The Museum of Modern Art

Total Page:16

File Type:pdf, Size:1020Kb

The Museum of Modern Art The Museum of Modern Art Fourth Floor, 1940-1970 400 New Monuments PG144.2019 Chunk Piece Jackie Winsor 1970 Hemp 27 × 38 × 27" (68.6 × 96.5 × 68.6 cm) Promised gift of Alice and Tom Tisch 556.2017 The Albino Barbara Chase-Riboud 1972 (reinstalled in 1994 by the artist as All That Rises Must Converge/Black) Bronze with black patina, wool and other fibers 180 × 126 × 30" (457.2 × 320 × 76.2 cm) Committee on Painting and Sculpture Funds, and gift of Mrs. Elie Nadelman (by exchange) 671.1977.a-b Modern Art Lynda Benglis 1970-74 (cast 1973-74) Bronze and aluminum, in two parts Each 12 x 42 3/4 x 30" (30.5 x 108.6 x 76.2 cm) Gift of J. Frederic Byers III 1797.2012.a-b Modern Art Lynda Benglis 1970-74 (cast 1973-74) Lead and tin, in two parts Each 12 x 42 3/4 x 30" (30.5 x 108.6 x 76.2 cm) Gift of the artist and the Fuhrman Family Foundation 1047.1969 The Quartered One Louise Bourgeois 1964-65 Bronze 58 3/4 x 28 3/8 x 21 3/8" (149 x 72 x 54.1 cm) Gift of Henriette Bonnotte in memory of Georges Bonnotte Page 1 of 126 Fourth Floor, 1940-1970 400 New Monuments 242.1990 Katutura from the Lynch Fragment series Melvin Edwards 1986 Steel 11 3/4 x 5 7/8 x 4 7/8" (30 x 15 x 12.3 cm) Purchase 243.1990 Cup of? from the Lynch Fragment series Melvin Edwards 1988 Steel 12 7/8 x 6 3/4 x 9 1/2" (32.7 x 17 x 24 cm) Purchase 244.1990 Sekuru Knows from the Lynch Fragment series Melvin Edwards 1988 Steel 14 7/8 x 11 x 7 1/4" (37.9 x 28 x 18.3 cm) Purchase 245.1990 Chitungwiza from the Lynch Fragment series Melvin Edwards 1989 Steel 11 1/8 x 10 1/4 x 10 3/8" (28.5 x 26 x 27.2 cm) Purchase Page 2 of 126 Fourth Floor, 1940-1970 401 Out of War 140.1945 The Jungle (La Jungla) Wifredo Lam 1943 Gouache on paper mounted on canvas 94 1/4 x 90 1/2" (239.4 x 229.9 cm) Inter-American Fund 144.1949.2 Plate (page 17) from Meidosems Henri Michaux 1948 Lithograph from an illustrated book with thirteen lithographs, including wrapper composition: 9 15/16 × 7 1/2" (25.2 × 19.1 cm); page: 9 15/16 x 7 1/2" (25.2 x 19 cm) Abby Aldrich Rockefeller Fund 144.1949.3 Plate (page 25) from Meidosems Henri Michaux 1948 Lithograph from an illustrated book with thirteen lithographs, including wrapper composition: 9 13/16 × 7 1/2" (25 × 19 cm); page: 9 15/16 x 7 1/2" (25.2 x 19 cm) Abby Aldrich Rockefeller Fund 144.1949.4 Plate (page 33) from Meidosems Henri Michaux 1948 Lithograph from an illustrated book with thirteen lithographs, including wrapper composition: 9 13/16 × 7 5/8" (25 × 19.4 cm); page: 9 15/16 x 7 1/2" (25.2 x 19 cm) Abby Aldrich Rockefeller Fund Page 3 of 126 Fourth Floor, 1940-1970 401 Out of War 144.1949.6 Double-page plate (between pages 50 and 51) from Meidosems Henri Michaux 1948 Lithograph from an illustrated book with thirteen lithographs, including wrapper composition (irreg.): 9 13/16 × 14 1/2" (25 × 36.9 cm); page: 9 15/16 x 7 1/2" (25.2 x 19 cm) Abby Aldrich Rockefeller Fund 144.1949.13 Wrapper from Meidosems Henri Michaux 1948 Lithograph from an illustrated book with thirteen lithographs, including