DOCSLIB.ORG

Catalogue by Lot Number March 3 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue by Lot Number March 3 2019 LOT 1 TAKASHI MURAKAMI (born 1962) Reverse Double Helix Mega Power, 2005 Offset-lithograph on wove paper LOT 4 Edition of 900 JOAN MIRO Signed and numbered in ink on recto (1893-1983) Image: 28 x 28 inches; Framed: 36 x 36 inches Le Magnetiseur - Fond Blanc, 1969 Estimate: $1,000/$1,500 Lithograph Edition of 75 Signature and edition number on recto Image: 23 x 33 inches; Framed: 28 x 36 inches Estimate: $5,000/$7,000 LOT 2 GREG MILLER (born 1951) Barney’s #2, Venice Beach, LA, CA, c. 2003 Oil and resin on wood Signed and titled on verso Size: 38 x 47.5 inches LOT 5 Provenance: William Turner Gallery PABLO PICASSO Estimate: $1,800/$2,500 (1881-1973) Colombe sur lit de paille, 1949 Glazed and engraved ceramic plate Stamped and marked ‘Madoura Plein Feu/CR/ Madoura/d’apres Picasso/Nouvelle Edition’ on verso Plate: 15 x 12 inches; Framed: 22.5 x 18 inches Estimate: $8,000/$12,000 LOT 3 LADDIE JOHN DILL (born 1943) Untitled, c. 1980-1990 Oil & carved cement on gesso board Image: 42 x 84 inches Estimate: $2,000/$3,000 LOT 6 PABLO PICASSO (1881-1973) LOT 9 Portrait of Rimbaud, 1960 DAVID HOCKNEY Lithograph (born 1937) Edition of 97 Untitled (Stanley), c. 1989 Signature, date, and edition number in pencil on recto Mixed media, thermal faxes Image: 11 x15 inches; Framed: 21 x 25 inches Includes sheet with faxed signature and instructions Estimate: $5,000/$7,000 Framed: 58 x 61.25 inches Provenance: Billy Wilder Estimate: $8,000/$12,000 LOT 7 ROBERT PETERSEN (born 1945) February 28th, 1986, 1990 Mixed media on linen backed paper with collage Signed and titled in ink on recto Image: 60.25 x 83.75 inches Provenance: Castelli Graphics, tag on verso Estimate: $2,000/$3,000 LOT 10 RAYMOND PETTIBON (born 1957) Untitled (Strap it On!), 1990 India ink on paper Unique drawing Signed and dated on verso Image: 12 x 19 inches; Sheet: 15 x 21.5 inches; Framed: 21 x 27.5 inches LOT 8 Estimate: $8,000/$14,000 RAINER FETTING (born 1949) Times Square, 1992 Oil on Linen Signed, titled and dated in chalk on verso Image: 38 x 70 inches Provenance: RAAB, tag on verso Estimate: $35,000/$45,000 LOT 12 LOT 11 Raymond Pettibon Raymond Pettibon (born 1957) (born 1957) Play Ball!, 1989 Silkscreen Untitled (I thought California would be di!erent), 1989 Silkscreen Printer Proof 5/5 outside the edition of 65 From the numbered edition of 65 Signed, numbered and dated in pencil on recto Signed, numbered and dated in pencil on recto Image: 36 x 24.5 inches; Sheet: 37.5 x 26.5 inches; Image: 42.5 x 28 inches; Sheet: 47 x 31.5 inches; Framed: 46.5 x 35.5 inches Framed: 57.5 x 43 inches Estimate: $7,000/$9,000 Estimate: $9,000/$12,000 LOT 12A MARCEL DZAMA (born 1974) Untitled, 1999 LOT 11A Watercolor and ink on paper Raymond Pettibon Signed in ink on recto Untitled (I thought California would be di!erent), 1992 Image: 8.5 x 4.5 inches; Framed: 15 x 12 inches Silkscreen poster Estimate: $2,000/$3,000 From the exhibition at the Laguna Art Museum Signed in the plate Image: 28 x 18.5 inches; Sheet: 35 x 23 inches; Framed: 40.5 x 28.5 inches Estimate: $800/$1,200 LOT 13 JOE GOODE (born 1937) LOT 