DOCSLIB.ORG

Richard Anuszkiewicz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard Anuszkiewicz RICHARD ANUSZKIEWICZ SELECTED EXHIBITIONS: 1951 National Exhibition of Paintings by American Artists of Polish Descent, Alliance College, Cambridge Springs, PA, August 1 - August 5, 1951. 1953 35th May Show, Cleveland Institute of Art, Cleveland, OH, May 6 - June 4, 1953. 1953 Mid-Year Show, Butler Art Institute, Youngstown, OH, June 1953. 1955 The Twenty-First Annual Exhibition of Paintings Featuring: Richard Anuszkiewicz, an American Artist and Slawa Sadlowska, a Polish-Born Artist, The Butler Institute of American Art, Youngstown, OH, February 6 - 27, 1955. 1956 38th May Show, The Cleveland Museum of Art, Cleveland, OH, May 2 – June 10, 1956. 1957 National Academy of Design 132nd Annual Exhibition 1957: Painting in Oil and Sculpture, National Academy of Design, New York, 1957. Twenty Fifth Corcoran Biennale, Corcoran Museum, Washington DC, 1957. 1960 Anuszkiewicz, The Contemporaries, New York, February 29 – March 19, 1960. 1961 Recent American Painting and Sculpture, Museum of Modern Art, New York, NY, circulating exhibition 1961. Richard Anuszkiewicz, The Contemporaries, New York, March 27 – April 15, 1961. Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Urbana, IL, February 26 - April 2, 1961. New York University: First Annual Art Competition, New York University, New York, December 4 - 21, 1961. 1962 The One Hundred and Fifty-Seventh Annual Exhibition of American Painting and Sculpture, The Pennsylvania Academy of the Fine Arts, Philadelphia, January 12 - February 25, 1962. Contemporary Artists, Tweed Gallery, March - April 1962. Geometric Abstraction in America, Whitney Museum of American Art, New York, March 20 - May 13, 1962; Institute of Fine Arts, Boston, MA, June 4 -July 17, 1962; Munson-Williams-Proctor Art Institute, Utica, NY, November 19 - December 31, 1962; City Art Museum of St. Louis, St. Louis, MO, January 14 - February 24, 1963; Columbus Gallery of Fine Arts, Columbus, OH, March 25 - April 30, 1963. The James A. Michener Collection of Twentieth Century American Paintings, Arkansas Arts Center, Little Rock, AB, May 3 - June 3, 1962; William Rockhill Nelson Gallery of Art, Kansas City, MO, July 15 - September 30, 1962. No. 1. The Silvermine Guild of Artists: Thirteenth Annual New England Exhibition, New Canaan, CT, June 17 - July 15, 1962 (won Philosophers Stone Prize). 1963 The James A. Michener Foundation Collection Exhibition, Allentown Art Museum, Allentown, PA, February 2 - March 20, 1963. Richard Anuszkiewicz: Recent Paintings, The Contemporaries, New York, February 26 - March 16, 1963. Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Urbana, IL, March 3 - April 7, 1963. The Americans 1963, Museum of Modern Art, New York, May 20 - August 16, 1963. New Experiments in Art, De Cordova Museum, Lincoln, MA, March 23 – April 28, 1963. Americans 1963, The Museum of Modern Art, New York, NY. May 20 - August 18, 1963. The Formalists, The Washington Gallery of Modern Art, Washington, DC, June 6 - July 7, 1963. The Silvermine Guild of Artists: Fourteenth Annual New England Exhibition, New Canaan, CT, June 23 - July 19, 1963 (won First Prize). New Directions in American Painting, organized by The Poses institute of Fine Arts, Brandeis University, Waltham, MA, Participating Museums: Munson-Williams-Proctor institute, Utica, NY; Isaac Delgado Museum of Art, New Orleans, LA; Atlanta Art Association, Atlanta, GA; The J.B. Speed Art Museum, Louisville, KY; Art Museum, Indiana University, Bloomington, IN; Washington University in Saint Louis, St. Louis, MO; and The Detroit Institute of Arts, Detroit, Ml. The exhibition began at the Munson- William-Proctor Institute on December 1, 1963 and closed at The Detroit Institute of Arts on December 6, 1964. Annual Exhibition 1963: Contemporary American Painting, Whitney Museum of American Art, New York, December 11, 1963 - February 2, 1964. 