wrapper composition and sheet: 10 × 16 9/16" (25.4 × 42 cm) Abby Aldrich Rockefeller Fund 383.1948 Untitled Wols (A. O. Wolfgang Schulze) published c. 1946 Drypoint plate: 4 13/16 x 3 7/8" (12.2 x 9.9 cm); sheet: 6 5/16 x 4 7/8" (16.1 x 12.4 cm) Gift of Victor S. Riesenfeld 384.1948 Untitled Wols (A. O. Wolfgang Schulze) published c. 1946 Drypoint plate: 5 3/8 x 3 1/2" (13.7 x 8.9 cm); sheet: 6 3/8 x 4 15/16" (16.2 x 12.5 cm) Gift of Victor S. Riesenfeld 141.2008 Gouache #16 Wols (A. O. Wolfgang Schulze) 1940–41 Watercolor and ink on paper 11 1/2 x 8 1/2" (29.2 x 21.6 cm) Richard S. Zeisler Bequest Page 4 of 126 Fourth Floor, 1940-1970 401 Out of War 659.2017 Mollusks (Les Mollusques) Wols (A. O. Wolfgang Schulze) 1944 Ink and watercolor on colored paper 4 3/4 × 4 1/8" (12 × 10.5 cm) Gift of Leon and Debra Black 3.1951 Sleeping Figure Louise Bourgeois 1950 Painted balsa wood 6' 2 1/2" x 11 5/8" x 11 3/4" (189.2 x 29.5 x 29.7 cm) Katharine Cornell Fund 746.1943 Constellation with Red Object Alexander Calder Roxbury, Connecticut, 1943 Painted wood and steel wire 24 1/2 x 15 1/4 x 9 1/2" (62.2 x 38.7 x 24.1 cm) James Thrall Soby Fund LN2019.447 A Study in Choreography for Camera Maya Deren 1945 16mm film transferred to video (black and white, silent) 3 min. The Museum of Modern Art, New York 340.1985 Diary of a Seducer Arshile Gorky 1945 Oil on canvas 50 x 62" (126.7 x 157.5 cm) Gift of Mr. and Mrs. William A. M. Burden Page 5 of 126 Fourth Floor, 1940-1970 401 Out of War 528.1998 Phantasy II Norman Lewis September 23, 1946 Oil on canvas 28 1/8 x 35 7/8" (71.4 x 91.2 cm) Gift of The Friends of Education of The Museum of Modern Art 138.1946 The Impossible, III Maria Martins 1946 Bronze 31 1/2 x 32 1/2 x 21" (80 x 82.5 x 53.3 cm) Purchase 1235.1979 Here, Sir Fire, Eat! Roberto Matta 1942 Oil on canvas 56 1/8 x 44 1/8" (142.3 x 112 cm) James Thrall Soby Bequest 429.1981 Slow Swirl at the Edge of the Sea Mark Rothko 1944 Oil on canvas 6' 3 3/8" x 7' 3/4" (191.4 x 215.2 cm) Bequest of Mrs. Mark Rothko through The Mark Rothko Foundation, Inc. 212.2018 The Town of the Poor Sonja Sekula 1951 Oil on canvas 66 × 90" (167.6 × 228.6 cm) Committee on Painting and Sculpture Funds Page 6 of 126 Fourth Floor, 1940-1970 401 Out of War 627.1943 Slowly Toward the North Yves Tanguy 1942 Oil on canvas 42 x 36" (106.7 x 91.4 cm) Gift of Philip Johnson Page 7 of 126 Fourth Floor, 1940-1970 402 In and Around Harlem 227.1947 Willis Avenue Bridge Ben Shahn 1940 Gouache on paper on board 23 x 31 3/8" (58.4 x 79.4 cm) Gift of Lincoln Kirstein 258.2014 The Visitation Romare Bearden 1941 Gouache, ink, and pencil on colored paper 30 1/2 x 46 1/2" (77.5 x 118.1 cm) Gift of Abby Aldrich Rockefeller (by exchange). Acquired with the cooperation of the Estate of Nanette Bearden and the Romare Bearden Foundation whose mission is to preserve the legacy of the artist. 