DOCSLIB.ORG

May 2003 CAA News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
May 2003 CAA News NEWS PHOTO CREDIT: ANTONIO QUATTRONE, COURTESY OF THE BARGELLO NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 28, Number 3 MAY 2003 Andrea del Verrocchio, David (ca. 1465) Detail: head of Goliath before restoration. HIGH MUSEUM CAA STATEMENT ON IRAQ LOOTING TO SHOW n April 16, 2003, the Executive Committee of the CAA Board of Directors unanimously approved the following statement regarding the looting and RESTORED DAVID destruction of cultural institutions in Iraq, which was then sent to President OGeorge W. Bush: hen the fifteenth-century David by Andrea del Verrocchio is The College Art Association registers its outrage at the failure of government and mili- exhibited outside Italy for the Wfirst time this fall, it will look different. tary forces, including those of the United States, to protect the National Museum and National Library of Iraq. These institutions housed the artistic and cultural heritage not The bronze will be dark brown, with touches of gold leaf on the figure’s head, only of the people of Iraq, but also of the world. We call upon you to take immediate garment, and boots. A reconstruction of action to prevent further looting, to protect the remaining artistic and archeological sites the original sword will substitute for the of Iraq, and to initiate an aggressive campaign to restore the contents of the National familiar blade, itself a replacement. Most Museum and other cultural institutions to the people of Iraq. startling, Goliath’s head will be next to As the largest association for visual arts professionals, the College Art Association David’s left foot instead of wedged promotes the highest levels of creativity and scholarship in the practice, teaching, and between his feet. interpretation of the visual arts. These dramatic changes are the result of a collaboration between the Museo Nazionale del Bargello in Florence and the High Museum of Art in Atlanta. The exhibition, Verrocchio’s David Restored: ARTSPACE IN ACTION A Renaissance Bronze from the National Museum of the Bargello, Florence, will RTspace at the 2003 CAA Annual be on view at the High Museum from Conference in New York was energetic, November 15, 2003, to February 8, 2004. dynamic, moving, riveting and full of amaz- Gary M. Radke, professor of fine arts at Aing presentations. Beginning with coffee each morn- Syracuse University in Syracuse, NY, is ing, and with videotapes to view throughout the day guest curator. from the University of California, Los Angeles’s The restoration is being done at the AIM: Art in Motion III, the annual festival of digital Bargello by the conservator Ludovica and time-based artwork, ARTspace in New York Nicolai, under the supervision of the proved to be another successful juncture of art and Opificio delle Pietre Dure, an autonomous institute of the Italian PHOTO CREDIT: LARRY BARNS artists, surprises and discussion, and activism and Ministry for Cultural Heritage. A new Shirin Neshat. Tooba Series, 2002. 3 toned silver networking. gelatin prints. 31 x 38" © 2002 Shirin Neshat. laser technology has been used to remove Courtesy Barbara Gladstone Following a dynamic panel led by Ted Berger of dirt and black varnish from the statue— the New York Foundation for the Arts on “Freedom which is 47 inches high and weighs more of Expression: Now More Than Ever?”, and in some ways a linked thread, Moukhtar than 300 pounds—without damage to the Kocache of the Lower Manhattan Cultural Council (LMCC) talked about his organiza- gold leaf. tion’s artist residency projects after the World Trade Center disaster and LMCC’s outreach CONTINUED ON PAGE 22 to other locations, as well as some of the issues artists are addressing in these residencies. On a lighter note, in the afternoon, five “Irony Chefs” concocted theories and lectures in IN THIS ISSUE a hybrid of an academic panel and the popular cooking show. (Loved that sock monkey!) Paul Tschinkel and Jo Ann Wein presented issues about video and film interviews with 2003 Annual Conference artists and their value as educational (in the larger sense) tools. Then the first ever “Open 3 Wrap-Up Laptop Social”—where conference attendees were invited to showcase their work on their New Board Members Elected CONTINUED ON PAGE 22 8 2005 Call for Session 11 Proposals INSIDE: CAA RESPONDS TO IRAQ. See Page 2 Organization) convened a meeting of Iraqi FROM THE EXECUTIVE DIRECTOR and international cultural experts in Paris on April 17, and issued the following state- s I write Mesopotamian Archaeology at the Oriental ment: “The meeting deplores and is deeply this in mid- Institute, University of Chicago. Gibson shocked by the extensive damage to and April 2003, has been extensively quoted in the press looting of the cultural heritage of Iraq Athe news of the and has been particularly active in seeking caused by the recent conflict. It calls on wholesale looting of to protect institutions, monuments, and the coalition forces