15 Untitled, 1986 ED KIENHOLZ Oil on Canvas (1927-1994) Image: 54 x 48 inches The Block Head, 1979 Provenance: The artist Pumice construction block, Fresnel lens system, wood, James Corcoran Gallery, Santa Monica, CA leather and transistor radio Estimate: $25,000/$35,000 From the numbered edition of 75 Etched signature and number on plate on verso 12.5 x 8.5 x 11.75 inches Published by Gemini G.E.L., Los Angeles, CA, tag on verso Estimate: $4,000/$5,000 LOT 14 JOE GOODE (born 1937) Untitled, 1986 Oil on board Image: 42 x 92 inches; Framed: 44 x 94 inches Provenance: James Corcoran Gallery, tag on verso Estimate: $30,000/$40,000 LOT 15A GEORGE HERMS (born 1935) Vernal Equinox c. 2010 Mixed media assemblage sculpture along with original drawing of sculpture with signature and annotations Sculpture: 45 x 14 x 14 inches; Drawing: 8.5 x 11 inches Estimate: $3,000/$5,000 LOT 14A LARI PITTMAN (born 1952) Untitled #39, 1988 Unique acrylic and monoprint on paper Provenance: Rosamund Felsen Gallery, tag on verso Image: 23.75 x 18 inches; Framed: 32 x26 inches Estimate: $4,000/$5,000 LOT 16 ERIC ORR (1939-1988) LOT 15B Radio Play, 1988 GEORGE HERMS Mixed media (born 1935) Signature and date etched on verso Untitled (Arch on Barrel), c. 2010 Image: 18.5 x 22.5 inches Mixed media assemblage sculpture Estimate: $1,800/$2,200 61 x 31.5 x 13.5 inches Estimate: $3,000/$5,000 LOT 17 ANDY WARHOL (1928-1987) Kiku 309, 1983 LOT 15C Silkscreen GEORGE HERMS Hors de Commerce edition of 17 aside from the (born 1935) numbered edition of 300 Beyond High Definition, 2011 Signature and edition number in pencil on recto Mixed media sculpture Image: 26 x 19 inches; Framed: 36 x 30.5 inches Unsigned Provenance: Estate of Andy Warhol 15 x 15 x 12 inches Estimate: $12,000/$15,000 Illustrated: George Herms: The River Book (2), 2014, pg. 139 Estimate: $3,000/$5,000 LOT 18 ROY LICHTENSTEIN LOT 20 (1923-1997) JOHN BALDESSARI Pointed Finger, 1973 (born 1931) Silkscreen Person with Guitar (Green), 2005 Edition of 300 Screenprint laminated to Sintra and hand-cut (as Numbered and Stamped on recto from Museum in issued), Stockholm in the original Gemini GEL/Artist frame Image: 11.75 x 8.75 inches; Framed: 20 x 17 inches Signed, numbered and dated on recto Estimate: $10,000/$15,000 From the numbered edition of 45 Sheet: 42.5 x 25.5 inches; Framed: 47.75 x 30.75 inches Estimate: $8,000/$14,000 LOT 19 ROY LICHTENSTEIN (1923-1997) Ceramic Dinnerware set of 6, 1966 Ceramic edition glazed ceramics in black and white LOT 20A Stamped; with signature and inscribed "Jackson China JOHN BALDESSARI for Durable Dish Co." (born 1931) Size: 10.2 x 10.2 in. 12 works: Throwing three balls in the air to get a Estimate: $3,500/$4,500 straight line (best of thirty-six attempts), 1973 O#set lithographs in colors, in a letter press printed paper-folio with die-cut window opening and original frontis pages Sheet: 9.5 x 12.75 inches (each) Estimate: $6,000/$8,000 LOT 23 LOT 21 WILLIAM EGGLESTON WILLIAM KLEIN (born 1939) (born 1928) Untitled (open door into trailer), Arizona, Smoke & Veil, Paris (Vogue), 1958 1999-2000/2001 Silver gelatin print Iris Inkjet Print Signature, title, and edition number on verso Numbered 3/7 Image: 12.5 x 