50.1942 New York Helen Levitt 1939 Gelatin silver print 5 3/16 x 6 1/2" (13.2 x 16.6 cm) Purchase 433.1942 New York Helen Levitt 1938 Gelatin silver print 8 11/16 x 5 7/8" (22 x 14.9 cm) Purchase 435.1942 New York Helen Levitt 1940 Gelatin silver print 6 13/16 x 8 11/16" (17.3 x 22 cm) Purchase Page 8 of 126 Fourth Floor, 1940-1970 402 In and Around Harlem 21.1946 New York Helen Levitt c. 1939 Gelatin silver print 7 15/16 x 5 1/8" (20.1 x 13 cm) Purchase 87.1984 Walker Evans, New York Helen Levitt c. 1940 Gelatin silver print, printed c. 1983 9 1/16 x 6 5/16" (23.1 x 16 cm) Gift of William H. Levitt 95.1984 New York Helen Levitt 1940 Gelatin silver print, printed c. 1981 6 7/8 x 9 9/16" (17.4 x 24.3 cm) Gift of William H. Levitt 96.1984 New York Helen Levitt c. 1945 Gelatin silver print, printed c. 1979 10 7/16 x 7" (26.5 x 17.9 cm) Gift of William H. Levitt 471.1984 New York Helen Levitt c. 1945 Gelatin silver print, printed c. 1970 9 13/16 x 6 13/16" (24.9 x 17.2 cm) Gift of Janice Levitt Page 9 of 126 Fourth Floor, 1940-1970 402 In and Around Harlem PG502.2017 Georgie Arce Alice Neel 1953 Oil on canvas 38 × 28" (96.5 × 71.1 cm) Promised gift of Glenn and Eva Dubin 1087.2014 Sam and Richard Alice Neel 1940 Oil pastel on colored paper 26 x 20 5/8" (66 x 52.4 cm) Acquired through the generosity of Agnes Gund, The Modern Women's Fund, and gift of Mr. and Mrs. Klaus G. Perls (by exchange), gift of Alexander Calder (by exchange), and gift of Abby Aldrich Rockefeller (by exchange) 6.2016 Children William H. Johnson 1941 Oil and pencil on wood panel 17 1/2 × 12 1/2" (44.5 × 31.8 cm) Gift of Abby Aldrich Rockefeller (by exchange), Agnes Gund, Marlene Hess and James D.
Recommended publications
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Lynda Benglis
    ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Lynda Benglis Columbia Center for Oral History Research Columbia University 2016 PREFACE The following oral history is the result of a recorded interview with Lynda Benglis conducted by Cameron Vanderscoff on November 13, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Transcription: Audio Transcription Center Session #1 Interviewee: Lynda Benglis Location: New York, New York Interviewer: Cameron Vanderscoff Date: November 13, 2015 Q: Okay, just a brief tag. We’re at 222 on the Bowery [in New York City] to finish with Lynda Benglis. Cameron Vanderscoff here for the Robert Rauschenberg Oral History Project and it’s noon. [INTERRUPTION] [Note: Recording resumes as Benglis overviews the events that led her to meeting Rauschenberg. Topics discussed before recording include 222 Bowery, where her neighbors have included William S. Burroughs and John Giorno; her initial move to New York in 1964 to pursue art; her subsequent studies at the Brooklyn Museum Art School; and, via this point of entry to the New York art scene, meeting the individuals discussed next in the transcript.] Benglis: —the Lower East Side, [my then husband] Gordon Hart being a Scotsman. Some Canadians were there and they knew Barnett [“Barney”] Newman. That’s what happened— Robert [“Bob”] Murray and Terry Stevenson. So Stevenson and Murray and there was one other Canadian. But Robert Murray is still around teaching at [School of] Visual Arts [New York] and flies his own plane and lives out in Pennsylvania.
