DONALD JUDD Born 1928 in Excelsior Springs, Missouri
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Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery, -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Joel Shapiro Press Release FINAL
FOR IMMEDIATE RELEASE DOMINIQUE LÉVY TO PRESENT THE FIRST COMPREHENSIVE SURVEY OF JOEL SHAPIRO’S EARLY WOOD WALL RELIEF SCULPTURES ALONGSIDE A MAJOR NEW INSTALLATION Joel Shapiro October 28, 2016 – January 7, 2017 Dominique Lévy 909 Madison Avenue, New York New York … Dominique Lévy is pleased to present the first survey of early wood reliefs by the American sculptor Joel Shapiro, organized with Olivier Renaud-Clément. These works, created between 1978 and 1980, will be on view alongside a new site-specific installation. The exhibition will foreground work from the late 1970s, demonstrating the trajectory of Shapiro’s career, over the course of which the artist has continually pursued ideas of color and mass, culminating in a recent body of room-size sculptural installations. Dominique Lévy will publish a monograph in conjunction with the exhibition featuring texts by David Raskin and Phyllida Barlow and poems by Peter Cole and Ange Mlinko, as well as full documentation of the wood reliefs. This marks the Untitled, 1978. Wood and paint. 5 1/4 x 5 1/4 x 3 inches (13.3 x 13.3 x 7.6 cm). © 2016 Joel Shapiro first time the series will be comprehensively surveyed. / Artists Rights Society (ARS), New York. Shapiro has worked with the idea of form collapsing since 2002; he views his work until this point as building up to this “moment of discovery that I can get the work off the floor and be more playful in the air.”1 He describes these large-scale installations as being “the projection of thought into space without the constraint of architecture.” Shapiro will create a new site-specific installation for the exhibition, which will occupy the second floor of Dominique Lévy Gallery. -
Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority. -
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 Rauschenberg Selected One-Artist
ROBERT RAUSCHENBERG SELECTED ONE-ARTIST EXHIBITIONS DATES Born 1925, Port Arthur, Texas Died 2008, Captiva, Florida EDUCATION 1947–1948, Kansas City Art Institute 1947, Academie Julien, Paris 1948–1949, Black Mountain College, North Carolina (with Josef Albers) 1949–1952, Art Students League, New York (with Vaclav Vytlacil and Morris Kantor) 2018 Robert Rauschenberg: Spreads, Galerie Thaddaeus Ropac, Ely House, London, November 28, 2018– January 26, 2019. Rauschenberg: The 1/4 Mile, Los Angeles County Museum of Art, October 28, 2018–June 9, 2019. Robert Rauschenberg: Vydocks, Pace Gallery, 12/F, H Queen’s, 80 Queen’s Road Central, Hong Kong, September 19–November 2, 2018. (Catalogue) Robert Rauschenberg: In and About L.A, Los Angeles County Museum of Art, August 11, 2018–February 10, 2019. Robert Rauschenberg: Features, Krakow Witkin Gallery, Boston, May 12–June 23, 2018. Robert Rauschenberg: Selected One–Artist Exhibitions 2 Robert Rauschenberg: Paintings Objects Sculptures, Galerie Bastian, Berlin, April 28–July 28, 2018. 2017 Robert Rauschenberg: A Quake in Paradise (Labyrinth), Massachusetts Museum of Contemporary Art, North Adams, May 28, 2017–Fall 2018. Robert Rauschenberg: Late Series, Faurschou Foundation Venice, May 12–August 27, 2017. (Catalogue) 2016 Robert Rauschenberg, Transfer Drawings from the 1950s and 1960s, Offer Waterman, London, December 2, 2016–January 13, 2017. (Catalogue) Robert Rauschenberg, Tate Modern, London, December 1, 2016–April 2, 2017. Traveled to: as Robert Rauschenberg: Among Friends, The Museum of Modern Art, New York, May 21, 2017–September 17, 2017; as Robert Rauschenberg: Erasing the Rules, San Francisco Museum of Modern Art, November 18, 2017– March 25, 2018. (Catalogue) Robert Rauschenberg: Salvage, Galerie Thaddaeus Ropac, Paris, October 20, 2016–January 14, 2017. -
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. -
Press Release (Pdf)
S TEPHEN H ALLER G ALLERY NEXUS July 1– August 7, 2010 Stephen Haller Gallery is pleased to announce the opening of a new exhibition: NEXUS a gathering together of key works by gallery artists and a forecast of the upcoming season. This group exhibition reveals the connections, the shared sensibility of the gallery’s core group of international artists. LINDA STOJAK’S paintings may be thought of as “psychological self-portraits.” Her iconography is the human body. Her work emerges out of a great tradition of painting and yet stands as uniquely her own. Linda Stojak’s paintings are an exploration of the very essence of what it is to be human. Her work is a highly charged yet subtle exploration of the personal, characterized by immediacy and a palpable painterly quality, and marked