1964 The Classic Spirit in XXth Century Art, Sidney Janis Gallery, New York, 1964. American Art Today: Pavilion of Fine Arts, New York Worlds Fair 1964 - 1965, Presented by the Long Island Arts Center inc., NY, 1964 - 1965. The New Formalists, The University of Michigan Museum of Art, Ann Arbor, MI, January 15 - February 9, 1964. Banners, YMHA Gallery, Philadelphia, PA, January 30 - February 12, 1964, Presented by The Arts Council YM/YWHA. 67th Annual American Exhibition: Directions in Contemporary Painting and Sculpture, The Art Institute of Chicago, Chicago, IL, February 28 - April 12, 1964. All Fur Art, The Allen Stone Galleries, New York, March 3 – March 21, 1964. Painting and Sculpture of a Decade, 54-64, Organized by the Calouste Gulbenkian Foundation, Tate Gallery, London, April 22 – June 28, 1964. The Silvermine Guild of Artists: Fifteenth Annual New England Exhibition, New Canaan, CT, June 21 - July 16, 1964. The 1964 Pittsburgh International: Exhibition of Contemporary Painting and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh, PA, October 30, 1964 - January 10, 1965. Opening Exhibition: Selections from The Larry Aldrich Contemporary Collection, 1951 - 1964, The Larry Aldrich Museum at “Old Hundred,” Ridgefield, CT October 1964 - April 1965. Mouvement 2, Galerie Denise Bene, Paris, France, December 15, 1964 – February 28, 1965, Color Dynamism, Then and Now, East Hampton Gallery, East Hampton NY, December 22, 1964 - January 9, 1965. 1965 The San Francisco Collector, M.H. de Young Memorial Museum, San Francisco, ca. 1965. Vibrations Eleven, Martha Jackson Gallery, New York, January 6 – 31, 1965. Abstract Trompe L’Oeil, Sidney Janis Gallery, New York, January 26 – February 27, 1965. Seven Americans, The Arkansas Art Center, Little Bock, AR, February 20 - March 21, 1965. The Responsive Eye, Museum of Modern Art, New York. February 23 – April 25, 1965. Art in Process, Finch College Museum of Art, New York, December 23, 1965 – January 9, 1966 and Saint Paul Art Center, St. Paul, MN, March 3 - May15, 1966. The Twenty-Ninth Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington DC, February 26 - April 18, 1965. Kinetic and Optic Art Today, Buffalo Fine Arts Academy, Buffalo, NY, February 27 - March 28, 1965. 1 + 1 = 3: An Exhibition of Retinal and Perceptual Art, Blanton Museum of Art, The University of Texas at Austin, Austin, TX, April 11 - May 9, 1965. Art of the 50s and 60s: Selections from The Richard Brown Baker Collection, The Larry Aldrich Museum at “Old Hundred,” Ridgefield, CT April 25 - July 5, 1965. The Responsive Eye, Saint Louis Art Museum, St. Louis, MO, May - June 1965. Art and Movement: Optic and Kinetic Art, The Tel Aviv Museum, Tel Aviv, Israel, May - June 1965. 30th Annual Mid Year Show, Butler Institute of American Art, Youngstown, OH, June 27 - September 6, 1965. American Painting Since 1950, Kutztown State College, Kutztown, PA, October 1 - 31, 1965. New Paintings by Anuszkiewicz, Sidney Janis Gallery, New York, November 3 - 27, 1965. The Josephine and Philip A. Bruno Collection, Finch College Museum of Art, New York, November 23, 1965 - January 9, 1966 and The Saint Paul Art Center, St. Paul, MN, March 3 - May 5, 1966. Pop and Op, Sidney Janis Gallery, New York, December 1 – 31, 1965. 1965 Annual Exhibition: Contemporary American Painting, Whitney Museum of American Art, New York, December 8, 1965 - January 30, 1966. 