    [Show full text]
  • Black History Month February 2020
    BLACK HISTORY MONTH FEBRUARY 2020 LITERARY FINE ARTS MUSIC ARTS Esperanza Rising by Frida Kahlo Pam Munoz Ryan Frida Kahlo and Her (grades 3 - 8) Animalitos by Monica Brown and John Parra What Can a Citizen Do? by Dave Eggers and Shawn Harris (K-2) MATH & CULINARY HISTORY SCIENCE ARTS BLACK HISTORY MONTH FEBRUARY 2020 FINE ARTS Alma Thomas Jacob Lawrence Faith Ringgold Alma Thomas was an Faith Ringgold works in a Expressionist painter who variety of mediums, but is most famous for her is best-known for her brightly colored, often narrative quilts. Create a geometric abstract colorful picture, leaving paintings composed of 1 or 2 inches empty along small lines and dot-like the edge of your paper marks. on all four sides. Cut colorful cardstock or Using Q-Tips and primary Jacob Lawrence created construction paper into colors, create a painted works of "dynamic squares to add a "quilt" pattern in the style of Cubism" inspired by the trim border to your Thomas. shapes and colors of piece. Harlem. His artwork told stories of the African- American experience in the 20th century, which defines him as an artist of social realism, or artwork based on real, modern life. Using oil pastels and block shapes, create a picture from a day in your life at school. What details stand out? BLACK HISTORY MONTH FEBRUARY 2020 MUSIC Creating a Music important to blues music, and pop to create and often feature timeless radio hits. Map melancholy tales. Famous Famous Motown With your students, fill blues musicians include B.B.
    [Show full text]
  • Honorary Degree Recipients 1977 – Present
    Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Claire Collins Harvey, C‘37 Harry Belafonte 1977 Patricia Roberts Harris Katherine Dunham 1990 Toni Morrison 1978 Nelson Mandela Marian Anderson Marguerite Ross Barnett Ruby Dee Mattiwilda Dobbs, C‘46 1979 1991 Constance Baker Motley Miriam Makeba Sarah Sage McAlpin Audrey Forbes Manley, C‘55 Mary French Rockefeller 1980 Jesse Norman 1992 Mabel Murphy Smythe* Louis Rawls 1993 Cardiss Collins Oprah Winfrey Effie O’Neal Ellis, C‘33 Margaret Walker Alexander Dorothy I. Height 1981 Oran W. Eagleson Albert E. Manley Carol Moseley Braun 1994 Mary Brookins Ross, C‘28 Donna Shalala Shirley Chisholm Susan Taylor Eleanor Holmes Norton 1982 Elizabeth Catlett James Robinson Alice Walker* 1995 Maya Angelou Elie Wiesel Etta Moten Barnett Rita Dove Anne Cox Chambers 1983 Myrlie Evers-Williams Grace L. Hewell, C‘40 Damon Keith 1996 Sam Nunn Pinkie Gordon Lane, C‘49 Clara Stanton Jones, C‘34 Levi Watkins, Jr. Coretta Scott King Patricia Roberts Harris 1984 Jeanne Spurlock* Claire Collins Harvey, C’37 1997 Cicely Tyson Bernice Johnson Reagan, C‘70 Mary Hatwood Futrell Margaret Taylor Burroughs Charles Merrill Jewel Plummer Cobb 1985 Romae Turner Powell, C‘47 Ruth Davis, C‘66 Maxine Waters Lani Guinier 1998 Gwendolyn Brooks Alexine Clement Jackson, C‘56 William H. Cosby 1986 Jackie Joyner Kersee Faye Wattleton Louis Stokes Lena Horne Aurelia E. Brazeal, C‘65 Jacob Lawrence Johnnetta Betsch Cole 1987 Leontyne Price Dorothy Cotton Earl Graves Donald M. Stewart 1999 Selma Burke Marcelite Jordan Harris, C‘64 1988 Pearl Primus Lee Lorch Dame Ruth Nita Barrow Jewel Limar Prestage 1989 Camille Hanks Cosby Deborah Prothrow-Stith, C‘75 * Former Student As of November 2019 Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Max Cleland Herschelle Sullivan Challenor, C’61 Maxine D.
