75Th Anniversary Program & Auction Catalogue
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Sean Landers
SEAN LANDERS 1962 Born in Palmer, MA, USA 1984 BFA, Philadelphia College of Art, Philadelphia, PA, USA 1986 MFA, Yale University School of Art, New Haven, CT, USA Lives and works in New York, NY, USA SOLO EXHIBITIONS 2020 2020 Vision, Petzel Gallery, New York, NY, USA (online presentation) Northeaster, greengrassi, London, UK Consortium Museum, Dijon, France (curated by Eric Troncy) 2019 Ben Brown Fine Arts, Hong Kong Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Curated by . Featuring Sean Landers, Petzel Bookstore, New York, NY, USA Sean Landers: Studio Films 90/95, Freehouse, London, UK (curated by Daren Flook) 2018 Petzel Gallery, New York, NY, USA [Cat.] 2016 Sean Landers: Small Brass Raffle Drum, Capitain Petzel, Berlin, Germany 2015 Taka Ishii Gallery, Tokyo, Japan Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] China Art Objects, Los Angeles, CA, USA 2014 Sean Landers: North American Mammals, Petzel Gallery, New York, NY, USA [Cat.] 2012 Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Longmore, Sorry We’re Closed, Brussels, Belgium greengrassi, London, UK 2011 Sean Landers: Around the World Alone, Friedrich Petzel Gallery, New York, NY, USA Sean Landers: A Midnight Modern Conversation, Marianne Boesky Gallery, New York, NY [CAT.] 2010 Sean Landers: 1991-1994, Improbable History, Contemporary Art Museum St. Louis, St. Louis, MO, USA (curated by Laura Fried and Paul Ha) [Cat.] 2009 Sean Landers: Art, Life and God, Glenn Horowitz Bookseller, East Hampton, NY, USA (curated by Jeremy Sanders) greengrassi, London, UK Sean -
Darger, Henry (1892-1973) by Jim Elledge
Darger, Henry (1892-1973) by Jim Elledge Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2013 glbtq,Inc. Reprinted from http://www.glbtq.com Now considered one of the most original and important artists of the last half of the twentieth century, Henry Darger died completely unknown in his native Chicago. When he moved out of his one-room apartment on November 24, 1972 into an old folks home a few blocks away, his next door neighbor, who had been hired to clear out Darger's room, discovered over 300 canvases Darger had painted and the huge manuscripts of two novels and an autobiography that he had written. The canvases, which depict naked little girls with penises (who, in many of the paintings, are being eviscerated, strangled, and crucified by adults), became synonymous with the man, causing critics who were unaware of their relevance to the gay subculture of the time to call Darger a pedophile, child killer, and sadist. Darger's Life Darger was born into utter poverty on April 12, 1892. His mother died in childbirth when he was four. Within a few years, his father, a failed, alcoholic tailor, had all but abandoned his parental responsibilities to the boy. Growing up in one of the darkest and most desperate vice districts in Chicago, now Henry Darger. Photo by the much-gentrified Near West Side, Darger became involved in male-male sexual David Berglund, c. 1970. activities early in life, admitting to the most significant one in his autobiography decades later. In it, he reported that, by the time he was eight years old, he had developed a relationship with an adult guard whom he visited late at night at the lumberyard where the man worked. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
The AI Interview: Tom Otterness NEW YORK, Sept
file:///C|/Documents%20and%20Settings/Katrin.tomotterness/Desktop...fo%20tom%20otterness%20world%20famous%2027%20September%202006.htm NEWS & FEATURES October 02, 2006 Tom Otterness with his work-in- progress "Untitled" (Immigrant Couple), 2006. "See No Evil" (2002) at the Frederik Meijer Gardens & Sculpture Park in Grand Rapids, Mich. (main entrance) Tom Otterness The AI Interview: Tom Otterness NEW YORK, Sept. 27, 2006—According to the New York Times, Tom Otterness “may be the world’s best public sculptor.” Certainly he is one of the most visible. He is the only artist ever to have contributed a balloon to the Macy’s Thanksgiving Day Parade, and his large-scale installations in outdoor public locations—from Indianapolis to New York—are enormously popular. Otterness enjoys the rare ability to engage spectators from all walks of life and all levels of art- world sophistication—because while his imagery is cartoon-like, and often highly appealing to children, his work also tends to carry a political punch. He is particularly scathing in his portrayals of those for whom financial wealth is all important. Pieces such as Free Money (1999) and Big, Big Penny (1993) depict this obsession, and others, like his New York subway installation, Life Underground, beneath ArtInfo’s headquarters, show people actually turning "Free Money" (1999) into money. Tom Otterness His next New York gallery show will be at the Marlborough Gallery's 57th Street location in November 2007. Tom, let me begin by asking you about the response to the sculptures you showed in Grand Rapids, Mich. this summer. They were hugely successful. -
Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr. -
Decolonial Aesthetics