1966 The W Hawkins Ferry Collecton, The Detroit institute of Arts, Detroit, Ml, 1966. Selections from the James A. Michener Foundation Collection, Birmingham Museum of Art, Birmingham, AL, January 2 - 31, 1966, University of Alabama, Tuscaloosa, AL, February 1 - 28, 1966. Radius 5, Pardee Hall Gallery, Lafayette College, Easton, PA, April 16 – May 10, 1966. Three Generations: Albers, Anuszkiewicz, Vasarely, The J.L, Hudson Gallery, Detroit, Ml, April 20 - May 14, 1966. Seven Decades 1895 - 1965: Crosscurrents in Modern Art, Cordler St Ekstrom, Inc., New York, April 26 - May 21, 1966. Art of the United States: 1670 - 1966, Whitney Museum of American Art, New York, September 28 - November 27, 1966. Five Years: The Friends ofthe Corcoran, The Contemporary Spirit, The Corcoran Gallery of Art, Washington, DC, October 6 - 30, 1966. Sculpture and Painting Today: Selections from the Collection of Susan Morse Hilles, Museum of Fine Arts, Boston, MA, October 7 - November 6, 1966. Annual Exhibition 1966: Sculptures and Prints, Whitney Museum of American Art, New York, December 16, 1966 - February 5, 1967. 200 Years of Watercolor Painting in America, The Metropolitan Museum of Art, New York, December 8, 1966 - January 29, 1967. Flint Invitational, Flint Institute of Arts, Flint, Ml, November 4 – December 31, 1966. 1967 Exhibition (uncatalogued), Hartford Art School, Hartford, CT 1967. Fifty-One Paintings, Sculptures, and Drawings, 987 Madison Avenue, New York, February 7 - 11, 1967. The Helen VV and Robert M. Benjamin Collection: A Loan Exhibition, Yale University Art Gallery, New Haven, CT, May 4 - June 18, 1967. Vom Konstruktivismus zur Kinetik: 1917 bis 1967, Galerie Denise Flene Hans Meyer, June 10 - September 10, 1967. Focus on Light, The New Jersey State Museum, Cultural Center, Trenton, NJ, May 20 - September 10, 1967. Selections from the Collection of Susan Morse Hilies, The Aldrich Museum of Contemporary Art, Fiidgefield, CT, September 17 - December 3, 1967. Geometric Art: An Exhibition of Paintings and Constructions by Fourteen Contemporary New Jersey Artists, The New Jersey State Museum, Trenton, NJ, September 30 - December 3, 1967. New Paintings by Anuszkiewicz, Sidney
Load more

Recommended publications
  • The Late Richard Anuszkiewicz's Work Is a Rigorous Yet Joyous Exploration
    THE MIND’S EYE EYE S ’ MIND THE The late Richard Anuszkiewicz’s work is a rigorous yet The term “Op Art” was invented by a critic, not an artist, the way color affects the human eye, mind, and spirit. joyous exploration of the realm of pure color and form. and the movement to which it was applied—if movement it Anuszkiewicz’s paintings and prints are instantly recognizable was—came and went within a span of about five years in the for their bold contrasts between complementary colors, their geo- By John Dorfman mid- to late 1960s. But the work of Richard Anuszkiewicz, who metrically rigorous organization, and their intricate use of fine was hailed as one of Op’s two greatest practitioners, lives on, a lines. To 21st-century eyes, they look as if they could have been This page: Richard Anuszkiewicz, Dynamic Blue Eclipse, acrylic on wood panel, 18 x 18 in. Opposite: Soft Orange, 1972, acrylic on canvas, 60 x 60 in. COURTESY OF THE OF ESTATE RICHARD ANUSZKIEWICZ © 2021 THE OF ESTATE RICHARD ANUSZKIEWICZ.RIGHTS SOCIETY, ALL NEW RIGHTS YORK, RESERVED. NY AT ARSNY.COM; GIFT LICENSED OF THE MINT BY ARTISTS MUSEUM AUXILIARY. 1974.12.© 2021 THE COURTESY OF ESTATE RICHARD THE ANUSZKIEWICZ. MINT MUSEUM OF ART, CHARLOTTE, ALL RIGHTS NC RESERVED. LICENSED BY ARTISTS RIGHTS SOCIETY, NEW YORK, NY AT ARSNY.COM unique contribution to abstract art and to our understanding of made with computer software, but in fact they are hand-made, 62 ART&ANTIQUES FEBRUARY 2021 FEBRUARY 2021 ART&ANTIQUES 63 THE MIND S EYE EYE S MIND THE HOOD MUSEUM OF ART, DARTMOUTH: GIFT OF THE ARTIST © 2021 THE OF ESTATE RICHARD ANUSZKIEWICZ.