18 inches; Framed: 21 x 25 inches Signed in ink on verso by the artist/Eggleston Artistic Provenance: From the Estate of Carolyn M. Lawrence Trust stamp on verso Estimate: $3,500/$4,500 Image: 30 x 24 inches; Framed: 37.5 x 28.5 inches Provenance: Collection of the Eggleston Artistic Trust, Rose Gallery, tag on verso Estimate: $12,000/$15,000 LOT 22 ALEX PRAGER (born 1979) LOT 24 Ellen, 2007 FRANK HORVAT Chromogenic Print (born 1928) Numbered 6/7 Givenchy Hat A, 1958 Signed and numbered on verso Silver gelatin print Image: 43 x 47.5 inches: Framed: 45.5 x 49.5 inches Edition of 30 Estimate: $40,000/$50,000 Signature and edition number on recto Image: 12 x 17 inches; Framed: 25 x 21 inches Provenance: From the Estate of Carolyn M. Lawrence Estimate: $ 4,000/$5,000 LOT 27 DENNIS HOPPER (born 1936) LOT 25 Untitled, c. 1965 ALEX PRAGER Silkscreen (born 1979) Printed with Modern Multiples Pride, 2007 by Richard Duardo in 1988 Chromogenic print 1/1 PP Edition of 7 Signed on recto Signature, title, and edition number in ink on verso Image: 37.5 x 54 inches; Framed: 49.5 x 66 inches Image: 41 x 29 inches; Framed: 30 x 42 inches Estimate: $20,000/$30,000 Provenance: From the Estate of Carolyn M. Lawrence Estimate: $ 12,000/$15,000 LOT 26 DENNIS HOPPER (1936 - 2010) Daily News, 1963 LOT 28 Silverprint DENNIS HOPPER Edition of 15 (born 1936) Signed in pencil on verso Untitled, c. 1965 Image: 23.5 x 16 inches; Framed: 23 x 30.5 inches Silkscreen Provenance: Tony Shafrazi Gallery, tag on verso Printed with Modern Multiples Estimate: $12,000/$18,000 by Richard Duardo in 1988 1/1 PP Signed on recto Image: 54 x 37.5 inches; Framed: 66 x 49.5 inches Estimate: $20,000/$30,000 LOT 30 JEFF CHARBONNEAU & ELIZA FRENCH The Looking Glass, 2006 Chromogenic print, mounted to dibond Edition 1 of 7 Signed, titled, and numbered in ink on verso Image: 29 x 29 inches; Framed: 30 x 30 inches Provenance: From the Estate of Carolyn M. Lawrence Estimate: $8,000/$10,000 LOT 31 JOHN WATERS (born 1946) Self-Portrait, 1994 Chromogenic color print Edition of 8 Signed, titled, numbered in ink on verso Image: 3.5 x 49.75 inches; Framed: 7.25 x 53.5 inches Provenance: American Fine Arts, Co., tag on verso Estimate: $5,000/$7,000 LOT 29 ROBERT HEINECKEN (1931-2006) Recto/Verso Portfolio, 1989 Handmade, archival case containing the complete suite of 12 cibachrome photograms Presented in museum board mats with corresponding text printed on vellum sheets Edition of 50 plus 10 Artist Proofs Each signed, titled, numbered and dated in ink on verso Image: 10.75 x 9 inches; Sheet: 13.75 x 11 inches; Vellum sheets: 19.75 x 16 inches, each Case: 21.75 x 17.375 x 3 inches Are You Rea, 1968 Complete set of 25 lithographs Edition of 500 Signed and number on frontispiece/accompanying letter by the Artist LOT 32 Sheet: 12.5 x 10 inches, each PATRICK NAGEL Published by Berkeley: Landweber/Artists, 1988 (1945-1984) Estimate: $70,000/$100,000 Red Legs, 1983 Acrylic on Canvas Signed in paint on recto Image: 64 x 28 inches Provenance: Scattivodd Fine Art Gallery and Karl Bornstein/Mirage Editions Estimate: $100,000/$150,000 LOT 35 LOT 33 PATRICK NAGEL PATRICK NAGEL (1945-1984) (1945-1984) Untitled, 1975 Untitled (Nude in Robe), c.
