  • Histories of Nineteenth-Century Brazilian
    Perspective Actualité en histoire de l’art 2 | 2013 Le Brésil Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Histoires de l’art brésilien du XIXe siècle : un bilan critique de la bibliographie, 2000-2012 Histórias da arte brasileira do século XIX: uma revisão critica da bibliografia Geschichten der brasilianischen Kunst des 19. Jahrhunderts : eine kritische Bilanz der Bibliographie, 2000-2012 Storie dell’arte brasiliana dell’Ottocento: un bilancio critico della bibliografia, 2000-2012 Historias del arte brasileño del siglo XIX: un balance crítico de la bibliografía, 2000-2012 Rafael Cardoso Electronic version URL: http://journals.openedition.org/perspective/3891 DOI: 10.4000/perspective.3891 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 31 December 2013 Number of pages: 308-324 ISSN: 1777-7852 Electronic reference Rafael Cardoso, « Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 », Perspective [Online], 2 | 2013, Online since 30 June 2015, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/3891 ; DOI : https://doi.org/10.4000/ perspective.3891 Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Rafael Cardoso The history of nineteenth-century Brazilian art has undergone major changes over the first years of the twenty-first century. It would be no exaggeration to say that more has been done in the past twelve years than in the entire preceding century, at least in terms of a scholarly approach to the subject. A statement so sweeping needs to be qualified, of course, and it is the aim of the present text to do just that.
    [Show full text]
  • Waldemar Cordeiro: Da Arte Concreta Ao “Popcreto”
    UNIVERSIDADE ESTADUAL DE CAMPINAS DEPARTAMENTO DE HISTÓRIA INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS MESTRADO EM HISTÓRIA DA ARTE E DA CULTU RA Waldemar Cordeiro: da arte concreta ao “popcreto” Fabricio Vaz Nunes CAMPINAS (SP) Maio, 2004 FABRICIO VAZ NUNES WALDEMAR CORDEIRO: DA ARTE CONCRETA AO “POPCRETO” Dissertação de Mestrado apresentada ao Departamento de História do Instituto de Filosofia e Ciências Humanas da Universidade Estadual de Campinas, sob a orientação do Prof. Dr. Nelson Alfredo Aguilar. CAMPINAS (SP) Maio, 2004 Este exemplar corresponde à redação final da Dissertação defendida e aprovada pela Comissão Julgadora em ______ / ______ / 2004. BANCA Prof. Dr. Nelson Alfredo Aguilar (Orientador) Profa. Dra. Annateresa Fabris (Membro) Prof. Dr. Agnaldo Aricê Caldas Farias(Membro) Prof. Dr. Luiz Renato Martins (Suplente) iii FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO IFCH - UNICAMP Nunes, Fabricio Vaz N 922 w Waldemar Cordeiro: da arte concreta ao “popconcreto” / Fabricio Vaz Nunes. - - Campinas, SP : [s.n.], 2004. Orientador: Nelson Alfredo Aguilar. Dissertação (mestrado ) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas. 1. Cordeiro, Waldemar, 1925-1973. 2. Arte brasileira. 3. Arte concreta. I. Aguilar, Nelson Alfredo. II. Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humanas. III.Título. iv A meus pais, José Onofre e Lidia v Agradecimentos Nelson Aguilar, Neiva Bohns, Luciano Migliaccio, Luiz Marques, Jorge Coli, Annateresa Fabris, Agnaldo Farias, Luiz Renato Martins, Maria José Justino, Keila Kern; Bibliotecas da FAU-USP, MAC-USP, IFCH-Unicamp, UFPR; CAPES; Luci Doim e família, André Akamine Ribas, Rodrigo Krul, Pagu Leal, Fernanda Polucha, Clayton Camargo Jr., Ana Cândida de Avelar, James Bar, todos os colegas do IFCH, Décio Pignatari, Augusto de Campos, Analívia Cordeiro.
    [Show full text]
  • The Development of Art Education in America 1900-1918
    Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 7-30-1964 The Development of Art Education in America 1900-1918 Jerry Josserand Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Josserand, Jerry, "The Development of Art Education in America 1900-1918" (1964). Plan B Papers. 398. https://thekeep.eiu.edu/plan_b/398 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. THE DEVELOPMENT OF ART EDUCATION IN AMERICA 1900-1918 (TITLE) BY Jerry Josserand PLAN B PAPER SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE Art 591 IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1964 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. This paper was written for Art 591 the summer of 1961. It is the result of historical research in the field of art education. Each student in the class covered an assigned number of years in the development of art education in America. The paper was a section of a booklet composed by the class to cover this field from 1750 up to 1961. The outline form followed in the paper was develpped and required in its writing by the instructor. THE DEVELOPMENT OF ART EDUCATION IN AMERICA 1900-1918 Jerry Josserand I.