    [Show full text]
  • The Responsive Eye by William C
    The responsive eye By William C. Seitz. The Museum of Modern Art, New York, in collaboration with the City Art Museum of St. Louis [and others Author Museum of Modern Art (New York, N.Y.) Date 1965 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2914 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 MoMA 757 c.2 r//////////i LIBRARY Museumof ModernArt ARCHIVE wHgeugft. TheResponsive Eye BY WILLIAM C. SEITZ THE MUSEUM OF MODERN ART, NEW YORK IN COLLABORATION WITH THE CITY ART MUSEUM OF ST. LOUIS, THE CONTEMPORARY ART COUNCIL OF THE SEATTLE ART MUSEUM, THE PASADENA ART MUSEUM AND THE BALTIMORE MUSEUM OF ART /4/t z /w^- V TRUSTEES OF THE MUSEUM OF MODERN ART David Rockefeller, Chairman of the Board; Henry Allen Moe, Vice-Chairman;William S. Paley, Vice-Chairman; Mrs. Bliss Parkinson, Vice-Chairman;William A. M. Burden, President; James Thrall Soby, Vice-President;Ralph F. Colin, Vice-President;Gardner Cowles, Vice-President;Wa l ter Bareiss, Alfred H. Barr, Jr., *Mrs. Robert Woods Bliss, Willard C. Butcher, *Mrs. W. Murray Crane, John de Menil, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hochschild, "James W. Husted, Philip Johnson, Mrs. Albert D. Lasker,John L. Loeb, Ranald H. Macdonald, Porter A. McCray, *Mrs. G. Macculloch Miller, Mrs. Charles S.
    [Show full text]
  • Catalog to Accompany Exhibition with Essay by Janet Goleas
    R & R M A R I R A N T A N E N BONNIE RYCHLAK R & R M A R I R A N T A N E N BONNIE RYCHLAK ILLE ARTS 1 2 3 4 5 6 R & R: MARI RANTANEN AND BONNIE RYCHLAK ILLE ARTS In their art, Mari Rantanen and Bonnie Rychlak share little in terms of visual imperatives, exe- cution, means or materials, but they do share a studio in Long Island City and an abiding friendship that crosses some two decades. Where Rychlak’s sculpture hovers between mem- ory and allusion, Rantanen is resolutely buoyant; the incandescence in Rantanen’s painting counters the elusive nature of Rychlak’s sculpture. It’s not surprising that within their practices there is little common ground, yet their differences fuel this exhibition with compelling coun- terpoints that are lush and generative. A native of Finland, the arch of Mari Rantanen’s artistic development references both Scandinavian and American art, perhaps most notably the artist Sam Vanni whose rhyth- mic abstractions helped to propel Finland’s artistic dialogue beyond Concretism, a movement that infuenced Finnish art through the early 20th century. Like Vanni, Rantanen’s layered abstractions bounce between ultra-fatness and the multi-dimensional while patterns fnd synthesis amid popping, polyphonic color. She has employed structural elements that range from Persian ornamentation to architecture, maps, networks, and schematics as well as the purely geometric. In new works, the composition is reductive, focused on circles, ovoids, and lozenges, with intersecting diagonals that migrate through parts of the picture plane assert- ing a sense of ordered chaos.
    [Show full text]
  • Download Exhibition Catalogue
    LIGHT / SPACE / CODE Opposite: Morris Louis, Number 2-07, 1961 (detail) Light / Space / Code How Real and Virtual Systems Intersect The Light and Space movement (originated in the 1960s) coincided with the Visual art and the natural sciences have long produced fruitful collaborations. development of digital technology and modern computer programming, and in Even Isaac Newton’s invention of the color wheel (of visible light spectra) has recent years artists have adapted hi-tech processes in greater pursuit of altering aided visual artists immensely. Artists and scientists share a likeminded inquiry: a viewer’s perception using subtle or profound shifts in color, scale, luminosity how we see. Today’s art answers that question in tandem with the expanded and spatial illusion. scientific fields of computer engineering, cybernetics, digital imaging, information processing and photonics. Light / Space / Code reveals the evolution of Light and Space art in the context of emerging technologies over the past half century. The exhibit begins by iden- — Jason Foumberg, Thoma Foundation curator tifying pre-digital methods of systems-style thinking in the work of geometric and Op painters, when radiant pigments and hypnotic compositions inferred the pow- er of light. Then, light sculpture introduces the medium of light as an expression of electronic tools. Finally, software-generated visualizations highlight advanced work in spatial imaging and cyberspace animation. Several kinetic and inter- active works extend the reach of art into the real space of viewer participation. A key sub-plot of Light / Space / Code concerns the natural world and its ecol- ogy. Since the Light and Space movement is an outgrowth of a larger environ- mental art movement (i.e., Earthworks), and its materials are directly drawn from natural phenomena, Light and Space artists address the contemporary conditions of organisms and their habitation systems on this planet.