to observe the princi- the National sites in Iraq from damage during the war. ples of the 1954 Hague Convention for the PHOTO CREDIT: ANDREI RALKO Museum of Iraq and The focus of the task force was for- Protection of Cultural Property in the Susan Ball, CAA the burning of the ward-looking. As a community, our most Event of Armed Conflict and its two Executive Director National Library and pressing responsibility is to identify posi- Protocols.” This was followed by a list of National Archives of tive steps to ameliorate this despicable sit- six recommendations consistent with those Baghdad is still fresh. By the time CAA uation. The task force established immedi- made by the Heritage Emergency National members receive this issue of CAA News, ate priorities: “1) communicate with Task Force. (The full text and a list of par- events will have progressed further. Al- cultural-heritage professionals in Iraq to ticipants can be found at www.collegeart. though the exact scale of the loss is not yet obtain a list of their needs and priorities; org and www.unesco.org.) known (and may never be fully known), 2) call for the immediate protection of cul- Several international organizations, we do know that the world has lost many tural resources and assets located in Iraq; such as the International Council of thousands of cultural artifacts, works of 3) call for the inclusion of cultural-heritage Museums (ICOM), have issued statements art, manuscripts, and documents, as well as needs in the U.S. Agency for International warning art dealers, auction houses, collec- records of the history of archaeology and Development’s (USAID) program of tors, and museums against acquisition of other vital sources of the history and cul- reconstruction activities for Iraq [see www. objects that belong to the Iraqi heritage ture of Mesopotamia, Iraq, and Islam. usaid.gov/iraq/activities. html; culture (see www.icom.museum). Following the Like many other organizations, CAA was not included in the initial request for 1991 Gulf War, objects from thirteen loot- has drafted a formal letter of protest and proposals from the U.S. government for ed museums later showed up on the inter- concern in response to this terrible destruc- Iraq’s reconstruction, nor were NGOs or national art market. Interpol has been alert- tion, addressed to the president of the nonprofit organizations allowed to bid]; ed to the current situation, and both the United States (see front page). We are, and 4) identify private, business, and gov- U.S. State Department and Secretary of however, committed to do more than just ernment funding to support the cultural- Defense Donald Rumsfeld have pledged to register our distress. I wish to report to you heritage reconstruction work in Iraq.” assist in returned stolen objects to Iraq. now on our preliminary plans to assist in Several organizations reported that AAM and Heritage Preservation are the efforts to preserve what remains of the work has already begun in these areas, by coordinating the efforts of the task force Iraqi national collections, the vulnerable identifying a team of specialists to travel to and will soon reassemble the group to archaeological sites, and museums and Iraq, as well as compiling databases of administer assignments. In the meantime, institutions in other cities in Iraq. stolen and missing objects to aid Interpol task-force members are gathering informa- On April 16, 2003, I attended a meet- and customs officials in an effort to trace tion about recovery projects and related ing of the Heritage Emergency National them. During our meeting, a representative websites. Organizations are speaking out, Task Force in Washington DC, convened from the Getty Conservation Institute issuing statements that contain the four by the American Association of Museums announced that that organization will lend points listed above, and each is lending its (AAM) and Heritage Preservation. Two intellectual and financial help to establish a own expertise to the communal effort. We days after the news from Iraq, more than repatriation website, and the Columbia will link to each other’s statements and thirty representatives of the scholarly, University libraries, with the support of the coordinate our efforts through the task archaeological, museum, library, archival, provost’s office, have offered to help digi- force. More information about CAA’s role, and history communities assembled, tize images for help in recovery. as well as links to the important work of including Gustavo Araoz, executive direc- Organizations that wish to participate in other organizations, can be found on our tor of the United States National this funding effort should contact AAM at website, www.collegeart.org. We will con- Committee of the International Council on 202/289-1818. tinue to post information as it is issued. Monuments and Sites (US/ICOMOS), After the meeting, Araoz circulated a —Susan Ball, CAA Executive Director Sharon Flescher, executive director of the draft letter to President George W.