    [Show full text]
  • Body As Matter and Process Press Release
    Garth Greenan Gallery 529 West 20th Street 10th floor New York NY 10011 212 929 1351 www.garthgreenan.com FOR IMMEDIATE RELEASE Contact: Garth Greenan (212) 929-1351 [email protected] www.garthgreenan.com Skins: Body as Matter and Process Garth Greenan Gallery is pleased to announce Skins: Body as Matter and Process, a group exhibition curated by Alison Dillulio at 529 West 20th Street. Opening on Thursday, June 23, 2016, the exhibition features a selection of works, mostly from the 1970s, that evoke the human body–both literally and metaphorically. The artists included are: Lynda Benglis, Mary Beth Edelson, Harmony Hammond, Ralph Humphrey, Kiki Kogelnik, Howardena Pindell, Zilia Sánchez, Joan Semmel, Richard Van Buren, and Hannah Wilke. During the 1970s, second-wave feminism fostered a climate of unparalleled artistic innovation. As Lucy Lippard wrote, “the goal of feminism is to change the character of art.” The artists included in this exhibition furthered this mission by abandoning traditional art-making practices in favor of new modes of representation. They resisted preexisting patriarchal constructs by challenging the definition of painting and sculpture and reintegrating a palpable sense of self into their work. Howardena Pindell, Autobiography: Japan (Shisen-dö, Kyoto), 1982 (more) According to art historian Lynda Nead, art of this period “broke open the boundaries of representation….to reveal the body as matter and process, as opposed to form and stasis.” The featured artists cut, tear, stretch, throw, break apart, and reconstruct materials in their deeply personal and physically charged works. They reference the body in their exploration of processes, materials, and subject matter—an endeavor that offers viewers new perspectives on all forms, human and otherwise.
    [Show full text]
  • Lynda Benglis Defining Post-Minimalism, 1968–1990 Frieze Masters, Regent’S Park, London
    PRESS RELEASE Lynda Benglis Defining Post-Minimalism, 1968–1990 Frieze Masters, Regent’s Park, London October 5–8, 2017 Cheim & Read and Thomas Dane Gallery are pleased to announce a survey of important works by Lynda Benglis to be presented at Frieze Masters, Regent’s Park, London, October 5–8, 2017. In the late 1960s, Benglis rejected the formalist precepts of Clement Greenberg and Donald Judd to produce a form of Post-minimalism paralleling Eva Hesse’s investigations into the emotional resonances of materials, but with an explicit sense of sexuality and Feminist revolt coupled with a freewheeling manipulation of media, from painting and sculpture to photography, film, and video. Her works in polyurethane foam, lead, aluminum, plaster, enamel, and glitter congealed in lumps on the floor or curled off the wall, while her sometimes tender, sometimes savage videos pushed the boundaries of what was acceptable as art. As Catherine J. Morris, the Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, writes in Feminist Avant-Garde of the 1970s (Prestel, Flounce 1978 chicken wire, cotton, plaster, gesso 2016), Benglis created these works “to undermine — or and gold leaf 48 x 16 x 8 in 121.9 x 40.6 x 20.3 cm at least thumb her nose at — what she saw as the reigning orthodoxies ruling both the artworld and the emergent second-wave feminist movement.” By breaking the boundaries of Minimalist “good taste,” Benglis opened up the floodgates of color, sex, politics, and humor, influencing a wide field of aesthetic endeavors, from the cool analysis of identity politics and appropriation art to the uninhibited exuberance of performance, Pattern and Decoration, and Neo- Expressionism.
    [Show full text]
  • A Finding Aid to the Lucy R. Lippard Papers, 1930S-2007, Bulk 1960-1990
    A Finding Aid to the Lucy R. Lippard Papers, 1930s-2007, bulk 1960s-1990, in the Archives of American Art Stephanie L. Ashley and Catherine S. Gaines Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 May 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 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1960s-circa 1980s........................................ 6 Series 2: Correspondence, 1950s-2006.................................................................. 7 Series 3: Writings, 1930s-1990s...........................................................................
