James Jarvaise (1924 - 2015)
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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, -
JAY DEFEO May 1 – June 7, 2014
JAY DEFEO May 1 – June 7, 2014 NEW YORK, April 09, 2014 – Mitchell-Innes & Nash is pleased to present the first solo exhibition of Jay DeFeo’s work in New York since the acclaimed Jay DeFeo: A Retrospective at the Whitney Museum of American Art in 2013. Assembling fifty key works spanning the years 1965–1989, the exhibit examines DeFeo’s distinctive exploration of visual vocabulary, rich materiality and experimental process across the media of painting, drawing, photography and rarely seen photocopy works. DeFeo’s diverse and constantly evolving practice extended far beyond her seminal work The Rose (1958–66). Throughout her career, DeFeo consistently blurred the boundaries between abstraction and representation, transcending the identity of the common objects that fascinated her. Moving seamlessly between painting, drawing and collage, DeFeo introduced photography into her oeuvre in 1970. In the mid-1970s, the artist began using the photocopy machine as a new type of photographic lens through which she created series of works that defy an accepted understanding of the limitations of the photocopier. As seen in large-scale works such as Tuxedo Junction (1965/1974), surface and texture are of paramount importance in her oeuvre, partly inspired by the crumbling facades found in Paris and Florence, where she traveled early in her career. The densely layered surface of built-up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions. This exhibition focuses on a handful of forms and objects that appear and reappear in her work: a torn fragment of a 1958 work titled White Spica, her camera tripod, a hybrid item created from an antique candlestick telephone, flowers, a generic tissue box, or a tiny ceramic cup. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Llyn Foulkes Between a Rock and a Hard Place
LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M. -
DILEXI GALLERY Multi-Venue Retrospective
DILEXI GALLERY Multi-Venue Retrospective Taking place at: Brian Gross Fine Art / San Francisco Crown Point Press / San Francisco Parker Gallery / Los Angeles Parrasch Heijnen Gallery / Los Angeles The Landing / Los Angeles with a related exhibition at: Marc Selwyn Fine Art / Los Angeles The Dilexi Multi-Venue Retrospective The Dilexi Gallery in San Francisco operated in the years and Southern Californian artists that had begun with his 1958-1969 and played a key role in the cultivation and friendship and tight relationship with well-known curator development of contemporary art in the Bay Area and Walter Hopps and the Ferus Gallery. beyond. The Dilexi’s young director Jim Newman had an implicit understanding of works that engaged paradigmatic Following the closure of its San Francisco venue, the Dilexi shifts, embraced new philosophical constructs, and served went on to become the Dilexi Foundation commissioning as vessels of sacred reverie for a new era. artist films, happenings, publications, and performances which sought to continue its objectives within a broader Dilexi presented artists who not only became some of the cultural sphere. most well-known in California and American art, but also notably distinguished itself by showcasing disparate artists This multi-venue exhibition, taking place in the summer of as a cohesive like-minded whole. It functioned much like 2019 at five galleries in both San Francisco and Los Angeles, a laboratory with variant chemical compounds that when rekindles the Dilexi’s original spirit of alliance. This staging combined offered a powerful philosophical formula that of multiple museum quality shows allows an exploration of actively transmuted the cultural landscape, allowing its the deeper philosophic underpinnings of the gallery’s role artists to find passage through the confining culture of the as a key vehicle in showcasing the breadth of ideas taking status quo toward a total liberation and mystical revolution. -
Reminiscing with James Jarvaise