Load more

Recommended publications
  • Paulacoopergallery
    P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE MARK DI SUVERO A public exhibition of Hugs (2011) 220 11th Avenue Opening October 6, 2018 NEW YORK—Paula Cooper Gallery in collaboration with the Moinian Group and Alex Brotmann Art Advisory are proud to announce the installation of Mark di Suvero’s monumental steel sculpture Hugs at 220 11th Avenue, New York. Organized on the occasion of the gallery’s fiftieth anniversary, the installation is located down the street from its new primary space at 524 W 26th Street. The presentation honors di Suvero’s long history with the gallery, having first collaborated with Cooper at Park Place Gallery (1965-67) and later at the Paula Cooper Gallery—including the second exhibition in 1968, and most recently in a one- person show in 2018. The sculpture will be on view from October 6, 2018, through winter 2019. Throughout his sixty-year career, di Suvero has created vibrant and dynamic works, which fuse vitality and improvisation with complex construction. Standing over fifty feet high, the pyramidal structure Hugs, is composed of steel I-beams whose three legs intersect in a central, curved form. Its expansive scale allows viewers to engage physically with the work, inducing a kinesthetic response as one walks under and around to perceive it from shifting vantages. Democratic accessibility and viewer participation have long been driving principles in di Suvero’s artistic practice: “When one is an artist, one wants to do art that is meaningful to a lot of people.
    [Show full text]
  • Fall 201720172017
    2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs.
    [Show full text]
  • “Life” — Sam Rein Solo Exhibition at Barrett Art Center by RAYMOND J
    Inside: Raleigh on Film; Bethune on Theatre; Behrens on Music; Marvel’s ‘Art Byte’; th Critique: Sam Rein at Barrett Art Center; Year! Seckel on the Cultural Scene; Jeanne Heiberg & John Coyne ‘Speak Out’; Our 25 New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 25 No. 6 Jan/Feb 2009 “Life” — Sam Rein Solo Exhibition at Barrett Art Center By RAYMOND J. STEINER IT’S ALWAYS A distinct pleasure sional surface alive not only to the for this viewer to come across a eye, but also to the spirit and soul. working artist from the “old school” A humanist with wit, perception, — you know, someone who can draw, and sensitivity, Sam Rein could not manipulate a paint-laden brush, have chosen a more fitting title for compose a motif, vary a ‘signature’, this solo exhibition* since “Life” so avoid a hackneyed formula that aptly reveals his long love affair with “sells”…in brief, bring a two-dimen- the pathos and bathos of the human River View Watercolor condition. This is an artist who not imagery (“Track Three”; “Table Talk only loves his craft, but who also is Al Fresco” — a charming genre piece in sympathy with the nature of be- of three oldsters conversing around ing — whether it be person, object, an outdoor table) is compelling, in- or landscape. viting the viewer to enter, to partici- Some thirty-seven works — pate in whatever is unfolding before charcoals, pastels, watercolors, the eye. Especially “present” in their gouaches, acrylics and even a pencil “thereness” — what the early Ger- drawing (“Reclining Nude, Head on man aestheticians referred to as the Hand”) — make up this show, more ding an sich (the thing in itself) — than enough to showcase Rein’s ver- are his studies of the female figure, satility in motif, genre, and in style.
