DOCSLIB.ORG

Awards in the Visual Arts 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Awards in the Visual Arts 3 Awards IN THE Visual Arts 3 .. 4v 4^ 4^ 4v 4^ 4v 4^ 4^ 4v 4^ 4 4^ 4i 4i 4i 4^ 4i 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4i 4^ 4> 4i 4^ 4^ 4^ 4^ 4^ 4 4\ 4i 4i 4> 4i 4v 4i 4i 4i 4^ . 4^ 4i 4^ 4^ 4v 4^ 4v 4^ 4^ 4^ A 4v 4^ 4^ 4^ 4^ 4v 4^ 4^ 4^ 4^ 4^ 4v 4i 4i 4i 4i 4^ 4i 4^ 4^ 4^ i 4i 4i 4^ 4i 4^ 4^ 4i 4^ 4^ 4^ 4 4^ 4^ 4i 4i 4^ 4^ 4i 4^ 4^ 4^ ^\ 4^ 4i 4i 4i 4i 4i 4v 4^ 4v 4^ > . 4^ 4i 4^ 4^ 4i 4v 4i 4^ 4^ 4^ 4 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4i 4^ 4^ 4^ 4^ 4^ 4^ ^ 4i 4i 4i 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4 4v 4v 4^ 4^ 4^ 4^ 4i 4^ 4^ 4^ ,v 4i 4v 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ -2 4^ 4v 4^ 4^ 4^ 4^ 4i 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4v 4v 4^ 4^ 4^ 4i 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4» 4^ 4^ 4^ - 4^ 4v 4^ 4^ 4^ 4^ 4i 4^ 4^ 4^ 4 4^ 4^ 4^ 4^ 4v 4^ 4v 4^ 4^ 4^ ,^ 4^ 4^ 4^ 4^ 4^ 4v 4^ 4^ 4^ 4^ 2 4^ 4^ 4^ 4v 4^ 4^ 4^ 4^ 4^ 4^ 4 4i 4^ 4^ 4i 4^ 4i 4^ 4^ 4> 4^ . 4^ 4^ 4^ 4^ 4v 4^4^ 4^ 4^ 4^^ 4i 4i 4^ 4i 4i 4^ 4^ 4^ 4v 4^ 4^ h 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ V 4^ 4^ 4v 4^ 4v 4^ 4v 4i 4> 4^ -2 4^ 4^ 4^ 4i 4^ 4^ 4i 4^ 4^ 4^ 4^ 1a 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ - .4v4^4^4^4^4^4^4^4^4^-^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4^ 4i 4^ 4^ 4^ 4^ 4i 4^ 4^ 4^ - 4^ 4^ 4^ 4i 4^ 4i 4i 4^ 4^ 4^ 4 4i 4^ 4^ 4i 4i 4i 4. 4^ 4v 4^ Awards IN THE Visual Arts 3 Digitized by the Internet Archive in 2015 https://archive.org/details/awardsinvisualar03sout Awards in the Visual Arts 3 an exhibition of works by recipients of the third annual Awards in the Visual Arts Louis Carlos Bernal Rolando Briseho Robert Cumming Leonard Koscianski Donald Lipski Tom Marioni Edward Mayer Robert Therrien Genna Watson Margaret Wharton 13 May through 15 July 1984 San Antonio Museum of Art San Antonio, Texas 18 August through 23 September 1984 Loch Haven Art Center Orlando, Florida 11 November 1984 through 20 January 1985 Cranbrook Academy of Art Museum Bloom field Hills, Michigan 4 Published by the Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, on the occasion of the "Awards in the Visual Arts 3" exhibition which was organized and coordinated by the Southeastern Center for Contemporary Art. ISBN: 0-9611560-0-7 Library of Congress Catalog Card Number: 84-050289 Copyright 1984 by the Southeastern Center for Contemporary Art, 750 Marguerite Drive, Winston-Salem, North Carolina 27106. All rights reserved. Catalogue design; Lee Hansley Printing: Wooten Printing Company, Inc. Price: $10 5 The Awards in the Visual Arts program is funded by The Equitable Life Assurance Society of the United States, New York, New York; The Rockefeller Foundation, New York, New York; and the National Endowment for the Arts, a federal agency, Washington, D.C. The program is administered by the Southeastern Center for Contemporary Art, Winston-Salem, North Carolina. 6 Dedication The AVA3 Exhibition is dedicated with appreciation to the 300 nomi- nators and 22 jurors who have served the program since its inception. 7 Table of Contents Preface 8 Exhibition Essay 10 The Artists and Catalogue of the Exhibition Louis Carlos Bernal 16 Rolando Briseiio 28 Robert Cumming 36 Leonard Koscianski 48 Donald Lipski 58 Tom Marioni 72 Edward Mayer 80 Robert Therrien 88 \ Genna Watson 100 Margaret Wharton 108 Appendix AVA3 Jury 116 AVA Executive Committee 116 AVA Professional Council 117 AVA Guidelines and Procedures 118 Acknowledgments 120 Two years ago in Washington, D.C., the Awards in paths, breaking new ground, always in search of the Visual Arts (AVA) program debuted with all the excellence. This, we feel, is what this program fanfare attributed a new and ambitious awards identifies and attempts to bring into sharp focus on program. It was a time of celebration for those of a national level. The artists of America are no us who had been involved in the dream that longer in the shadow as they used to be. They became AVA. are, however, in need of a great deal of support and encouragement. AVA was conceived long before its official birth, and involved many years of planning. Its origins The AVA program strives to achieve this. It also sprang from a desire to create a program to operates on the premise that there are artists answer the particular needs of the American artist. worthy of recognition