Hans Namuth Papers
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Oral History Interview with Hans Namuth, 1971 Aug. 12-Sept. 14
Oral history interview with Hans Namuth, 1971 Aug. 12-Sept. 14 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Hans Namuth on August 12 and September 8, 1971. The interview took place in New York City, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview PAUL CUMMINGS: It's August 12, 1971 - Paul Cummings talking to Hans Namuth in his studio in New York City. You were born in Germany - right? HANS NAMUTH: Right. PAUL CUMMINGS: Could you tell me something about life there and growing up and education and how you got started? You were born in - what? - 1915? HANS NAMUTH: Yes. I grew up during the war years and inflation. I have memories of the French Occupation and shooting in the streets. The French occupied Essen. We had a French deserter living with us who taught me my first French. I went to the equivalent of a gymnasium, Humboldt Oberrealschule in Essen, hating school, loathing school. I would say it was a prison. Eventually I started to work in a bookshop in Essen at the age of seventeen and became very affiliated with Leftist groups in 1932 when everything was brewing and for a moment we didn't know whether they were going to go all the way Left or all the way Right. I think the Communist and the Socialist Parties at the time lost a big chance of gaining power in Germany by not uniting in 1931-1932. -
The Jamison Galleries Collection
THE JAMISON GALLERIES COLLECTION BETTY W. AND ZEB B. CONLEY PAPERS New Mexico Museum of Art Library and Archives Dates: 1950 - 1995 Extent: 7.33 linear feet Contents Part One. Materials on Artists and Sculptors Part Two. Photographs of Works Part Three. Additional Material Revised 01/11/2018 Preliminary Comments The Jamison Galleries [hereafter referred to simply as “the Gallery”] were located on East Palace Avenue, Santa Fe, from August 1964 until January 1993, at which time it was moved to Montezuma Street. There it remained until December 1997, when it closed its doors forever. Originally owned by Margaret Jamison, it was sold by her in 1974 to Betty W. and Zeb B. Conley. The Library of the Museum of Fine Arts is indebted to the couple for the donation of this Collection. A similar collection was acquired earlier by the Library of the records of the Contemporaries Gallery. Some of the artists who exhibited their works at this Gallery also showed at The Contemporaries Gallery. Included in the works described in this collection are those of several artists whose main material is indexed in their own Collections. This collection deals with the works of a vast array of talented artists and sculptors; and together with The Contemporaries Gallery Collection, they comprise a definitive representation of southwestern art of the late 20th Century. Part One contains 207 numbered Folders. Because the contents of some are too voluminous to be limited to one folder, they have been split into lettered sub-Folders [viz. Folder 79-A, 79-B, etc.]. Each numbered Folder contains material relating to a single artist or sculptor, all arranged — and numbered — alphabetically. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
Allan Sekula
Allan Sekula Polonia and Other Fables The Renaissance Society September 20 – December 13, 2009 at The University of Chicago 5 T a C P 8 t h h h 1 o i e T c 1 n h a R S e g The e : o e o ( u U n 7 , t a 7 n I h l l 3 i i i s E n v ) s 7 o l Renaissance e l i 0 a i r s s 2 s n A 6 - i c t 8 v 0 e y 6 e 6 7 n 3 S Society o 0 u 7 f o e c C i h Mòwimy po Polsku at The University of Chicago e i t c 5811 South Ellis Avenue y a 4th floor g o In 1950, Hans Namuth documented Jackson variety of photographic tropes ranging from means of thinking through rather than excluding Nothing could be further from the pit’s Chicago, IL 60637 Pollock in what are now iconic photographs. clandestine snapshots to formal portraiture, from the self, beginning with the most basic social testosterone-fueled mania than Sekula’s portrait unit, the family. Autobiography recurs in varying of an extremely slight female trader. She stands, Museum Hours One features a pensive Pollock crouched serial to aerial photography, and from street Tuesday - Friday: 10am - 5pm amongst abraded weeds in front of a weathered photography to ethnography in the vein of degrees of subtlety throughout his work. It is arms at her side, in front of a confetti-strewn Saturday, Sunday: 12- 5pm Model T Ford. -