    [Show full text]
  • Landmarks, the Public Art Program of the University of Texas at Austin, Acquires Major Works by Marc Quinn and Ann Hamilton
    Contact: Maria May, Resnicow and Associates (214) 207-6082, [email protected] Date: 7 July 2016 May Wijaya, Resnicow and Associates (212) 671-5167, [email protected] Landmarks, the public art program of The University of Texas at Austin, acquires major works by Marc Quinn and Ann Hamilton Landmarks' collection expands with the acquisition of a monumental sculpture by Marc Quinn and a newly commissioned project by Ann Hamilton AUSTIN, Texas — Landmarks, The University of Texas at Austin’s public art program, today announced two significant additions: the recent acquisition of Marc Quinn’s 2013 sculpture, Spiral of the Galaxy, to be unveiled in September 2016; and the commission of O N E E V E R Y O N E, a community-based photography project by Ann Hamilton (January 2017). Both works will be installed at the university’s Dell Medical School and are funded through a percent-for-art allocation that sets aside one-to-two percent of capital improvement projects for the acquisition of public art. The two acquisitions were initiated by Landmarks, one of the most important public art programs to emerge at an American university. On view throughout Austin’s 433-acre main campus, the collection includes works by Michael Ray Charles, Mark di Suvero, David Ellis, Sol LeWitt, Ben Rubin, Nancy Rubins, and James Turrell. Landmarks’ public art collection is broadly accessible and free to all, providing opportunities for students and visitors to engage with great works of art. “Adding Marc Quinn and Ann Hamilton to the diverse roster of artists represented by Landmarks is an honor,” said Andrée Bober, the founding director of the program.
    [Show full text]
  • HIRSHHORN MUSEUM and SCULPTURE GARDEN LIBRARY VIDEO COLLECTION Recordings May Not Be Usable in Current Format
    HIRSHHORN MUSEUM AND SCULPTURE GARDEN LIBRARY VIDEO COLLECTION Recordings may not be usable in current format. Check with Library staff. Video materials are not circulated. (updated August 26, 2008) VHS TAPES 1. 41-10 Mr. & Mrs. Chagall, daughter, son-in-law 2. 74-60 HMSG Opening Ceremonies 3. 74-90 Visit of architect Gordon Bunshaft 4. 74-210 Hirshhorn Museum dedication ceremony 5. 75-00 Hirshhorn: Man and Museum-Camera 3 6. 76-20 A life of its own, v-1 7. 79-50 John Baldessari 8. 87-20 Mark Di Suvero: Storm King 9. 88-20 “Cornered” video Installation (Adrian piper piece) 10. 89-20 Buster Simpson (HMSG) 11. 90-30 Scenes and Songs from Boyd Webb (video documentary) 12. 92-80 Robert Irwin- In response 13. 93-20 Paul Reed Catalog #9-1936-1992 (artists’ work) 14. 93-30 Collection that Became a Museum (Smithsonian Film Transfer) 15. 93-30 Collection that Became a Museum (copy) 16. 93-50 A life of its own 17. 93-50 A life of its own 1976 18. 96-20 Thomas Eakins and the Swimming Picture 19. 96-60 Beverly Semmes 20. 97-10 Judith Zilczer interview on De Kooning 21. 97-80 Jeff Wall segment 22. 97-100 Willem De Kooning 23. 98-10 George Segal (HMSG) 24. 98-20 George Segal-Dialogue (HMSG) 25. 00-30 The Ephemeral is Eternal (De Stijl play) 26. 00-40 Gary Hill- Dig 27. 00-60 Willem De Kooning 28. 00-100 The collection that became a Museum-Ron J. Cavalier (HMSG) 29. 1974 Visit of Architect Bunshaft (HMSG) 30.