Load more

Recommended publications
  • Pat Adams Selected Solo Exhibitions
    PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia,
    [Show full text]
  • American Art New York | November 19, 2019
    American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www.
    [Show full text]
  • 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.
    [Show full text]
  • Cubo-Futurism
    Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu­ larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh­ kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus­ sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet.
    [Show full text]
  • Cubism Futurism Art Deco
    20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905.
    [Show full text]
  • 1874 – 2019 • Impressionism • Post-Impressionism • Symbolism
    1874 – 2019 “Question: Why can’t art be beautiful instead of fascinating? Answer: Because the concept of beautiful is arguably more subjective for each viewer.” https://owlcation.com/humanities/20th-Century-Art-Movements-with-Timeline • Impressionism • Dada • Post-Impressionism • Surrealism • Symbolism • Abstract Expressionism • Fauvism • Pop Art • Expressionism • Superrealism • Cubism • Post-Modernism • Futurism • Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter • Post-Impressionism is an art movement that developed in the 1890s. It is characterized by a subjective approach to painting, as artists opted to evoke emotion rather than realism in their work • Symbolism, a loosely organized literary and artistic movement that originated with a group of French poets in the late 19th century, spread to painting and the theatre, and influenced the European and American literatures of the 20th century to varying degrees. • Fauvism is the style of les Fauves (French for "the wild beasts"), a group of early twentieth- century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. • Expressionism is a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. ... Expressionist artists have sought to express the meaning of emotional experience rather than physical reality. • Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.
    [Show full text]
  • Art Front Gerald M. Monroe Archives of American
    Art Front Gerald M. Monroe Archives of American Art Journal, Vol. 13, No. 3. (1973), pp. 13-19. Stable URL: http://links.jstor.org/sici?sici=0003-9853%281973%2913%3A3%3C13%3AAF%3E2.0.CO%3B2-9 Archives of American Art Journal is currently published by The Smithsonian Institution. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/si.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sun Jan 13 12:08:42 2008 writer and &tor of trade magazines, a Communist functionary with respon- published an art bulletin under the aegis sibility in cultural matters, placed the of his gallery.
    [Show full text]
  • Milton Avery. New York: Hudson Hills Press, Inc., 1990; Pp
    Milton Avery. New York: Hudson Hills Press, Inc., 1990; pp. 29-31+225. Text © Robert Hobbs MILTON AVERY ilton Avery is a consummate sophisticate who maintains a witty dialogue with European modernists, with his American peers, and with fine and folk-arr traditions. Although he was generally M quiet in his daily life, preferring to leave the art of conversation to others, in his painting he was loquacious: he maintained as many as two and sometimes three simultaneous conversations with other artists in a single work. Avery's arr is collaborative in the true sense of working with culture, for it responds to various aspects of his world, making delightful, incisive ripostes and becoming by turns modern, na"ive, realistic, and abstract, depending on the arr to which he was responding. One can enjoy Avery's painting without recognizing his artistic dialogues, but an understanding of his responses adds immeasurably to one's appreciation of the quality and charm of his art and the subtle, dry wit that he only occasionally revealed in his everyday conversations with family and friends. 29 Avery created a charming and delightful body of work featuring family and friends, intimate settings, and landscapes encountered on summer holidays. In his work he embraced many of the attitudes of modern French art that the Fauves Raoul Dufy and Henri Matisse espoused, particularly their concern with saturated color in distinctly new combina­ tions coupled with an interest in retaining the two-dimensional character of the canvas or paper on which they worked. Modern critics have considered Avery's work to be such an extension of Fauvism that he has frequently been referred to as the '1\rnerican Matisse." 1 While he held Matisse's art in high regard along with Dufy's, and respected a number of other School of Paris painters, including Pablo Picasso, he also brought to his art an understanding of American Impressionism and an appreciation of American folk art that allowed him to create a distinctly native brand of modernism.