8.50 CAD / USD ART / CULTURE / POLITICS / States of Coloniality Kency Cornejo p.24 / Leah Decter and Carla Taunton p.32/Sakahàn p.40 / Decter andCarlaTaunton Cornejop.24/Leah Kency Naufus Ramírez-Figueroa p.11 /DavidGarneaup.14 p.11 /JulieNagamp.22 Naufus Ramírez-Figueroa Berlin Reed p.4 / Miguel Rojas-Sotelo p.5 / Gordon Brent Ingramp.7/ Brent Berlin Reedp.4/MiguelRojas-Sotelop.5 /Gordon Heidi McKenzie p.8/DecolonialAestheticsManifesto p.10 HeidiMcKenzie / Jacqueline HoangNguyenp.49 isDayani Cristal? /Who p.50 Read-in p.43 / Time Lapsed p.46 / Border Cultures p.47 / p.47 Lapsedp.46 Cultures Read-in p.43 /Time /Border DECOLONIAL AESTHETICS Taghavi and Tannis andTannis Taghavi Hashemi, Maryam BONUS! Poster byGitaPoster Nielsen Artist’s FUSE MAGAZINE 36 – 4 FALL 2013 EDITORIAL EXPERIENCE STATES OF POST TORONTO COLONIALITY/ TRANSFORMED DECOLONIAL BY ARTISTS AESTHETICS OCTOBER 5 A i W 11 eiw 20 ei, les, SUNSET TO Forever Bicyc SUNRISE C This issue of FUSE was produced col- Decoloniality is cast, by Walter Mignolo and other h 1 r members of the Transnational Decolonial Institute, as the radical i 1 laboratively with the e-fagia organization. Based s 0 t other of modernity-coloniality. Throughout a diffuse and influential in 2 , in Toronto, e-fagia was founded in 2004 with the body of work, they write of a decoloniality of knowledge, being and e e One night only. I n r i v h mandate of promoting digital art, focusing on Latin aesthetics. Within this framework, decolonial aesthetics acknowl- in c g a edges and subverts the presence of colonial power and control in & M American and Canadian artists. -
News Release
NEWS RELEASE FOR IMMEDIATE RELEASE Lauren Kistner, Marketing & Communications Manager August 1, 2017 314.615.5277 / [email protected] Laumeier Sculpture Park Acquires Tony Tasset’s Deer, 2015, in Honor of 40th Anniversary Year (ST. LOUIS, MO)—Laumeier Sculpture Park announced today the acquisition and upcoming installation of a new sculpture by artist Tony Tasset, whose Eye, 2007, is already one of the most iconic sculptures in the Park. Tasset’s Deer, 2015, is a larger-than-life, 12-foot-tall sculpture of a white-tailed doe made of painted, steel-reinforced fiberglass. The major acquisition honors and celebrates the nonprofit organization’s 40th Anniversary year. The sculpture will be accessioned into Laumeier’s Permanent Collection and installed in the Way Field in August 2017. Tony Tasset is arguably one of the most inventive sculptors working in the United States today. Since the mid-1990s, he has created increasingly ambitious sculptures; his cunning work explores how we collectively dwell in the landscape. Deer celebrates the unique environment created when art frames nature. The artwork’s size suggests how nature is out of balance in today’s urban and suburban spaces, and how humans impact the species around us. The surreal juxtaposition of the super-sized deer emerging from the woods dramatizes the relationship of what it means to be human, the identity of sculpture and their respective places in nature. “As one of the first and largest dedicated sculpture parks in the country, Laumeier Sculpture Park has set many of the standards for public practice that combine curated public art with the interpretation and stewardship of a traditional indoor museum,” said Dana Turkovic, Associate Curator at Laumeier Sculpture Park. -
The Henry Darger Study Center at the American Folk Art Museum a Collections Policy Recommendation Report
The Henry Darger Study Center at the American Folk Art Museum A Collections Policy Recommendation Report by Shannon Robinson Spring 2010 I. Overview page 3 II. Mission and Goals page 5 III. Service Community and Programs page 7 IV. The Collection and Future Acquisition page 8 V. Library Selection page 11 VI. Responsibilities page 12 VII. Complaints and Censorship page 13 VIII. Evaluation page 13 IX. Bibliography page 15 X. Additional Materials References page 16 I. Overview The American Folk Art Museum in New York City is largely focused on the collection and preservation of the artwork of self-taught artists in the United States and abroad. The Museum began in 1961 as the Museum of Early American Folk Arts; at that time, the idea of appreciating folk art alongside contemporary art was a consequence of modernism (The American Folk Art Museum, 2010c). The collection’s pieces date to as early as the eighteenth century and in it’s earlier days was largely comprised of sculpture. The Museum approached collecting and exhibiting much like a contemporary art gallery. This was in support of its mission promoting the “aesthetic appreciation” and “creative expressions” of folk artists as parallel in content and quality to more mainstream, trained artists. (The American Folk Art Museum, 2010b). Within ten years of opening, however, and though the collection continued to grow, a financial strain hindered a bright future for the Museum. In 1977, the Museum’s Board of Trustees appointed Robert Bishop director (The American Folk Art Museum, 2010c). While Bishop was largely focused on financial and facility issues, he encouraged gift acquisitions, and increasing the collection in general, by promising many artworks from his personal collection. -
Cincinnati Art Center: Integrated Spaces