    [Show full text]
  • Declaration by Artist Mark Di Suvero
    Declaration By Artist Mark Di Suvero Febrile and Gordian Penn narcotises: which Richardo is convoluted enough? Tiddly and crosiered Redmond still freelanced his mechanical pitter-patter. Anurag cranch nationalistically. Mark Di Suvero Sculpture and Drawings January 2-March 12. You running this weekend that declaration by artists hall. His powerful presence against climate movement of artists walked to our sculptures by mark di suvero was. The fold is a hemisphere of major works of timetable and artists taught. Listed american artist mark centers for. Sculpture Art Exhibition Catalog at Grant everything in Chicago in 1974 Artist Collaboration. Complex prompted Mayor Giuliani to bestow it a permanent park strip in 199. The artists jasper johns, by interviews with him five acrylic, internal site selected by a fellow artists to consider their approach to expected noise. See these recent expose on Tumblr from disuvero-declaration about and-di-suvero-declaration Discover more posts about mark-di-suvero-declaration. Declaration Sculpture Los Angeles 2021 All deer Need to. Wall text labels Artists Respond to Art yet the. The artist and the gallery have come bring a legacy agreement to de-install. Moody center recommended advisory board have a building of our sculptures selected by mark di suvero sculpture and wanderer draw on any kind of facilities and marcel duchamp at them. Declaration Mark di Suvero Venice Beach Los Angeles First installed in 2001 for a young art not a 60-foot-tall steel sculpture by Mark di. You looking for personal. He leading it is subsequently selected by! Among cast by! Ordre des arts network presents a comment was chosen to artists against their work by! Mark di Suvero installs Declaration for island Art Walk benefiting the Venice Family.
    [Show full text]
  • The Crazy Wisdom Communityjournal
    THE CRAZY WISDOM COMMUNITY JOURNAL ANN ARBOR’S HOLISTIC MAGAZINE Issue 49 FREE SEPTEMBER THROUGH DECEMBER 2011 Acupuncture Comes of Age in Ann Arbor Qingchun Brodie Ellen Shan Carey Kong Burris Porter Kong Ryan Kids, Stress and Conversations Around Town One of a Kind — Steve “Oz” Osburn and his Music Environment Mary Thiefels’ TreeTown Murals • Walking the Labyrinth at Matthaei • Eve Wilson • Nina Howard • The Healing Power of Yoga • Eco-frugal Living • John Friedlander’s New Book • Kabbalah Miracles • Carrie Hatcher-Kay • Kapila Castoldi • The Women of Tapestries • What to Feed Your Dog and Cat • What’s New in the Community • and More The Crazy Wisdom Community Journal • September - December 2011 • Page 2 216 N Fourth Ave Ann Arbor, MI (734) 994-9174 http://peoplesfood.coop Nourishing our Ann Arbor community for 40 years. - Since 1971 - The Crazy Wisdom Community Journal • September - December • Page 3 The Crazy Wisdom Community Journal • September - December 2011 • Page 4 The Crazy Wisdom Community Journal • September - December 2011 • Page 5 The Crazy Wisdom Community Journal Ann Arbor’s Holistic Magazine Since l982, Crazy Wisdom Bookstore has served as a center of information in the subjects of conscious living, holistic health, bodymind therapies, psychology, Buddhism, spiritual development and consciousness. The Crazy Wisdom Community Journal is intended to provide information about the terrific array of opportunities for persons seeking psychological and spiritual growth and physical well being. Acupuncture Comes of Age in Ann Arbor .........................Starts on Page 49 In This Issue ~ Brodie Burris ..................................................................................Page 50 What’s New in the Community – Dr. Shan Kong .................................................................................Page 55 By Anne Duffy ..............................................................................…….Page 7 Dr.