A Finding Aid to the Ethel Fisher Papers, 1930-2017, in the Archives of American Art
A Finding Aid to the Ethel Fisher Papers, 1930-2017, in the Archives of American Art Rihoko Ueno 2016 January 15 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1939-2014............................................................. 5 Series 2: Correspondence, 1930-2017.................................................................... 6 Series 3: Writings, 1965-2014................................................................................ 10 Series 4: Project Files, 1954-2011........................................................................ -
The First Gutai Exhibition I N Japan Marks the Dissemination Of
1955a The first Gutai exhibition in Japan marks the dissemination of modernist art through the media and its reinterpretation by artists outside the United States and Europe, also exemplified by the rise of the Neoconcretist group in Brazil. n the fifth issue of the journal Gutai, published in October 1956, painter-his works then were competent yet rather provincial .l this brief statement appeared: 'The US artist jackson Pollock, versions of European postwar abstraction. It is not so much his whom we highly esteemed, has passed away all too early in a road own art as his independence of mind, his defianceof bureaucracy, accident, and we are deeply touched. B. H. Friedman who was close his willingness to seize the opportunity of a clean slate afforded by to him, and who sent us the news of this death, wrote: 'When the historical situation of postwar japan, and his encouragements recently I looked through Pollock's library, I discovered issues two to be as radical as possible that explain the attraction he exerted on and three of Gutai. I was told that Pollock was an enthusiastic artists who were a generation younger. His interest in perfor- disciple of the Gutai, fo r in it he had recognized a vision and a mance and in the theater-the only domain where he was as CD reali� close to his own.' " This last sentence is subject to doubt, to innovative as the other members of Gutai-also played a major U1 0 say the least (was Friedman excessively polite, was his letter tam role in defining the group's activity. -
A Finding Aid to the Hans Namuth Photographs and Papers, 1945-1985, in the Archives of American Art
A Finding Aid to the Hans Namuth Photographs and Papers, 1945-1985, in the Archives of American Art Kelly Overstreet 2017 July 24 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Alfred Stieglitz Film Project, 1945-circa 1981........................................... 5 Series 2: Professional Files, 1953-1985.................................................................. 9 Series 3: Photographs, 1945-1984........................................................................ 10 Hans Namuth photographs and papers AAA.namuhans -
Reconsidering New Objectivity: Albert Renger-Patzsch and Die
RECONSIDERING NEW OBJECTIVITY: ALBERT RENGER-PATZSCH AND DIE WELT IST SCHÖN by MARGARET E. HANKEL (Under the Direction of NELL ANDREW) ABSTRACT In December of 1928, the Munich-based publisher, Kurt Wolff released a book with a new concept: a collection of one-hundred black and white photographs by Albert Renger-Patzsch. Titled Die Welt ist schön, the book presented a remarkable diversity of subjects visually unified by Renger-Patzsch’s straight-forward aesthetic. While widely praised at the time of its release, the book exists in relative obscurity today. Its legacy was cemented by the negative criticism it received in two of Walter Benjamin’s essays, “Little History of Photography” (1931) and “The Author as Producer” (1934). This paper reexamines the book in within the context of its reception, reconsidering the book’s legacy and its ties to the New Objectivity movement in Weimar. INDEX WORDS: Albert Renger-Patzsch, Die Welt ist schön, Photography, New Objectivity, Sachlichkeit, New Vision, Painting Photography Film, Walter