throughout the country— not It was undertaken to recognize outstanding just in our urban centers— including Hawaii, achievement and potential in the visual arts Alaska, Puerto Rico and the Virgin Islands. It was through a national program of monetary awards, this reason that the country was carefully divided exhibitions, purchases and publications. Its purpose into ten areas [see Appendix]. With current is to seek and identify individuals of significant statistical data as our measure, each area represents artistic achievement; and it is designed to support approximately ten percent of the total artist and bring into national focus artists living and population, thus assuring a fair chance of artists working throughout the country. Its importance receiving an award and creating a truly national was well stated by an artist, who wrote, "I just program. read the article in this issue of Cultural Post (Jan. /Feb. 82) about the Awards in the Visual Arts The outright award of $15,000 is adequate to program. I had, of course, heard of it before, but provide an artist freedom to work for a year. three points in the article really impressed me: Added to this are the opportunities to be shown in money for the artist to live and work; exposure three or four prestigious museums, an exhibition through a traveling exhibit to major museums. catalogue, exposure to national critics, and the .and the possibility of purchase of works by a acquisition of works for the museums' permanent major If that isn't museum. what an artist wants, I collections. The program thus hopes to bring artists don't know what is!" of merit working throughout the country to a wider audience as well as give them support for The ten artists represented in this catalogue are their continued activity. In addition, there is the recipients of the third AVA awards. Their work chance to see the standard of work done in every conveys the individuality of expression that is at the part of the country, and less advanced artists can forefront of contemporary American art. Perhaps gauge themselves against their peers. more importantly, these are artists of outstanding achievement who have been recognized in the Douglas Bourgeois, a past AVA recipient from areas of the country in which they work and live, Gonzales, Louisiana, says, "I began to realize the fulfilling a primary goal of AVA. impact of someone (in another part of the country or world) viewing my paintings. I feel it made me it is the artist who forms the core of this program self-conscious and vulnerable at first, but the and its objectives. Artists in any society are among experience and exposure helped me to be more the last serious hunters. They are seeking new considerate and professional." It is this same 9 exposure which has benefited the public as well as levels. As this computerized documentation has the artists. grown, it has become a national cultural resource. While this particular, comprehensive program The purchase awards which go to exhibiting design may constitute a maverick approach, it is institutions ensure that the goals of AVA have a paramount to the goals of AVA: recognizing artists longer life, creating more opportunities to provide throughout this country and attempting to meet that all-important link between the artist, the art, their often complicated needs. It is the result of a and the public. Works from AVA artists now are special collaboration of a great many arts included in the permanent collections of the professionals. Another past AVA winner, Maurie Smithsonian Institution's National Museum of Kerrigan of Philadelphia, put it well when she said, American Art in Washington, D.C., the Des Moines "I realize I am not only the recipient of a Art Center, the Denver Art Museum, the Museum generous stipend, but of the labors and good will of Contemporary Art in Chicago, the Mint Museum and vision of many people behind the scenes. No of Art in Charlotte, North Carolina, the DeCordova one will ever be able to count the ways in which and Dana Museum and Park in Lincoln, these awards have enhanced the lives and work of Massachusetts, and in several corporate and private those who receive them." collections. True, the American artist has always needed Finally, AVA has been fortunate to have the financial encouragement. AVA strives to achieve involvement of many people with a vision and an this without overburdening government funding understanding of what artists' needs are.