Innovation Cincinnati Art Center: Integrated Spaces The opportunity to participate in a project of such far-reaching significance does not come often, and Steelcase was determined to offer whatever help it could to make it possible for Zaha Hadid to fulfill her dramatic vision for the museum. THE LOIS & RICHARD ROSENTHAL CENTER FOR CONTEMPORARY ART, CINCINNATI OBJECTIVES ARTISTIC EXPRESSION. Today, Cincinnati has a new museum that brings the world of contemporary art to the street, and engages the city in a dialogue that promises to be heard far beyond the Ohio River Valley. It’s a bold stroke, even for a town with a reputation for fighting hard for the freedom of artistic expression. It was this same institution—the Cincinnati Contemporary Arts Center—that in 1990 started the works of Robert Mapplethorpe on their way to a First Amendment legal battle and a national debate over the public funding of art. The outcome was a major win for the freedom of expression. 1 When the Center announced its intention to build a new home for itself, 97 architects responded to the call for entries. The field was eventually narrowed to three, and Iraqi-born, London-based architect Zaha Hadid was chosen from the finalists. The oisL & Richard Rosenthal Contemporary Art Center opened its doors to the public in May 2003. The sculptural effect that eeY describes floats out and onto the city like an ocean liner struggling to break loose from its anchorage. SITUATION CREATING INTEGRATED SPACES When the building of a major new home for contemporary art is announced, particularly one designed by one of the world’s leading architects, it creates a lot of attention. -
Accidental Genius
Accidental Genius Accidental Genius ART FROM THE ANTHONY PETULLO COLLECTION Margaret Andera Lisa Stone with an introduction by Jane Kallir Milwaukee Art Museum DelMonico Books Prestel MUNICH LONDON NEW YORK CONTENTS 19 FOREWORD Daniel T. Keegan 21 ACKNOWLEDGMENTS Margaret Andera 23 Art Brut and “Outsider” Art A Changing Landscape Jane Kallir 29 “It’s a picture already” The Anthony Petullo Collection Lisa Stone 45 PLATES 177 THE ANTHONY PETULLO COLLECTION 199 BIOGRAPHIES OF THE ARTISTS !" FOREWORD Daniel T. KeeganDirector, Milwaukee Art Museum The Milwaukee Art Museum is pleased to present Accidental Genius: the Roger Brown Study Collection at the School of the Art Institute Art from the Anthony Petullo Collection, an exhibition that celebrates of Chicago, for her insightful essay for this publication. the gift to the Museum of Anthony Petullo’s collection of modern A project of this magnitude would not have been possible self-taught art. Comprising more than three hundred artworks, the without generous financial support. The Milwaukee Art Museum collection is the most extensive grouping of its kind in any American wishes to thank the Anthony Petullo Foundation; Leslie Hindman, museum or in private hands. Thanks to this gift, the Milwaukee Art Inc.; the Einhorn Family Foundation; and Friends of Art, a support Museum’s holdings now encompass a broadly inclusive represen- group of the Museum, for sponsoring the exhibition. Tony Petullo tation of self-taught art as an international phenomenon. is a past president of Friends of Art, and he credits the group for Tony Petullo, a retired Milwaukee businessman, built his col- introducing him to collecting. -
Art-Related Archival Materials in the Chicago Area
ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest -
Cummins Opens Nine-Story Office Tower on Four-Acre Site in Downtown Indianapolis
Contact: Katie Zarich Manager - External Communications Phone: (317) 650-6804 Email: [email protected] January 18, 2017 For Immediate Release Cummins Opens Nine-Story Office Tower on Four-Acre Site in Downtown Indianapolis INDIANAPOLIS, IND. – Cummins Inc. (NYSE: CMI) is building upon its legacy of innovation and community commitment with the addition of a nine-story office tower in downtown Indianapolis. The Company, which is headquartered in Columbus, Ind., is known for its rich history of architectural excellence, and this location is the next chapter in that story. Opening in January 2017 and designed by the New York-based architecture firm Deborah Berke Partners, this dynamic, people-centric work environment for employees and customers will contribute to the city’s social and economic vibrancy. The building provides workspace for Cummins employees in the distribution business and select corporate functions. Downtown Indianapolis allows Cummins to bring the company closer to its distributors and customers through close proximity to the Indianapolis International Airport and the convergence of multiple interstates. “We are incredibly excited about opening our new Distribution Business headquarters in downtown Indianapolis,” said Tom Linebarger, Cummins Chairman and CEO. “Indianapolis is a vibrant and growing city and we are looking forward to being a bigger part of this diverse and thriving community. Cummins was founded in Indiana nearly 100 years ago, and we have grown to have about 10,000 employees in the state. Our new Indianapolis building, with its innovative and collaborative work environment, will help us attract and retain the best and brightest talent, a critical part of fulfilling our mission of powering a more sustainable world.” “As a homegrown Hoosier company, Cummins has a long history of business success and job creation in the Hoosier state,” said Indiana Governor Eric Holcomb.