    [Show full text]
  • Summer 2021 —Vol
    ACADEMYAC ART MUSEUMA DMAGAZINEE - SUMMERM 2021Y CHAIR’S AND DIRECTOR’S LETTERS, TRUSTEES & STAFF Dear Museum Friends, As we all emerge from one of the strangest winters ever, the Academy Art Museum is pleased to report on its robust plans for the coming spring and summer, in no small TRUSTEES Chuck Mangold, Jr. Donna Alpi, Vice Chair Christine Martin part due to the loyal support of our MaryLou Armstrong Peters Antonio McAfee members and donors. Maxine Farrell Catherine Collins McCoy, Chair Craig Fuller, Vice Chair Jill Meyerhoff On March 16, Twisted, The Peculiar Peter Gallagher Jeffrey Parker Portrayal of People the first-ever Jim Harris Courtney Clark Pastrick student-curated exhibition, Elizabeth Hormel John Pinney, Treasurer opened and will run until April 8. Lisa Hunter Mary Ann Schindler This exhibition resulted from the pandemic-caused cancellation of the Jeffrey Huvelle, Secretary Karen Shook Museum’s ever-popular annual student art exhibitions and is the product Kentavius Jones Nancy Trippe Margaret Keller Elizabeth Underhill of a collaboration with Kent Island High School art teacher Andrea Julie Madden Marilyn Weiner Schulte. Schulte’s students curated the exhibition by looking at the Trish Malin Hanna Woicke Museum’s Permanent Collection online, selecting works that resonated with them, developing a theme, and creating their own original related art. See the article on page 7 for the students’ thoughtful reactions to having EMERITUS TRUSTEES HONORARY TRUSTEES been involved in this collaborative curatorial and creative project. Richard Bodorff Arnold L. Lehman Joan W. Cox Earl A. Powell, III Richard C. Granville Donald Saff Other children’s and community programming highlighted in this Susan Hamilton James Turrell magazine includes Friday spring Home School Mini Sessions, Earth Bette Kenzie Day Family Art Opportunities, Flowers, Flowers, Everywhere—a special Frank Kittredge Community Day planned in conjunction with other area non-profits, and Kay W.
    [Show full text]
  • Download The
    MAS Context Issue 22 / Summer ’14 Surveillance MAS Context Issue 22 / Summer ’14 Surveillance 3 MAS CONTEXT / 22 / SURVEILLANCE / 22 / CONTEXT MAS Welcome to our Surveillance issue. This issue examines the presence of surveillance around us— from the way we are being monitored in the physical and virtual world, to the potential of using the data we generate to redefine our relationship to the built environment. Organized as a sequence of our relationship with data, the contributions address monitoring, collecting, archiving, and using the traces that we leave, followed by camouflaging and deleting the traces that we leave. By exploring different meanings of surveillance, this issue seeks to generate a constructive conversation about the history, policies, tools, and applications of the information that we generate and how those aspects are manifested in our daily lives. MAS Context is a quarterly journal that addresses issues that affect the urban context. Each issue delivers a comprehensive view of a single topic through the active participation of people from different fields and different perspectives who, together, instigate the debate. MAS Context is a 501(c)(3) not for profit organization based in Chicago, Illinois. It is partially supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts. MAS Context is also supported by Wright. With printing support from Graphic Arts Studio. ISSN 2332-5046 5 “It felt more like a maximum security prison than a gated community SURVEILLANCE / 22 / CONTEXT MAS when the Chicago Housing Authority tried to beef up the safety of the neighborhood. Our privacy was invaded with police cameras Urban watching our every move.