    [Show full text]
  • Italian Futurism, Dada & Bauhaus
    Italian Futurism "We shall set in motion the words-in-freedom that smash the boundaries of literature as they march towards painting, music, noise-art, and throw a marvelous bridge between the word and the real object." F. T. Marinetti Futurist Manifesto, published on 5 February 1909 Italian Futurism ● Admired speed, technology, youth and violence, the car, the airplane and the industrial city. ● They were passionate nationalists. ● Dismissed art critics as useless. ● Rebelled against harmony and good taste. ● Swept away all the themes and subjects of all previous art, and glorified in science. The Art of Noise - Russolo's Intonarumori http://www.youtube.com/watch?v=fYYkMux6Dgw Vita Futurista, 1916 The only officially “Futurist” film ever made, “Vita Futurista” was made in 1916 by Arnaldo Ginna and several other Futurist artists, including Giacomo Balla, Remo Chiti, and the founder of Futurism, F.T. Marinetti. Vita Futurista, 1916 Comprised of eleven independent segments conceived and written by different artists. Contrasted the spirit and lifestyle of the Futurist with that of the ordinary man in a series of humorous sketches, “How the Futurist Walks,” “How the Futurist Sleeps,” “The Sentimental Futurist,” etc. Vita Futurista, 1916 Many segments used experimental techniques such as split screens and double exposures. The only-known copy of this film was lost several decades ago. Vita Futurista, 1916 All that remain are written accounts by Ginna and a few still images. Giacomo Balla, 'Dynamism of a Dog on a Leash', 1912 Giacomo Balla, 'Abstract Speed+Sound', 1913-14 Umberto Boccioni, 'Unique Forms of Continuity in Space', 1913 Dada ● Sought to eliminate all forms of reason and logic due to the atrocities caused by World War I ● Born in Zurich in 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire.
    [Show full text]
  • "Bitter Harvest: Russian and Ukrainian Avant-Garde 1890-1934"
    BITTER HARVEST BITTER RUSSIAN AND UKRAINIAN AVANT-GARDE 1890-1934 AND UKRAINIAN AVANT-GARDE RUSSIAN BITTER HARVEST: RUSSIAN AND UKRAINIAN AVANT-GARDE 1900-1934 JAMES BUTTERWICK 2 3 Front cover: Alexander Bogomazov Portrait of the Artist’s Daughter, Yaroslava (detail), 1928 Inside cover: Alexander Archipenko Still Life (detail), c. 1918 RUSSIAN AND UKRAINIAN AVANT-GARDE 1890-1934 First published in 2017 by James Butterwick WWW.JAMESBUTTERWICK.COM All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. All images in this catalogue are protected by copyright and should not be reproduced without permission of the copyright holder. Details of the copyright holder to be obtained from James Butterwick. © 2017 James Butterwick Director: Natasha Butterwick Editorial Consultant: Simon Hewitt Stand: Isidora Kuzmanovic 34 Ravenscourt Road, London W6 OUG Catalogue: Katya Belyaeva Tel +44 (0)20 8748 7320 Email [email protected] Design and production by Footprint Innovations Ltd www.jamesbutterwick.com 4 SOME SAW NEW YORK James Butterwick On 24 February 1917, a little over one hundred years ago, Diaghilev’s Ballets Russes completed their second and final tour of the United States. The first, from January to April 1916, took in 17 cities and began at the long-defunct Century Theater and ended at the Metropolitan Opera in New York. Two of the leading lights of the Russian Avant-Garde, Mikhail Larionov and Natalia Goncharova, had been working for the Ballets Russes since 1915, when Larionov had made the colorful costume design or a Young Jester in the ballet Soleil du Nuit, featured in this catalogue.
