Grounding the Social Aesthetics of Abstract Expressionism: a New Intellectual History of the Club
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Anthropology (Ant) 101 Introduction to Anthropology General Elective S1 902 102 Intro to Cultural Anthropology Anth 220; Society & Culture S1 901N
MORTON COLLEGE CATALOG YEAR: 2019–2020 NIU CATALOG: 2021–2022 DATE: JULY 2021 CALENDAR: SEMESTER AA/AS DEGREES: 62 HRS PAGE 1 of 8 EFFECTIVE FOR COURSES TAKEN FALL 2021, SPRING 2022, AND SUMMER 2022 COMMUNITY COLLEGE COURSE NUMBER/TITLE NIU EQUIVALENT IAI CODE ANTHROPOLOGY (ANT) 101 INTRODUCTION TO ANTHROPOLOGY GENERAL ELECTIVE S1 902 102 INTRO TO CULTURAL ANTHROPOLOGY ANTH 220; SOCIETY & CULTURE S1 901N ART (ART) STUDENTS RECEIVING ART STUDIO (ARTS ELECTIVE) CREDIT FOR COMMUNITY COLLEGE COURSES ARE ENCOURAGED TO SUBMIT A PORTFOLIO OF THEIR WORK FOR POSSIBLE COURSE CREDIT. PLACEMENT IN MAJOR STUDIO CLASSES, EXCEPT FOR CORE COURSES, IS BY PORTFOLIO. CONTACT SCHOOL OF ART FOR INFORMATION ON PPLICATION AND DATES FOR PORTFOLIO SUBMISSION. 101 TWO-DIMENSIONAL FUNDAMENTALS ART 102; CREATIVITY & CRITICAL ANALYSIS 102 THREE-DIMENSIONAL FUNDAMENTALS ART 103; CREATIVITY & CRITICAL ANALYSIS 103 DRAWING I ART 100; CREATIVITY & CRITICAL ANALYSIS 104 DRAWING II ART 101; CREATIVITY & CRITICAL ANALYSIS 105 PAINTING I ARTS ELECTIVE 107 WATERCOLOR ARTS ELECTIVE 111 SCULPTURE I GENERAL ELECTIVE 113 CERAMICS I ARTS ELECTIVE 115 PHOTOGRAPHY I ARTS ELECTIVE 116 PHOTOGRAPHY II GENERAL ELECTIVE 117 DIGITAL PHOTOGRAPHY GENERAL ELECTIVE 120 ART APPRECIATION ARTH 282; CREATIVITY & F2 900 CRITICAL ANALYSIS 125 ART HISTORY SURVEY I ARTH ELECTIVE; CREATIVITY F2 901 & CRITICAL ANALYSIS 126 ART HISTORY SURVEY II ARTH 292; CREATIVITY & F2 902 CRITICAL ANALYSIS 127 ART HISTORY SURVEY III CREATIVITY & CRITICAL F2 902 ANALYSIS ELECTIVE 203 FIGURE DRAWING I ARTS 200 204 FIGURE DRAWING II ARTS ELECTIVE 205 PAINTING II ARTS ELECTIVE 211 SCULPTURE II ARTS 261 213 CERAMICS II ARTS ELECTIVE 217 TRIBAL ART CREATIVITY & CRITICAL F2 903N ANALYSIS ELECTIVE NOTE: ART HISTORY MAJORS W/217 CONTACT SCHOOL OF ART FOR POSSIBLE ART CREDIT. -
Reviews in Cultural Theory 3.2 (Winter 2012)
3.2 SUMMER 2012 Reviews in Cultural Theory is a journal of reviews and review essays, published twice annually. We welcome offers to review or suggestions of forthcoming books engaged with contemporary theories of culture. We also wecome suggestions for review es- says and similiar, lengthier variations on the review form. We can be reached by email at [email protected], or by mail at Reviews in Cultural Theory Department of English and Film Studies 3-5 Humanities Centre University of Alberta Edmonton, AB T6G 2E5 Canada http://reviewsinculture.com Editors: Sarah Blacker, Justin Sully, Imre Szeman Copyright for reviews published in Reviews in Cultural Theory is owned by the review author. ©Copyright 2009-2012 Reviews in Cultural Theory ISSN 1918-9710 Contents 1 Deconstructing the “Middle Class” MEHITA IQANI 6 The Art World’s Dark Matter BRUCE BARBER 14 Colonial Trains, Postcolonial Tracks NILAK DATTA 19 Rethinking Race and Digital Divides LISA PATTI 22 Psycho-History THEO FINIGAN 27 Moving Mountains DANIELLE CHILD 35 Understanding Collaboration in Contemporary Artistic Practice SARAH E.K. SMITH 40 No Faith in Form KRIS COHEN 47 Middle Games and Possible Communisms RYAN CULPEPPER 55 Establishing Binaries JEFF HEYDON 59 Inquiry into the Truth of Communism MARC JAMES LÉGER Deconstructing the “Middle Class”; Constructing its Transnational History MEHITA IQANI A. Ricardo Lopez and Barbara Weinstein (eds.) The Making of the Middle Class: To- ward a Transnational History. Duke University Press, 2012. 446pp. he Making of the Middle Class is an edited collection that spans an impressive— Talmost intimidating—amount of material. Featuring chapters and commentar- ies by 21 writers, it provides a collection of historical analyses of the formation of the middle class in a variety of historical moments and geographical contexts, offering the resources through which a detailed and global picture of its formation can emerge. -
Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model