Load more

Recommended publications
  • Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
    Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery,
    [Show full text]
  • Robert Rauschenberg Selected One-Artist
    ROBERT RAUSCHENBERG SELECTED ONE-ARTIST EXHIBITIONS DATES Born 1925, Port Arthur, Texas Died 2008, Captiva, Florida EDUCATION 1947–1948, Kansas City Art Institute 1947, Academie Julien, Paris 1948–1949, Black Mountain College, North Carolina (with Josef Albers) 1949–1952, Art Students League, New York (with Vaclav Vytlacil and Morris Kantor) 2018 Robert Rauschenberg: Spreads, Galerie Thaddaeus Ropac, Ely House, London, November 28, 2018– January 26, 2019. Rauschenberg: The 1/4 Mile, Los Angeles County Museum of Art, October 28, 2018–June 9, 2019. Robert Rauschenberg: Vydocks, Pace Gallery, 12/F, H Queen’s, 80 Queen’s Road Central, Hong Kong, September 19–November 2, 2018. (Catalogue) Robert Rauschenberg: In and About L.A, Los Angeles County Museum of Art, August 11, 2018–February 10, 2019. Robert Rauschenberg: Features, Krakow Witkin Gallery, Boston, May 12–June 23, 2018. Robert Rauschenberg: Selected One–Artist Exhibitions 2 Robert Rauschenberg: Paintings Objects Sculptures, Galerie Bastian, Berlin, April 28–July 28, 2018. 2017 Robert Rauschenberg: A Quake in Paradise (Labyrinth), Massachusetts Museum of Contemporary Art, North Adams, May 28, 2017–Fall 2018. Robert Rauschenberg: Late Series, Faurschou Foundation Venice, May 12–August 27, 2017. (Catalogue) 2016 Robert Rauschenberg, Transfer Drawings from the 1950s and 1960s, Offer Waterman, London, December 2, 2016–January 13, 2017. (Catalogue) Robert Rauschenberg, Tate Modern, London, December 1, 2016–April 2, 2017. Traveled to: as Robert Rauschenberg: Among Friends, The Museum of Modern Art, New York, May 21, 2017–September 17, 2017; as Robert Rauschenberg: Erasing the Rules, San Francisco Museum of Modern Art, November 18, 2017– March 25, 2018. (Catalogue) Robert Rauschenberg: Salvage, Galerie Thaddaeus Ropac, Paris, October 20, 2016–January 14, 2017.