    [Show full text]
  • Richard Anuszkiewicz Following Are Questions You Might Have After Seeing the Painting All Things Do Live in the Three, Which Is Reproduced on This Card
    Richard Anuszkiewicz Following are questions you might have after seeing the painting All Things Do Live in the Three, which is reproduced on this card: • Why would anyone bother to paint a painting consisting of these diamonds (tilted squares)? • And why have it consist of multiple tones (shades) of red, instead of different colors? • Why are all of those dots there? • What does this painting have to do with real painting, like paintings of the Impressionists? • Is this even a painting? I know it is paint applied to a surface, but ... • And what does this painting mean? Perhaps it is best to start by looking carefully at the piece. First of all, contrary to what you might initially think if you don’t look closely, the painting consists of only one tone of red, not multiple tones. A careful look reveals that the painting consists of one uniform red, on top of which dots of a uniform size have been painted. Close examination also reveals that, even though the red stays the same throughout the piece, the colors of the dots change from one part of the painting to another. The dots change in color from a turquoise blue in the outer part of the painting, to green for the next step in, to blue/gray for the next step, finally arriving at a yellow/green in the interior diamond. The third thing that a careful look at the painting reveals is that, although we see these diamond shapes, they are not actually drawn there. In fact, contrary to what our eyes first tell us, there is no physical contour or other such demarcation of the diamonds.
    [Show full text]
  • Julian Stanczak, Abstract Painter, Dies at 88 by ROBERTA SMITH APRIL 11, 2017
    ART & DESIGN Julian Stanczak, Abstract Painter, Dies at 88 By ROBERTA SMITH APRIL 11, 2017 Julian Stanczak at his home in Ohio in 2013. CreditJeff Downie Julian Stanczak, a Polish-born American abstract painter who rose to fame as a leading figure of the popular Op Art movement but slipped into obscurity when its reputation flagged, died on March 25 at his home in Seven Hills, Ohio, a Cleveland suburb. He was 88. His death was confirmed by his New York gallery, Mitchell-Innes & Nash. His family said that he had died after a short illness. Mr. Stanczak was a firmly optimistic artist, despite injuries in a Soviet labor camp during World War II that rendered his dominant right arm useless. He helped name the art movement to which he was linked in 1964 when his New York debut at the Martha Jackson Gallery was titled “Julian Stanczak: Optical Paintings.” Reviewing that exhibition in Arts magazine, Donald Judd, then an emerging Minimalist sculptor, coined the phrase Op Art in a sardonic closing sentence, linking the upsurge in perceptual abstraction, as it was sometimes called, to the Museum of Modern Art’s plans to survey the trend. Indeed, Op Art went supernova in 1965, with the Modern’s exhibition “The Responsive Eye” (even though the museum avoided the term). While critically derided, the exhibition set attendance records at the museum. It represented around 100 artists, from 15 countries and nearly three generations, working in assorted optical or geometric styles. Mr. Stanczak’s art evinced a tremendous geometric inventiveness. He constantly elaborated on the possibilities of parallel stripes, both straight and undulant; squares, both checkerboard and concentric; and grids, usually amplified by contrasting saturated colors.