    [Show full text]
  • Painterly Representation in New York: 1945-1975
    PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 JENNIFER SACHS SAMET All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Dr. Patricia Mainardi Chair of the Examining Committee Date Dr. Patricia Mainardi Acting Executive Officer Dr. Katherine Manthorne Dr. Rose-Carol Washton Long Ms. Martica Sawin Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET Advisor: Professor Patricia Mainardi Although the myth persists that figurative painting in New York did not exist after the age of Abstract Expressionism, many artists in fact worked with a painterly, representational vocabulary during this period and throughout the 1960s and 1970s. This dissertation is the first survey of a group of painters working in this mode, all born around the 1920s and living in New York. Several, though not all, were students of Hans Hofmann; most knew one another; some were close friends or colleagues as art teachers. I highlight nine artists: Rosemarie Beck (1923-2003), Leland Bell (1922-1991), Nell Blaine (1922-1996), Robert De Niro (1922-1993), Paul Georges (1923-2002), Albert Kresch (b. 1922), Mercedes Matter (1913-2001), Louisa Matthiasdottir (1917-2000), and Paul Resika (b. 1928). This group of artists has been marginalized in standard art historical surveys and accounts of the period.
    [Show full text]
  • Annual Report 2002
    2002 ANNUAL REPORT NATIONAL GALLERY OF ART WASHINGTON, D C. BOARD OF TRUSTEES Robert F. Erburu AUDIT COMMITTEE TRUSTEES' COUNCIL Sally Engelhard Pingree (as of 30 September 2002) Chairman (as of 30 September 2002) Diana C. Prince Robert F. Erburu Mitchell P. Rales Chairman Victoria P. Sant, Chair Catherine B. Reynolds Paul H. O'Neill La Salle D. Leffall Jr., Vice Chair Sharon Percy Rockefeller Robert H. Smith The Secretary of the Treasury Leon D. Black President Robert M. Rosenthal Robert H. Smith W. Russell G. Byers Jr. Roger W. Sant Julian Ganz, Jr. Calvin Cafritz B. Francis Saul II David 0. Maxwell William T. Coleman Jr. Thomas A. Saunders III Victoria P. Sant Edwin L. Cox Julian Ganz, Jr. Albert H. Small — James T. Dyke James S. Smith FINANCE COMMITTEE Mark D. Ein Ruth Carter Stevenson Edward E. Elson Roselyne C. Swig Robert H. Smith Doris Fisher Chairman Frederick A. Terry Jr. David 0. Maxwell Aaron I. Fleischman Paul H. O'Neill Joseph G. Tompkins Juliet C. Folger The Secretary of the Treasury John C. Whitehead John C. Fontaine Robert F. Erburu John Wilmerding Marina K. French Julian Ganz, Jr. Dian Woodner Morton Funger David 0. Maxwell Nina Zolt 1 Victoria P. Sant Lenore Greenberg Victoria P. Sant Rose Ellen Meyerhoff Greene EXECUTIVE OFFICERS ART AND EDUCATION Frederic C. Hamilton (as of 30 September 2002) COMMITTEE Richard C. Hedreen Teresa F. Heinz Robert H. Smith William H. Rehnquist i: Raymond J. Horowitz President The Chief Justice Robert H. Smith of the United States Chairman Robert J. Hurst Earl A.
    [Show full text]