    [Show full text]
  • La Mamelle and the Pic
    1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson
    [Show full text]
  • 11757.Intro.Pdf
    Introduction I first met David Ireland in 1975. it was during that year that he purchased his 500 Capp street home in san francisco’s Mission District while i was simulta- neously at work renovating a commercial building in the city’s south of Market street district. Cheap real estate was abundant at the time, and a year earlier i had purchased the Coast Casket Company while it was in its last throes of business. thereafter, artist Jim Pomeroy and i each set to building out our respective live- in studio lofts on the old brick warehouse’s second floor, while below us the first floor of 80 langton street was also being renovated and soon opened as a vibrant alternative artists’ space that we and others helped to cofound. it later became new langton arts, which remained a vital space for exhibitions and events until it closed in 2009. Many of us artists living in san francisco during the 1970s possessed the tools and hand skills needed to undertake such renovation projects, most of which were correctly wired, plumbed, and constructed, but seldom undertaken with proper building permits. nobody had much money back then, and hence we often relied on each other for good advice and swaps of labor and materials. i remember becoming aware of David ireland’s considerable skills with tools and materials when tom Marioni commissioned him to sensitively restore a wall that had been altered during a performance within the Museum of Conceptual art (MoCa). tom had opened MoCa in 1970, and it was yet another young south of Market arts institution that was greatly enlivening a growing community of artists who were busily working across multiple creative disciplines and media with utter comfort and curiosity.
    [Show full text]
  • Robert Rauschenberg
    Robert Rauschenberg Born in Port Arthur, United States. 1925 – 2008 Solo Exhibitions 2017 – Window to China, gl Holtegaard, Holte, Denmark. 2016 – Robert Rauschenberg, Tate Modern, London, England. 2014 – Rauschenberg: China/America Mix, Bob Rauschenberg Gallery, Florida SouthWestern State College, Fort Myers, USA. – Rauschenberg: Collecting and Connecting, Nasher Museum of Art at Duke University, Durham, USA. – Robert Rasuchenberg: The Fulton Street Studio, 1953–1954, Craig F. Starr Gallery, New York, USA. – Robert Rauschenberg: Works on Metal, Gagosian Gallery, Beverly Hills, USA. 2013 – Jammers, Gagosian Gallery, London, England. – 2012 Early Photographs, Gagosian Gallery, London, England. 2011 – The Private Collection of Robert Rauschenberg, Gagosian Gallery, 980 Madison Avenue, New York, USA. – Robert Rauschenberg, Gagosian Gallery, Paris, France. – Robert Rauschenberg, Gagosian Gallery, New York, USA. 2008 – Robert Rauschenberg: Scenarios and the Ancient Incident, Pace Gallery, New York, USA. – Robert Rauschenberg: Runts, Pace Gallery, New York, USA. – Last Turn-Your Turn: Robert Rauschenberg and the Environmental Crisis, Jacobson Howard Gallery, New York, USA. 2007 – Let the World In: Prints by Robert Rauschenberg from the National Gallery of Art and Related Collections, The National Gallery of Art, Washington D.C, USA. – Robert Rauschenberg: Three Decades, Galleri Faurschou, Beijing, China. – Robert Rauschenberg: Travelling ’70-’76, Museu de Arte Contemporânea de Serralves, Porto, Portugal. – Travelled to: Haus der Kunst, Munich, Germany and Museo d’Arte Contemporanea Donna Regina, Naples, Italy. – Signs of Life: Robert Rauschenberg Posters, Black Mountain College of Arts Center in Asheville, USA. – Robert Rauschenberg: Cardboards and Related Pieces, Menil Collection, Houston, USA. – Robert Rauschenberg: Scenarios, Bob Rauschenberg Gallery, Edison State College, Fort Myers, USA. Page 1 / 15 – Rauschenberg’s Currents: Features and Surface, Michael C.
    [Show full text]
  • Tom Marioni Papers, 1970-2017, in the Archives of American Art
    A Finding Aid to the Tom Marioni Papers, 1970-2017, in the Archives of American Art Christopher DeMairo The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee. 2021 March 2 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 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Address and Appointment Books, circa 1970-2011.................................. 4 Series 2: Guest Books, 1991-2017.........................................................................