    [Show full text]
  • WHITNEY BIENNIAL 2006: DAY for NIGHT to OPEN Signature Survey Measuring the Mood of Contemporary American Art, March 2-May 28, 2006
    Press Release Contact: Jan Rothschild, Stephen Soba, Meghan Bullock (212) 570-3633 or [email protected] www.whitney.org/press February 2006 WHITNEY BIENNIAL 2006: DAY FOR NIGHT TO OPEN Signature survey measuring the mood of contemporary American art, March 2-May 28, 2006 Peter Doig, Day for Night, 2005. Private Collection; courtesy Contemporary Fine Arts, Berlin. The curators have announced their selection of artists for the 2006 Whitney Biennial, which opens to the public on March 2, and remains on view at the Whitney Museum of American Art through May 28, 2006. The list of participating artists appears at the end of this release. Whitney Biennial 2006: Day for Night is curated by Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator, and Philippe Vergne, the Deputy Director and Chief Curator of the Walker Art Center in Minneapolis. The Biennial’s lead sponsor is Altria. "Altria Group, Inc. is proud to continue its forty year relationship with the Whitney Museum of American Art by sponsoring the 2006 Biennial exhibition," remarked Jennifer P. Goodale, Vice President, Contributions, Altria Corporate Services, Inc. "This signature exhibition of some of the most bold and inspired work coming from artists' studios reflects our company's philosophy of supporting innovation, creativity and diversity in the arts." Whitney Biennial 2006: Day for Night takes its title from the 1973 François Truffaut film, whose original French name, La Nuit américaine, denotes the cinematic technique of shooting night scenes artificially during the day, using a special filter. This is the first Whitney Biennial to have a title attached to it.
    [Show full text]
  • Rafał Olbinski – Bio
    Rafał Olbinski – bio Born in Kielce, Poland in 1945, Rafal Olbinski studied architecture before dedicating himself to painting and design. He graduated from the Architectural Department of Warsaw Politechnical School. In 1982 he immigrated to the US, where he soon established himself as a prominent painter, illustrator and designer. In 1985, he began teaching at the School of Visual Arts in New York. For his artistic achievements, he has received more than 150 awards including Gold and Silver Medals from the Society of Illustrators in New York and Los Angeles, and The Big Crit 2000 award by Critique Magazine in San Francisco. In 1994 he was awarded the International Oscar for the World’s Most Memorable Poster, The Prix Savignac, in Paris. The President of the Republic of Poland awarded Olbinski the highest award in the field of arts, the gold medal, “Gloria Artist”. Rafal with Mayor Giuliani In the same year he received the Creative Review Award for the Best of British Illustration in London. In 1995 a jury led by Mayor Rudolf Giuliani chose his poster as the official New York City Capital of the World Poster. In the following year he won the Steven Dohanos Award for the best painting in the Annual Member Exhibition of the Society of Illustrators. In July 2002 the City of Fondi, Italy awarded himDivina Giulia for his contribution to contemporary art. In 1996 he was commissioned by the U.S. Information Agency to design a poster celebrating the 25th Earth Day anniversary and commissioned again in 2004 to create the Earth Day NY poster.