    [Show full text]
  • Nytimes Black History Month Is a Good Excuse for Delving Into Our
    Black History Month Is a Good Excuse for Delving Into Our Art An African-American studies professor suggests ways to mark the month, from David Driskell’s paintings and Dance Theater of Harlem’s streamed performances to the rollicking return of “Queen Sugar.” David Driskell’s “Swing Low, Sweet Chariot,” (1972), acrylic on canvas. Estate of David C. Driskell and DC Moore Gallery By Salamishah Tillet • Feb. 18, 2021 Black History Month feels more urgent this year. Its roots go back to 1926, when the historian Carter G. Woodson developed Negro History Week, near the February birthdays of both President Abraham Lincoln and the abolitionist Frederick Douglass, in the belief that new stories of Black life could counter old racist stereotypes. Now in this age of racial reckoning and social distancing, our need to connect with each other has never been greater. As a professor of African-American studies, I am increasingly animated by the work of teachers who have updated Woodson’s goal for the 21st century. Just this week, my 8- year-old daughter showed me a letter written by her entire 3rd-grade art class to Faith Ringgold, the 90-year-old African-American artist. And my son told me about a recent pre-K lesson on Ruby Bridges, the first African-American student who, at 6, integrated an elementary school in the South. Suddenly, the conversations my kids have at home with my husband and me are the ones they’re having in their classrooms. It's not just their history that belongs in all these spaces, but their knowledge, too.
    [Show full text]
  • Lower East Side Third Thursday Night – March 18, 2021, 4-8 Pm
    LOWER EAST SIDE THIRD THURSDAY NIGHT – MARCH 18, 2021, 4-8 PM Freight + Volume Perrotin 56 HENRY Fridman Gallery Peter Blum Gallery anonymous gallery FROSCH&CO Peter Freeman, Inc. ASHES/ASHES High Noon PROXYCO ATM Gallery NYC James Cohan Rachel Uffner Gallery Arsenal James Fuentes LLC RICHARD TAITTINGER GALLERY Betty Cuningham Gallery Kai Matsumiya Sargent's Daughters bitforms gallery Karma Shin Gallery Bureau Klaus von Nichtssagend SHRINE Callicoon Fine Arts Krause Gallery signs and symbols CANDICE MADEY LICHTUNDFIRE Simone Subal Gallery Cindy Rucker Gallery Lubov SITUATIONS Company Gallery Lyles & King Spencer Brownstone Cristin Tierney Gallery M 2 3 Sperone Westwater David Lewis Magenta Plains steven harvey fine art projects DEREK ELLER GALLERY MARC STRAUS GALLERY The Hole Downs & Ross Martos Gallery Thierry Goldberg Gallery Ed. Varie McKenzie Fine Art THOMAS NICKLES PROJECT Equity Gallery Miguel Abreu Gallery Tibor de Nagy Essex Flowers Gallery Milton Resnick & Pat Passlof TOTAH Essex Street/Maxwell Graham Foundation Ulterior Gallery Eva Presenhuber Mizuma & Kips Van Der Plas Gallery FIERMAN Nathalie Karg Gallery Zürcher Gallery Foley Gallery Olympia 56 HENRY 56 Henry Street 56henry.nyc THANK GOD YOU'RE HERE Nikita Gale Through March 29th anonymous gallery 136 Baxter Street New York, NY 10013 www.anonymousgallery.com G'ordiavonte Fold David-Jeremiah G’ordiavonte (Gee-or-día-von-te) Fold is an exhibition about Black inclusion in contemporary art discourse, wherein the black body is made central, while not only circumscribed by, but ultimately subsumed by whiteness. March 4 - April 4, 2021 ASHES/ASHES 56 Eldridge Street wwww.ashesonashes.com Gerold Miller 02/19/21–03/28/21 ATM Gallery NYC 54E Henry Street www.atmgallery.nyc Soul States Scott Kahn In his first comprehensive exhibition of portrait paintings in NYC, Scott Kahn presents six works of family members and friends spanning from 1975 to 2015.