    [Show full text]
  • Writing New Codes Catalogue
    WRITING NEW CODES CORDEIRO / MALLARY MOLNÁR WRITING NEW CODES CORDEIRO / MALLARY / MOLNÁR THE MAYOR GALLERY THE MAYOR GALLERY 3 PIONEERS OF COMPUTER ART 1969 - 1977 WRITING NEW CODES WALDEMAR CORDEIRO / ROBERT MALLARY / VERA MOLNÁR 3 PIONEERS OF COMPUTER ART 1969 - 1977 THE MAYOR GALLERY CONTENTS 6 Introduction: From Mind to Machine: Computer drawing in art history by Catherine Mason 14 Waldemar Cordeiro by Analivia Cordeiro 16 Waldermar Cordeiro plates 30 Robert Mallary: Pioneer Computer Artist by Martine Mallary 32 Robert Mallary: TRAN2 Computer Sculpture by Mike Mallary 34 Robert Mallary plates 60 Vera Molnár interview by Angeria Rigamonti di Cutò for Studio International 66 Vera Molnár plates 86 List of works 4 5 FROM MIND TO MACHINE: COMPUTER DRAWING IN ART HISTORY Constructing rules or sets of pre-determined Riley’s painted abstraction was exhibited alongside instructions to produce art, has precedents within art computer-generated work, to draw attention to their The computer like any tool or machine, extends human history. Influenced by aspects of Constructivism, Op similar geometric aesthetic. No differentiation was capabilities. But it is unique in that it extends the Art, Systems Art and Conceptualism and Concrete art, made between object, process, material or method, nor power of the mind as well as the hand. methodologies were discovered that laid a foundation for between the background of makers, whether art school Robert Mallary 1 computer arts to develop and provided an inspiration to educated or scientist-engineers. As
    [Show full text]
  • Drawing Surrealism CHECKLIST
    ^ Drawing Surrealism CHECKLIST EILEEN AGAR Argentina, 1899–1991, active England Ladybird , 1936 Photograph with gouache and ink 3 3 29 /8 x 19 /8 in. (74.3 x 49.1 cm) Andrew and Julia Murray, Norfolk, U.K. Philemon and Baucis , 1939 Collage and frottage 1 1 20 /2 x 15 /4 in. (52.1 x 38.7 cm) The Mayor Gallery, London AI MITSU Japan, 1907–1946 Work , 1941 Sumi ink 3 1 10 /8 x 7 /8 in. (26.4 x 18 cm) The National Museum of Modern Art, Tokyo GUILLAUME APOLLINAIRE Italy, 1880–1918, active France La Mandoline œillet et le bambou (Mandolin Carnation and Bamboo), c. 1915–17 Ink and collage on 3 pieces of paper 7 1 10 /8 x 8 /8 in. (27.5 x 20.9 cm) Musée national d’art moderne, Centre Georges Pompidou, Paris, Purchase 1985 JEAN (BORN HANS) ARP Germany, 1886–1966, active France and Switzerland Untitled , c. 1918 Collage and mixed media 1 5 8 /4 x 11 /8 in. (21 x 29.5 cm) Mark Kelman, New York Untitled , 1930–33 Collage 1 5 6 /8 x 4 /8 in. (15.6 x 11.8 cm) Private collection Untitled , 1940 Collage and gouache 1 1 7 /4 x 9 /2 in. (18.4 x 24.1 cm) Private collection JOHN BANTING England, 1902–1972 Album of 12 Blueprints , 1931–32 Cyanotype 1 3 3 Varying in size from 7 3/4x 6 /4 in. (23.5 x 15.9 cm.) to 12 /4 x 10 /4 in. (32.4 x 27.3 cm) Private collection GEORGES BATAILLE France, 1897–1962 Untitled Drawings for Soleil Vitré , c.
    [Show full text]
  • DONALD JUDD Born 1928 in Excelsior Springs, Missouri
    This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970.
    [Show full text]
  • The Interwar Years,1930S
    A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.