Benjamin, Lázsló Moholy-Nagy RECONSIDERING NEW OBJECTIVITY: ALBERT RENGER-PATZSCH AND DIE WELT IST SCHÖN by MARGARET HANKEL BA, Columbia College Chicago, 2009 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2017 © 2017 Margaret E. Hankel All Rights Reserved RECONSIDERING NEW OBJECTIVITY: ALBERT RENGER-PATZSCH AND DIE WELT IST SCHÖN by MARGARET E. HANKEL Major Professor: Nell Andrew Committee: Alisa Luxenberg Janice Simon Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2017 iv DEDICATION For my mother and father v ACKNOWLEDGEMENTS Many thanks to those who have read this work in its various stages of completion: to my advisor, Nell Andrew, whose kind and sage guidance made this project possible, to my committee members Janice Simon and Alisa Luxenberg, to Isabelle Wallace, and to my colleague, Erin McClenathan. -
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No. -
54Th International Congress on Medieval Studies
54th International Congress on Medieval Studies May 9–12, 2019 Medieval Institute College of Arts and Sciences Western Michigan University 1903 W. Michigan Ave. Kalamazoo, MI 49008-5432 wmich.edu/medieval 2019 i Table of Contents Welcome Letter iii Registration iv–v On-Campus Housing vi–vii Food viii–ix Travel x Driving and Parking xi Logistics and Amenities xii–xiii Varia xiv Off-Campus Accommodations xv Hotel Shuttle Routes xvi Hotel Shuttle Schedules xvii Campus Shuttles xviii Diversity and Inclusion xix Exhibits Hall xx Exhibitors xxi Social Media xxii Reception of the Classics in the Middle Ages Lecture xxiii Mostly Medieval Theatre Festival xxiv–xxv Plenary Lectures xxvi Exhibition of Medieval Manuscripts xxvii Advance Notice—2020 Congress xxviii The Congress: How It Works xxix Travel Awards xxx The Otto Gründler Book Prize xxxi Richard Rawlinson Center and Center for Cistercian and Monastic Studies xxxii M.A. Program in Medieval Studies xxxiii Medieval Institute Publications xxxiv–v Endowment and Gift Funds xxxvi 2019 Congress Schedule of Events 1–193 Index of Sponsoring Organizations 194–198 Index of Participants 199–214 Maps and Floor Plans M-1 – M-9 List of Advertisers Advertising A-1 – A-39 Color Maps ii Dear colleagues, We’re about to get some warmer weather soon, so I’m told, as the semester draws to an end here at Western Michigan University. Today, the sun is out and the end of the fall semester makes me think of the spring, when Sumer may be Icumen In and friends new and old will join us at the International Congress on Medieval Studies in May. -
The Poetics of Memory: Cy Twombly's Roses and Peony Blossom Paintings Justine Marie Mccullough
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Poetics of Memory: Cy Twombly's Roses and Peony Blossom Paintings Justine Marie McCullough Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE THE POETICS OF MEMORY: CY TWOMBLY’S ROSES AND PEONY BLOSSOM PAINTINGS By JUSTINE MARIE MCCULLOUGH A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2011 The members of the committee approve the thesis of Justine McCullough, defended on April 4, 2011. _______________________________________ Lauren S. Weingarden Professor Directing Thesis _______________________________________ Roald Nasgaard Committee Member _______________________________________ Adam Jolles Committee Member Approved: _____________________________________ Adam Jolles, Chair, Department of Art History _____________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance m The Graduate School has verified and approved the above-named committee members ii ACKNOWLEDGEMENTS First I would like to acknowledge the members of my thesis committee, Drs. Lauren S. Weingarden, Roald Nasgaard, and Adam Jolles, without all of whom this thesis would not have been possible. I would like to recognize my thesis director, Dr. Lauren Weingarden, whose patience, encouragement, and thorough edits have kept me on track. I am thankful for her enthusiastic guidance of this project, her mentorship throughout my graduate studies, and her continuing support of my academic endeavors. Thanks are also in order to Dr. Michael Carrasco, for the useful thoughts and suggestions he shared with me as I began my research, and to Drs. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.