Andrews University Digital Commons @ Andrews University Honors Theses Undergraduate Research 2014 Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model Kirk Maynard Follow this and additional works at: https://digitalcommons.andrews.edu/honors Part of the Art and Design Commons Recommended Citation Maynard, Kirk, "Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model" (2014). Honors Theses. 92. https://digitalcommons.andrews.edu/honors/92 This Honors Thesis is brought to you for free and open access by the Undergraduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. 2014 Kirk Maynard HONS 497 [TEACHING STRATEGIES: HOW TO EXPLAIN THE HISTORY AND THEMES OF ABSTRACT EXPRESSIONISM TO HIGH SCHOOL STUDENTS USING THE INTEGRATIVE MODEL] Abstract: The purpose of my thesis is to create a guideline for teachers to explain art history to students in an efficient way without many blueprints and precedence to guide them. I have chosen to focus my topic on Abstract Expressionism and the model that I will be using to present the concept of Abstract Expressionism will be the integrated model instructional strategy. -
Obama and the Black Political Establishment
“YOU MAY NOT GET THERE WITH ME …” 1 OBAMA & THE BLACK POLITICAL ESTABLISHMENT KAREEM U. CRAYTON Page | 1 One of the earliest controversies involving the now historic presidential campaign of Barack Obama was largely an unavoidable one. The issue beyond his control, to paraphrase his later comment on the subject, was largely woven into his DNA.2 Amidst the excitement about electing an African-American candidate to the presidency, columnist Debra Dickerson argued that this fervor might be somewhat misplaced. Despite his many appealing qualities, Dickerson asserted, Obama was not “black” in the conventional sense that many of his supporters understood him to be. While Obama frequently “invokes slavery and Jim Crow, he does so as one who stands outside, one who emotes but still merely informs.”3 Controversial as it was, Dickerson’s observation was not without at least some factual basis. Biologically speaking, for example, Obama was not part of an African- American family – at least in the traditional sense. The central theme of his speech at the 2004 Democratic convention was that only a place like America would have allowed his Kenyan father to meet and marry his white American mother during the 1960s.4 While 1 Special thanks to Vincent Brown, who very aptly suggested the title for this article in the midst of a discussion about the role of race and politics in this election. Also I am grateful to Meta Jones for her helpful comments and suggestions. 2 See Senator Barack Obama, Remarks in Response to Recent Statements b y Rev. Jeremiah A. Wright Jr. -
Press Release for Immediate Release Berry Campbell Presents Raymond Hendler: Raymond by Raymond (Paintings 1957-1967)
PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL PRESENTS RAYMOND HENDLER: RAYMOND BY RAYMOND (PAINTINGS 1957-1967) NEW YORK, NEW YORK, June 29, 2021—Berry Campbell is pleased to announce its fourth exhibition of paintings by Raymond Hendler (1923-1998). Raymond Hendler: Raymond by Raymond (Paintings 1957-1967) features paintings created between 1957 and 1967, a transitional period for Hendler in which the artist moved away from an Abstract Expressionist mode and employed a more stylized line, producing distinct shapes and symbols. The exhibition is accompanied by a 16-page catalogue with an essay written by Phyllis Braff. Raymond Hendler: Raymond by Raymond (Paintings 1957-1967) opens July 8, 2021 and continues through August 20, 2021. Gallery summer hours are Monday - Friday, 10 am - 6 pm. ABOUT THE ARTIST A first-generation action painter, Raymond Hendler started his career as an Abstract Expressionist in Paris as early as 1949. In the years that followed, he played a significant role in the movement, both in New York, where he was the youngest voting member of the New York Artist’s Club. Hendler became a friend of Franz Kline, Willem de Kooning, Jackson Pollock, and Harold Rosenberg in Philadelphia, where he ran an avant-garde gallery between 1952 and 1954. Raymond Hendler was born in Philadelphia, Pennsylvania in 1923 and studied in his native Philadelphia, at the Graphic Sketch Club, the Philadelphia College of Art, the Pennsylvania Academy of Art, and the Tyler School of Art (Temple University). In 1949, he continued his art training in Paris at the Académie de la Grande Chaumière on the G.I. -
Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
Emuseum of Modernart, 11 West 53 Street, Newyork, N, Y
..~ Museum of Modern Art No.4; 53 Street, NewYork, N.Y. 10019 Circle 5·8900 Cable, Modernart FOR RELEASE: Tuesday, May 11, 1965 PRESS PREVIEW: Monday,Mey 10, 1965 11 a.m, - 4 p.m. ICANCOLLAGES,anexhibition from The Museumof Modern Art's special program of traveling exhibitions, will interrupt its current tour end be shCMnat the Museum from May11 through July 25. Twice as manyexhibitions are circulated in the United States and Canada by the Museum'SDapartment of Circulating Exhibitions as are shown yearly at the Museum in NewYork. Last year the exhibitions "lere seen in 139 com- MoMAExh_0766_MasterChecklist munities. The same department, in charge of the Kuseum's foreign program of Circu- lating Exhibitions sponsored by the International Council of the Museum, has prepared 75 exhibitions secu in 65 countries. I The<lOrksin the collage sbow, dating from 1950 to the present, deal with a I i The term I mediumwhich has grown in importance only during the last fifty years. "collage," from the French for pasting or paper-hanging, has been broad ly interpreted I as a technique of cutting and pasting various materials which are aometimes combined with drawing, watercoloor or oil. The exhibition includes the work of someof the foremost makers of collage in I li I this country __ Robert Motherwell, Esteban Vicente, Conred Marca-Rel and Joseph Cornell _ as well as other artists who have broadened the medium. Kynaston McShine, whodirected the exhibition, writes, "[Collage] has been a means of creative liberation, leading us to recogGize not only the beauty of ephemera but also that of texture and spatial effects different from those of painting and sculpture. -
The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19 -
Press Release Al Held
PRESS RELEASE AL HELD Black and White Paintings 1967–1969 Opens Thursday February 18 from 6-8 pm Exhibition continues through March 26, 2016 Cheim & Read is pleased to present eight monumental black and white paintings, dating from 1967 to 1969, Al Held (1928–2005). An exhibition of Held’s “Alphabet Paintings,” made between 1961 and 1967, was exhibited at the gallery in 2013. This exhibition focuses on the unique series of paintings Held began in 1967, in which various geometric forms, arranged in multiple perspectives, are rendered within the strict confines of a black-and-white palette. Perhaps inspired by the India ink drawings of lines, circles, triangles, and squares that he made in 1966, Held had already begun moving away from the flat, boldly-colored shapes of his earlier work. Using charcoal and white acrylic directly on canvas, he started sketching multi-dimensional, interlocking configurations, surrounding them with colored ground. In late 1967, this B/W V 1967-68 acrylic on canvas experimentation yielded to an increasingly graphic, complex, and illusory 114 x 114 in 289.6 x 289.6 cm space. While compositions were still worked out on the canvas, often in several iterations, Held’s soft-edged charcoal was replaced by the sharply defined contours of uniformly painted forms, their thick black outlines positioned against a stark white field. The paintings featured in this exhibition encompass the initial phase of this new body of work. The “B/W series” is comprised of Held’s first fully realized canvases in his new style and limited palette, while works from the “Phoenicia” series are more explicit in their development of multiple perspectives and vanishing points, resulting in evermore ambiguous spatial relationships. -
To Our Valued Arcata Community Pool (ACP) Season Pass Holders