    [Show full text]
  • 2019-Full-Bio.Pdf
    Robert Kushner Born: 1949, Pasadena, California Education: 1971 B.A., Visual Arts, with honors, University of California, San Diego Solo Exhibitions: 2018-19 “Robert Kushner: Reverie: Dupatta-topia,” Texas Gallery, Houston, TX, November 29, 2018 – January 5, 2019 2018 “Robert Kushner: Reverie: Dupatta-topia,” DC Moore Gallery, New York, NY, May 3 – June 16, 2018 “A Mist of Unknowing,” 8 / ART GALLERY / Tomio Koyama Gallery: Tokyo, Japan, April 4 – 30, 2018 “Tracery and Plane: Paintings by Robert Kushner,” Sarah Moody Gallery of Art, The University of Alabama, Tuscaloosa, AL, February 8 – March 23, 2018 2017-18 Robert Kushner at 375 Hudson Street / Saatchi & Saatchi Building, New York, NY, November 28, 2017 – May, 2018 2017 “Robert Kushner: Portraits & Perennials,” DC Moore Gallery, New York, NY, February 9 – March 11, 2017 2016 “Robert Kushner,” Jerald Melberg Gallery, Charlotte, NC, March 11 – April 23, 2016 2015 Galleri DGV, Svendborg, Denmark “Tenderness and Thorns,” Hakusasonso Hashimoto Museum, Kyoto, Japan, September 9 – 27, 2015 “Robert Kushner: Pleasure and Solace,” Eleanor D. Wilson Museum, Hollins University, Roanoke, VA, June 16 – September 12, 2015 “Robert Kushner: baroque,” DC Moore Gallery, New York, NY, January 8-February 14, 2015 “Robert Kushner: Paintings & Collages,” Texas Gallery, Houston, TX, May 14 – June 20, 2015 “Robert Kushner: Patois,” Off Ramp Gallery, Pasadena, CA, April 12 – May 17, 2015 “Robert Kushner: New Monoprints,” Pace Prints, New York, NY, September 10 – October 10, 2015 2014 “Robert Kushner: Treasures,
    [Show full text]
  • Terry Fox Lita Albuquerque Stefan Simchowitz Math Bass CROWN POINT PRESS TOMMA ABTS FOUR NEW ETCHINGS SEPTEMBER 4-OCTOBER 27, 2015
    Volume 2 | Issue 2 // Free Terry Fox Lita Albuquerque Stefan Simchowitz Math Bass CROWN POINT PRESS TOMMA ABTS FOUR NEW ETCHINGS SEPTEMBER 4-OCTOBER 27, 2015 Sam Lewitt is in one gallery, Frances Scholz & Mark von Schlegell are in the other gallery, & Andrea Fraser on mind.* CONCINNITAS A portfolio of ten aquatints by scientists and mathematicians. Published by Parasol Press and printed by Harlan & Weaver. On view in the Crown Point Press Gallery through October 27, 2015. Join us for a panel discussion October 8, 6-8 PM. Seating limited. Crown Point Press 20 Hawthorne San Francisco CA 94105 415-974-6273 crownpoint.com WWW.WATTIS.ORG 9.10/2015 – 11.21/2015 CALIFORNIA COLLEGE OF THE ARTS Represented by Rena Bransten Projects 1639 Market St. San Francisco, CA 94103 415.982.3292 www.renabranstengallery.com Tuesday-Friday 11am-5pm / Saturday 11am-4pm Alejandro Almanza Pereda Change the world or go home DIEGO RIVERA GALLERY | Through December 12 Everything but the kitchen sank WALTER AND McBEAN GALLERIES | Through October 3 Almanza is the 2015 recipient of The Harker Award for Interdisciplinary Studies, which supports artists-in-residence at San Francisco Art Institute. The Harker Award was established through a generous bequest by artist and SFAI faculty member Ann Chamberlain and is administered by the San Francisco Foundation. 800 Chestnut Street San Francisco, CA 94133 SFAI.EDU/ALEJANDROALMANZA Publisher & Editor in Chief SFAQ Features Andrew McClintock Managing Editor (Print and Online) Terry Fox Peter Cochrane In Conversation With Terri
    [Show full text]