by a disquieting beauty. Exciting new photographer KATE O'DONOVAN COOK’S The Waldorf Series explores issues of gender and the ambiguity of relationships. O'Donovan Cook plays with the idealization of a romantic relationship, subverting it by portraying both characters: she is the male and the female engaged in this ambiguous scenario. Her work is characterized by explorations of identity through role playing in ways both theatrical and fantastical. The Waldorf Series is in the permanent collection of the Herbert F Johnson Museum at Cornell. American painter RON EHRLICH is known for achieving rich surfaces and subtleties of tone. Ehrlich melds the textures rooted in Japanese ceramics with the spontaneity and vitality of action painting. Years spent in Japan studying the art of ceramics at a monastery profoundly influenced Ehrlich’s approach to painting. -
2021 -2022 Catalog
(203) 332-5000 900 Lafayette Boulevard Bridgeport, CT 06604 WWW.HOUSATONIC.EDU 2021-2022 COLLEGE CATALOG Becoming CONNECTICUT STATE COMMUNITY COLLEGE A merger of Connecticut's 12 community colleges is underway. Connecticut State Community College (CT State), a statewide college comprised of all Connecticut's current community college locations, plans to open its doors in the Fall 2023. Here are some important facts students need to know: • the final commencement ceremony for Housatonic Community College is scheduled for May 2023. Ceremonies will continue to be held at each location as campuses of CT State. • as a part of the planned merger, students continuing their studies beyond summer term 2023 will be matched with the CT State program that most closely aligns with their Spring 2023 major and is offered at the Housatonic location, • students beginning Associate degree programs in Fall 2021 should plan with their advisor/program coordinator to attend full-time if they wish to graduate prior to the planned merger, • students who begin an Associate degree program in January 2022 would be anticipated to complete their degree at the merged college, Connecticut State Community College, • in all cases, the College is committed to students completing their education with a minimum of disruption and staying in touch with your advisor/program coordinator is essential, • further details can be found and will be updated on the Frequently Asked Questions page: http://www.ct.edu/ctstate/academics. Published August 9, 2021 All information in this catalog can be viewed online at Housatonic Community College 2021-2022 Catalog Housatonic Community College 2021-2022 Catalog 1 2 Housatonic Community College 2021-2022 Catalog Table of Contents The College reserves the right to change course offerings or to modify or change information and regulations published in this catalog. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer
MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55. -
JAMES LITTLE FOREWORD the Vanguard Become So Widely Accepted That They Constitute a New Shifting Towards Representation of Any Kind
NEW YORK CEN TRIC Curated by The Art Students League of New York The American Fine Arts Society Gallery 215 West 57th Street, NYC JAMES LITTLE FOREWORD the vanguard become so widely accepted that they constitute a new shifting towards representation of any kind. academy and, in turn, provoke the development of alternatives. In the NEW YORK–CENTRIC: A NON-COMPREHENSIVE OVERVIEW late 1950s, when Abstract Expressionism was increasingly acclaimed The Color Field painters remained faithful to their older predecessors’ by the small art world of the time, and the meaning of authenticity, conviction that abstraction was the only viable language for artists “Too much is expected of Art, that it mean all kinds of things and is of what he called “color-space-logic.” His work for social justice de- the necessity of abstraction, and the function of art as a revelation of their generation and faithful, as well, to the idea that the painter’s the solution to questions no one can answer. Art is much simpler than manded so much of his time that it often prevented him from painting of the unseen were passionately debated in the Cedar Tavern and role was to respond to inner imperatives, not reproduce the visible. that. Its pretentions more modest. Art is a sign, an insignia to cel- (he mainly produced drawings and works on paper in the 1930s) but The Club, so many younger artists who absorbed these values strove Like the Abstract Expressionists, too, the Color Field painters were ebrate the faculty for invention.” it had significant results, such as getting artists classified as workers to emulate Willem de Kooning’s dense, layered paint-handling that convinced that every canvas, no matter how much it resembled noth- eligible for government support—hence the WPA art programs.