To Our Valued Arcata Community Pool (ACP) Season Pass Holders We closed the pool on November 17 as California slipped into the red and then the purple tier designations for COVID spread. These tiers mandated that indoor pools be closed for public use. Humboldt County progressed to the orange tier on April 6th which finally allows facilities such as ours to reopen! The approved Operational Plan has allowed the pool to reopen, but it also has a number of restrictions in place to promote a safe environment for customers and staff. Limited numbers of people in the facility, restrictions on group use, enhanced cleaning procedures are all examples of these restrictions. Aspects of these social distancing measures, additional operational costs and the nearly five‐month closure has created significant operational and financial challenges for the pool. For Season Pass holders we welcome you back to the pool and would like to inform you on how we are going to work with annual passes going forward. For 2020 Passes: 1. We will calculate a credit or a refund, based on you time lost during the most recent closure. This amount will include all days starting on the closure date in November up to the date the pass would have expired in 2021 2. You have three options for this amount. a. We can issue you a credit towards a new 2021 pass. b. A refund can be issued. Once requested a check will be sent to your physical address. This will take up to three weeks to process. c. You can donate this amount if you would like to help the pool through this unprecedented financial challenge. -
18 Works from the Bachman Collection (1606) Lot 2
18 Works from the Bachman Collection (1606) June 4, 2018 EDT Lot 2 Estimate: $150000 - $250000 (plus Buyer's Premium) Hans Hofmann (American/German, 1880-1966) Cataclysm (Homage to Howard Putzel) Signed, dated 'August 11 - 1945' and inscribed 'hommage to howard putzel,' bottom right, oil and casein on board. [HH no. 562-1945; Estate no. M-0264] 51 3/4 x 48 in. (131.4 x 121.9cm) Provenance: The Estate of the Artist. André Emmerich Gallery, New York, New York (acquired directly from the above in 1986). The Estate of Lee & Gilbert Bachman, Atlanta, Georgia & Boca Raton, Florida (acquired directly from the above in 1986). EXHIBITED: "Hans Hofmann: Recent Paintings," Mortimer Brandt Gallery, New York, March 18 - 30, 1946. "Seeing the Unseeable," Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, January 3 - March 3, 1947. "Hans Hofmann: Early Paintings," Kootz Gallery, New York, January 20 - 31, 1959. "Hans Hofmann: A Retrospective Exhibition," a traveling exhibition: Hirshhorn Museum and Sculpture Garden, Washington, D.C., October 14, 1976 - January 2, 1977; Museum of Fine Arts, Houston, Texas, February 4 - April 3, 1977, p. 51 (illustrated in the exhibition catalogue). "Abstract Expressionism: The Formative Years," a traveling exhibition: Howard F. Johnson Museum of Art, March 1 - June 1, 1978; Seibu Museum, Karuizawa, Japan, June - July, 1978; Whitney Museum of American Art, New York, September 1 - December 1, 1978, p. 80 (illustrated in the exhibition catalogue). "Flying Tigers: Painting and Sculpture in New York, 1939 - 1946," a traveling exhibition: Bell Gallery, Brown University, Providence, Rhode Island, April 26 - May 27, 1985; Parrish Art Museum, Southampton, Long Island, New York, June 9 - July 28, 1985. -
Nber Working Paper Series the Rise and (Partial)
NBER WORKING PAPER SERIES THE RISE AND (PARTIAL) FALL OF ABSTRACT PAINTING IN THE TWENTIETH CENTURY David Galenson Working Paper 13744 http://www.nber.org/papers/w13744 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 January 2008 The views expressed herein are those of the author(s) and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2008 by David Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century David Galenson NBER Working Paper No. 13744 January 2008 JEL No. J01 ABSTRACT Non-representational painting was one of the most radical artistic innovations of the twentieth century. Abstract painting was created independently by three great pioneers - the experimental innovators Kandinsky and Mondrian, and the conceptual Malevich - virtually simultaneously, in the years immediately before and after the outbreak of World War I. It became the dominant form of advanced art in the decade after the end of World War II, as Pollock, de Kooning, Rothko, and their colleagues developed the experimental forms of Abstract Expressionism. But in the late 1950s and early ‘60s, Johns, Rauschenberg, Warhol, and a host of other young artists abruptly made a conceptual revolution in advanced art, and in the process reduced abstract painting to a minor role.