    [Show full text]
  • Suffolk University Newsletter (SUN), Vol. 37, No. 1, 2011
    Suffolk University Digital Collections @ Suffolk Suffolk University Newsletter (SUN) Suffolk University Publications 2011 Suffolk University Newsletter (SUN), vol. 37, no. 1, 2011 Suffolk University Office of Public Affairs Follow this and additional works at: https://dc.suffolk.edu/sun Recommended Citation Suffolk University Office of Public Affairs, "Suffolk University Newsletter (SUN), vol. 37, no. 1, 2011" (2011). Suffolk University Newsletter (SUN). 41. https://dc.suffolk.edu/sun/41 This Newsletter is brought to you for free and open access by the Suffolk University Publications at Digital Collections @ Suffolk. It has been accepted for inclusion in Suffolk University Newsletter (SUN) by an authorized administrator of Digital Collections @ Suffolk. For more information, please contact [email protected]. The Suffolk University News SUN March 2011 Vol. 37, No. 1 Working Together for a Better Campus & Community Collecting Evidence in Support of Self-Study Carnegie Classification Recognizes Service More than 100 members of the University community are directly The University has earned the Carnegie Foundation’s involved in preparing for the New England Association of Schools Community Engagement Classification, which recognizes “the and Colleges reaccreditation, which offers the University an op- mutually beneficial exchange of knowledge and resources” portunity to reflect on its accomplishments and challenges since between the institution and the community. its 2002 NEASC accreditation. “This achievement is the result of a University-wide effort,” The NEASC review process has become more stringent in the said Carolina Garcia, director of the S.O.U.L.S. Community intervening years due to increased concerns expressed by the public, Service and Service Learning Center., who, with University policy makers and educators on the quality of higher education, Archivist and Moakley Institute Director Julia Howington, according to Vice President for Academic Affairs Janice Griffith.
    [Show full text]
  • January 9 – February 15, 2020 Berggruen Gallery Is Proud to Present Mark Di Suvero: Sculpture, an Exhibition of Work from 1975
    FOR IMMEDIATE RELEASE MARK DI SUVERO: SCULPTURE January 9 – February 15, 2020 Berggruen Gallery is proud to present Mark di Suvero: Sculpture, an exhibition of work from 1975–2019 by American, internationally renowned sculptor, Mark di Suvero. This show signifies di Suvero’s eighth solo exhibition with the gallery and will be on view January 9 through February 15, 2020. The gallery will host an opening reception for the artist on Thursday, January 16 from 5:00 to 7:00pm. The current exhibition presents an impressive breadth of di Suvero’s career, including some of the artist’s most quintessential, small and medium-scale steel structures. Mark di Suvero is primarily recognized for his monumental, outdoor sculptures; work that impresses not only due to their magnitude, but also for their complex fusion of geometric engineering with organic forms. Yet no matter the scale, all of di Suvero’s sculptures captivate by directly engaging the viewer. Perhaps this engagement is actually heightened when the artist decreases his scale, as viewer interaction becomes increasingly visceral when confronted with less mass yet equivalent dynamism. Rather than function as maquettes, di Suvero’s smaller-scale sculptures are fully realized works that offer an intimate entry into his oeuvre. Employing a skilled welding technique, di Suvero composes his sculptures of steel, scrap metal, and other found objects. Oftentimes his work includes components that move or appear to hang in precarious balance. Though feats of masterful engineering, di Suvero also works in the tradition of the Abstract Expressionist movement as he creates forms that are rhythmic, gestural, and energetic.
    [Show full text]
  • Consumer Modification of Copyrighted Works
    Indiana Law Journal Volume 81 Issue 3 Article 2 Summer 2006 Consumer Modification of Copyrighted Works Alan L. Durham University of Alabama School of Law, [email protected] Follow this and additional works at: https://www.repository.law.indiana.edu/ilj Part of the Intellectual Property Law Commons Recommended Citation Durham, Alan L. (2006) "Consumer Modification of Copyrighted Works," Indiana Law Journal: Vol. 81 : Iss. 3 , Article 2. Available at: https://www.repository.law.indiana.edu/ilj/vol81/iss3/2 This Article is brought to you for free and open access by the Law School Journals at Digital Repository @ Maurer Law. It has been accepted for inclusion in Indiana Law Journal by an authorized editor of Digital Repository @ Maurer Law. For more information, please contact [email protected]. Consumer Modification of Copyrighted Works ALAN L. DURHAM* INTRODUCTION .......................................................................................................851 I. EXPRESSION TRANSFORMED .........................................................................855 A . Derivative W orks ................................................................................856 B. Transformation and Presentation...................................................... 861 C. Moral R ights .......................................................................................863 D . F air Use .............................................................................................866 E. De Minimis Infringement...................................................................
    [Show full text]