REMINISCING WITH JAMES JARVAISE By Gerald Nordland The admiration I have nurtured for the work of James Jarvaise has grown from the time when, as a young art critic in Los Angeles for Frontier Magazine, I began to be aware of the burgeoning interest in the local art world for his work. It was the early fifties and I was writing about the American art world. By the mid-1950s, I was seeing more of Jarvaise’s work and wrote enthusiastically about it in Frontier, Arts, and the Los Angeles Mirror News. I was invited by Felix Landau Gallery to write an introduction for one of the shows he organized for him. The Gallery often included Jarvaise in its occasional group shows that I followed. I was well aware that Jarvaise’s work was being seen in important annual juried shows at national museums, notably: Metropolitan Museum of Art, NY; twice at the University of Illinois-Champaign/ Urbana (1953, 1957); Addison Gallery, Andover, MA; Butler Institute of American Art, Youngstown, OH; Corcoran Gallery, Washington D.C.; Denver Art Museum; San Francisco Museum of Art. Notably, he received purchase awards from Addison Gallery; the then Albright Art Gallery, Buffalo, NY; the then Carnegie-Tech, Philadelphia; and the Los Angeles County Museum of Art. In 1958, I reported that Jarvaise had been selected by Dorothy Canning Miller, a veteran curator of painting and sculpture at the Museum of Modern Art, NY and a valued assistant to the institution’s director, Alfred H. Barr Jr., to be among the artists featured in her Sixteen Americans exhibition. -
PRESS RELEASE for Immediate Release
THE MAYOR GALLERY 21 Cork Street, First Floor, London W1S 3LZ T +44 (0) 20 7734 3558 F +44 (0) 20 7494 1377 www.mayorgallery.com PRESS RELEASE For immediate release ROBERT MALLARY Reliefs and Sculptures 1957-1965 st st 1 November – 1 December 2017 Untitled Amerigo, 1958, resin mix and pigment on board, 177 x 119 x 10 cm The work of Robert Mallary (b. 1917 Ohio, USA – d. 1997 Massachusetts, USA) is characterised by a consistent commitment to technological innovation, and to the exploration of materiality. As well as pioneering the use of computers to design sculptures in the late 1960s, during the first part of his career Mallary produced grungy assemblage sculptures and expressionist paintings, which merged the nihilism of continental existentialist thinking with the irreverence of Neo-Dada. The dissonance between these areas of experimentation perhaps partly explains Mallary’s current place on the margins of post-war art histories. Yet his early practice of the 1950s and 1960s intersects with a number of significant processes and issues explored by painters and sculptors in the decades after World War II, across America and Europe. Mallary spent his childhood in California, before studying in Mexico City during the late 1930s and early 1940s with David Alfaro Siqueiros, an experience that shaped his interest in unorthodox materials and techniques. The influence of Siqueiros and other muralists such as José Clemente Orozco can be detected in the series of relief works that Mallary made in the mid-late 1950s, while teaching at the University of New Mexico. Their experimental mode of production, use of alternative materials and visceral facticity align the artist with other European and American painters working in this decade such as Alberto Burri, Jean Dubuffet, Jean Fautrier, Cy Twombly, Jay DeFeo and Hassel Smith. -
A Finding Aid to the Jay Defeo Papers, Circa 1940S-1970S, in the Archives of American Art
A Finding Aid to the Jay DeFeo Papers, circa 1940s-1970s, in the Archives of American Art Helen MacDiarmid 2014 October 9 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..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, 1948-1969............................................................. 4 Series 2: Correspondence, 1960-1970s.................................................................. 5 Series 3: Writings, circa 1960s................................................................................ 7 Series 4: Personal Business Records, 1964-1974.................................................. -
Oakland Museum of California and SFMOMA Join Collections for Unprecedented Exhibition Focusing on Art and Community in California
MEDIA CONTACTS: Scott Horton, 510-735-9200, [email protected] Claudia Leung, 510-318-8459, [email protected] Miriam Newcomer, 415-357-4170, [email protected] Robyn Wise, 415-357-4172, [email protected] Oakland Museum of California and SFMOMA Join Collections for Unprecedented Exhibition Focusing on Art and Community in California Fertile Ground Presents Confluences of Personal Relationships and Historical Forces That Changed the Face of 20th- and 21st-Century Art Opening September 20, 2014 at OMCA (Oakland and San Francisco, CA) May 8, 2014 (Updated August 26, 2014)—The Oakland Museum of California (OMCA) and the San Francisco Museum of Modern Art (SFMOMA) combine their collections for the first time in Fertile Ground: Art and Community in California, an unprecedented exhibition that illuminates local histories and social forces that changed the