    [Show full text]
  • African American Creative Arts Dance, Literature, Music, Theater, and Visual Art from the Great Depression to Post-Civil Rights Movement of the 1960S
    International Journal of Humanities and Social Science Vol. 6, No. 2; February 2016 African American Creative Arts Dance, Literature, Music, Theater, and Visual Art From the Great Depression to Post-Civil Rights Movement of the 1960s Dr. Iola Thompson, Ed. D Medgar Evers College, CUNY 1650 Bedford Ave., Brooklyn, NY 11225 USA Abstract The African American creative arts of dance, music, literature, theater and visual art continued to evolve during the country’s Great Depression due to the Stock Market crash in 1929. Creative expression was based, in part, on the economic, political and social status of African Americans at the time. World War II had an indelible impact on African Americans when they saw that race greatly affected their treatment in the military while answering the patriotic call like white Americans. The Civil Rights Movement of the 1960s had the greatest influence on African American creative expression as they fought for racial equality and civil rights. Artistic aesthetics was based on the ideologies and experiences stemming from that period of political and social unrest. Keywords: African American, creative arts, Great Depression, WW II, Civil Rights Movement, 1960s Introduction African American creative arts went through several periods of transition since arriving on the American shores with enslaved Africans. After emancipation, African characteristics and elements began to change as the lifestyle of African Americans changed. The cultural, social, economic, and political vicissitudes caused the creative flow and productivity to change as well. The artistic community drew upon their experiences as dictated by various time periods, which also created their ideologies. During the Harlem Renaissance, African Americans experienced an explosive period of artistic creativity, where the previous article left off.
    [Show full text]
  • Tamarind Homage to Lithography Preface by William S
    Tamarind homage to lithography Preface by William S. Lieberman. Introduction by Virginia Allen Author Museum of Modern Art (New York, N.Y.) Date 1969 Publisher Distributed by New York Graphic Society, Greenwich, Conn. Exhibition URL www.moma.org/calendar/exhibitions/1869 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Tamarind:Homage to Lithography Tamarind: Homage to Lithography Preface by William S. Lieberman Introduction by Virginia Allen 4- The Tamarind Lithography Workshop has almost single- handedly revived the difficult medium of lithography in the past decade. It has provided not only the materials but also the environment that fosters the delicate collaboration be tween artist and printer. Such an environment and indeed even the materials were almost nonexistent in the United States before June Wayne and the Ford Foundation agreed on the importance of providing them. Since Tama rind opened its doors in 1960 it has provided fellowships for numerous artists and printers, most of whom have con tinued their exploration of lithography after leaving Tama rind. The author describes this unique Workshop and also gives a brief history of lithography in Europe and in the United States. Included is a list which catalogs part of the promised gift to The Museum of Modern Art of the Kleiner, Bell and Company Collection of Tamarind Impressions. The author, Virginia Allen, former curator of Tamarind, is now Assistant to William S.
    [Show full text]
  • The Tension in Liat Yossifor's Paintings
    The Tension in Liat Yossifor’s Paintings In Yossifor’s work, connections between the imagination and the ordinary world are made not through the pictorial, but through the paint itself. By John Yau Liat Yossifor, Three Women, 2020, Oil on linen, 81 x 78 inches, Courtesy the artist and Miles McEnery Gallery, New York, NY My interest in the paintings of Liat Yossifor is multifold, stemming in part from the way she collapses alla prima painting and figure-ground relationships into something unique. By doing so, she has opened up a distinct space for herself within a domain many thought was no longer possible to work in: drawing in paint on canvas. In her work, Yossifor rejects the formal claim that drawing in paint (as in Willem de Kooning) evolved into the non-ex- pressionistic use of paint-as-paint (Jackson Pollock). Rather than embracing this view of materiality, she seems to be interested in the connotative possibilities of paint’s materiality when it is explored through alla prima painting and a rethinking of the figure-ground relationship. Her works suggest figural abstractions in which no figure is visible, a preoccupation that was apparent in her early “Portraits” (2005), for which she first gained attention after receiving her MFA from the University of California, Irvine, in 2002. 1 In an interview with the London-based abstract artist Erin Lawlor, Yossifor, who lives and works in Los Angeles, made this observation about the built-up, impenetrable paintings of the Abstract Expressionist artist Milton Resnick: “It seems he is seeing something we cannot see.
    [Show full text]