    [Show full text]
  • ATELIER 17 and Modern Printmaking in the Americas
    ATELIER 17 and Modern Printmaking in the Americas DOI 10.11606/9788594195319 Organization Carolina Rossetti de Toledo Ana Gonçalves Magalhães Peter John Brownlee ebook UNIVERSIDADE DE SÃO PAULO Museu de Arte Contemporânea — MAC USP Terra Foundation for American Art São Paulo 2019 São Paulo (Partial or total part of this work is permitted, provided that the source and authorship is cited, prohibiting any use for commercial purposes) © 2019 – Museu de Arte Contemporânea da Universidade de São Paulo Avenida Pedro Álvares Cabral, 1301 • 04094-050 • Ibirapuera • São Paulo/SP email: [email protected] - www.mac.usp.br Catalog drawing elaborated by the Library Lourival Gomes Machado do Museu de Arte Contemporânea da USP Atelier 17 and modern printmaking in the Americas / organization Carolina Rossetti de Toledo, Ana Gonçalves Magalhães, Peter John Brownlee. São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo, 2019. (MAC Essencial, 16), 225 p. ; il. ISBN 978-85-94195-31-9 DOI 10.11606/9788594195319 1. Printmaking – America. 2. Modern Art – America – 20th Century. 3. Atelier 17. 4. Universidade de São Paulo. Museu de Arte Contemporânea. I. Toledo, Carolina Rossetti de. II. Magalhães, Ana Gonçalves. III. Brownlee, Peter John. CDD – 769.9 This exhibition is organized by the Museu de Arte Contemporânea da Universidade de São Paulo and the Terra Foundation for American Art. The exhibition and its publication are made possible with the generous support of the Terra Foundation for American Art. Book Credits Organization: Carolina Rossetti de Toledo, Ana Gonçalves Magalhães and Peter John Brownlee Authors: Ana Gonçalves Magalhães, Ann Shafer, Carolina Rossetti de Toledo, Christina Weyl, Claudio Mubarac, Heloísa Espada, Peter John Brownlee, Priscila Sacchettin, Ruth Fine and Silvia Dolinko.
    [Show full text]
  • Urban Landscapes Human Codes
    via dufour 1 - 6900 lugano (CH) +41 (0)91 921 17 17 [email protected] PRESS RELEASE [dip] contemporary art is delighted to present I pag. 1 URBAN LANDSCAPES HUMAN CODES Opening: wednesday 22.01.2020 h. 18.00 - 20.30 Visits: 23.01 - 22.02.2020 A group show with Geraldo de Barros (Brazil), Paolo Canevari (Italy), Olga Kisseleva (France/Russia), Wang Tong (China), Avinash Veeraraghavan (India) A selection of works by three generations of artists, spanning four different continents. Different historical, political and artistic periods. Different social and urban contexts. Through their works, these artists depicts expressions of a visual vocabulary that refers to continuous interconnections between art and society: gathering strong inputs, eager to find a synergy between past and future, oscillating between different contexts. In this different explorations, the landscape, especially the urban one, becomes a metaphor for the incessant metamorphosis of society. PRESS RELEASE Geraldo De Barros (Sao Paulo, 1923 – 1998), was a Brazilian painter, I pag. 2 photographer and designer, who also worked in engraving, graphic arts, and industrial design. He was a leader of the concrete art movement in Brazil, cofounding Grupo Ruptura and was known for his trailblazing work in experimental abstract photography and modernism. Geraldo de Barros began his investigations into photography in the mid-1940s in São Paulo. He built a small photo studio and bought a 1939 Rolleiflex and, in According to The Guardian, 1949, he joined the Foto Cine Club Bandeirante, which was one of the few forums De Barros was "one of the most influential Brazilian artists of the for the city’s photography enthusiasts.
    [Show full text]
  • A Stellar Century of Cultivating Culture
    COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists.
    [Show full text]
  • 2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London
    REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author 2 0 0 jT COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D.
    [Show full text]
  • VOL 1, No 69 (69) (2021) the Scientific Heritage (Budapest, Hungary
    VOL 1, No 69 (69) (2021) The scientific heritage (Budapest, Hungary) The journal is registered and published in Hungary. The journal publishes scientific studies, reports and reports about achievements in different scientific fields. Journal is published in English, Hungarian, Polish, Russian, Ukrainian, German and French. Articles are accepted each month. Frequency: 24 issues per year. Format - A4 ISSN 9215 — 0365 All articles are reviewed Free access to the electronic version of journal Edition of journal does not carry responsibility for the materials published in a journal. Sending the article to the editorial the author confirms it’s uniqueness and takes full responsibility for possible consequences for breaking copyright laws Chief editor: Biro Krisztian Managing editor: Khavash Bernat • Gridchina Olga - Ph.D., Head of the Department of Industrial Management and Logistics (Moscow, Russian Federation) • Singula Aleksandra - Professor, Department of Organization and Management at the University of Zagreb (Zagreb, Croatia) • Bogdanov Dmitrij - Ph.D., candidate of pedagogical sciences, managing the laboratory (Kiev, Ukraine) • Chukurov Valeriy - Doctor of Biological Sciences, Head of the Department of Biochemistry of the Faculty of Physics, Mathematics and Natural Sciences (Minsk, Republic of Belarus) • Torok Dezso - Doctor of Chemistry, professor, Head of the Department of Organic Chemistry (Budapest, Hungary) • Filipiak Pawel - doctor of political sciences, pro-rector on a management by a property complex and to the public relations
    [Show full text]