face of art in—and beyond—the Golden State. Weaving together the museums’ unsurpassed holdings of California art and ephemera, the exhibition tells the stories of four creative communities active in the northern part of the state between the 1930s and the present. In each case, the exhibition shines a spotlight on artists who had their finger on the pulse of their time, and the grassroots conditions that allowed their ideas to flourish. The exhibition runs September 20, 2014 through April 12, 2015 in OMCA’s Great Hall and features a vast array of artworks and historical documents, from monumental paintings to handwritten letters, relating to four key moments in the history of California -
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The Whitney to Present Jay Defeo: a Retrospective
THE WHITNEY TO PRESENT JAY DEFEO: A RETROSPECTIVE DeFeo working on what was then titled Deathrose, 1960. Photograph by Burt Glinn. © Burt Glinn/Magnum Photos NEW YORK, December 12, 2012—Jay DeFeo spent nearly eight years realizing her masterpiece, The Rose (1958-66), an approximately 2,000-pound painting that is now recognized as one of the icons of the Whitney Museum’s collection. This winter, the Whitney will place The Rose within the context of more than four decades of DeFeo’s work in the most comprehensive look at the artist to date. Jay DeFeo: A Retrospective, which opens on February 28, 2013, features nearly 150 of DeFeo’s works, many of which will be exhibited for the first time. The show traces motifs and themes the artist examined throughout her career in drawings, photographs, collages, jewelry, and the monumental paintings for which she is best known. The exhibition is organized by Dana Miller, curator of the permanent collection at the Whitney, and will be on view in the fourth-floor Emily Fisher Landau Galleries through June 2, 2013. “DeFeo remains an artist whose full career has not yet received the careful consideration that it deserves,” Miller states. “In presenting her entire career, this retrospective demonstrates the captivating sweep of DeFeo’s heterogeneous work and illuminates her groundbreaking experimentation and extraordinary vision.” The retrospective comes home to the Whitney after receiving critical acclaim and attracting large audiences at the San Francisco Museum of Modern Art. San Francisco Chronicle art critic Kenneth Baker wrote in his review of the exhibition, “Before and since her death at 60 in 1989, DeFeo's reputation has hinged on one colossal work: ‘The Rose’…This belated career survey corrects that overemphasis but, more important, it introduces DeFeo to a broad public as an artist of wide and diverse accomplishment.” The substantially larger presentation at the Whitney will also feature an expanded selection of DeFeo’s drawings and photographs from the 1970s. -
Visions of the Davis Art Center
Lost and Found: Visions of the Davis Art Center Permanent Collection 1967-1992 October 8 – November 19, 2010 This page is intentionally blank 2 Lost and Found: Visions of the Davis Art Center In the fall of 2008, as the Davis Art Center began preparing for its 50th anniversary, a few curious board members began to research the history of a permanent collection dating back to the founding of the Davis Art Center in the 1960s. They quickly recognized that this collection, which had been hidden away for decades, was a veritable treasure trove of late 20th century Northern California art. It’s been 27 years since the permanent collection was last exhibited to the public. Lost and Found: Visions of the Davis Art Center brings these treasures to light. Between 1967 and 1992 the Davis Art Center assembled a collection of 148 artworks by 92 artists. Included in the collection are ceramics, paintings, drawings, lithographs, photographs, mixed media, woodblocks, and textiles. Many of the artists represented in the collection were on the cutting edge of their time and several have become legends of the art world. Lost and Found: Visions of the Davis Art Center consists of 54 works by 34 artists ranging from the funky and figurative to the quiet and conceptual. This exhibit showcases the artistic legacy of Northern California and the prescient vision of the Davis Art Center’s original permanent collection committee, a group of volunteers who shared a passion for art and a sharp eye for artistic talent. Through their tireless efforts acquiring works by artists who were relatively unknown at the time, the committee created what would become an impressive collection that reveals Davis’ role as a major player in a significant art historical period.