    [Show full text]
  • Op Art Spinners
    Copyright © 2017 Dick Blick Art Materials All rights reserved 800-447-8192 DickBlick.com Op Art Spinners Why settle for a manufactured spinner when you can take a one-of-a kind piece of art for a spin? “Fidget spinners” became wildly popular because of their reputation as a concentration aid or a means of releasing stress and anxiety. In the same manner as a stress ball, they give the hands something to keep them busy. Op Art (short for Optical Art) is a movement that rose to popularity in the 1960s as a means of keeping the eyes busy. Optical illusions were not invented by scientists or optometrists but by GRADES 3-12 Note: Instructions artists who understand the workings and materials are based upon a class of the human brain and eyes and size of 24 students. Adjust as needed. how to trick them into believing they see Preparation something they don't actually see. A design that is completely stationery can appear to have movement 1. View mind-boggling examples of Op Art from artists as a result of carefully placed color and pattern. such as Victor Vasarely, Bridget Riley, Richard Allen and Richard Anuszkiewicz. Art that is designed to incorporate motion is known 2. Use a paper trimmer to cut heavyweight Dura-Lar into as Kinetic Art, and Op Art is considered kinetic even if 5" squares. A 25" x 40" sheet will produce 40 pieces. the motion is only illusionary. You'll need one per student. In this lesson plan, students create their own hand- 3.
    [Show full text]
  • Vertigo Op Art and a History of Deception 1520–1970
    Vertigo Op Art and a History of Deception 1520–1970 May 25 to October 27, 2019 Of all the pioneering art movements of the 1960s, Op art and kinetic art seem to Press conference: have been accorded the least recognition. Often they were depreciatingly seen as Friday, May 24, 2019, 10 am too spectacular and thus superficial. Wrongly so, since Op art and kinetic art sharpen our awareness of the ambiguous nature of reality. They quite literally show us that Opening: perception is not objective but dependent on volatile parameters relating to context Friday, May 24, 2019, 7 pm and to the beholder, with all the epistemological consequences that this has. The exhibition Vertigo. Op Art and a History of Deception 1520–1970 presents a puzzling world of sensory illusion, comprising a broad spectrum of works including paintings, reliefs, and objects, installations and experiential spaces, and film and computer generated art. The exhibition title is taken from Alfred Hitchcock’s famous 1958 film, in which Hitchcock—just like our exhibition—worked with the concept of vertigo in both senses: as a physical phenomenon and as a sensual and optical illusion. The “vertigo effect” of the cinematography in Hitchcock’s film marked a legendary juncture in the history of cinema, in which a view into the abyss was shown as a spectacularly destabilizing spiral draw that leads to a physical reaction in both the character in the Richard Anuszkiewicz film, Scottie, and the audience. The opening credits of this film were also Convex & Concave, 1966 groundbreaking, with a total view of an eye in which a spiral begins to turn, and then Courtesy D.
    [Show full text]
  • List Visual Arts Center
    List Visual Arts Center The mission of the MIT List Visual Arts Center (LVAC) is to present and support the production of the most challenging, forward-thinking, and lasting expressions of modern and contemporary art to the MIT community and general public so as to broaden the scope and depth of cultural experiences available on campus. Another part of LVAC’s mission is to reflect and support the diversity of the MIT community through the presentation of diverse cultural expressions. This goal is accomplished through a number of means: temporary exhibitions in the LVAC galleries (Building E15), on the Media Test Wall (Building E56), and in the Dean’s Gallery (Sloan School of Management) of contemporary art in all media by the most advanced visual artists working today; the permanent collection of art, comprising large outdoor sculptures, artworks sited in offices and departments throughout campus, and art commissioned under MIT’s Percent- for-Art Program, which allocates funds from new building construction or renovation for art; the Student Loan Art Program, a collection of fine art prints, photos, and other multiples maintained solely for loan to MIT students during the course of the academic year; a lively Artist-in-Residence Program that provides MIT students and the MIT community with access to an array of highly regarded international artists; and extensive interpretive programs and films designed to offer the MIT community and the public a variety of perspectives about LVAC’s changing exhibitions and MIT’s art collections. Current
    [Show full text]
  • Download Press Release
    Upsurge: Waves, Colour and Illusion UPSURGE: WAVES, COLOUR AND ILLUSION MOHAMED MELEHI | MONA SAUDI | HAMRA ABBAS | MOHAMED AHMED IBRAHIM | SHAIKHA AL MAZROU | VIVIEN ZHANG Spring - Summer 2020 Bringing together the diverse range of practices of a multi-generational group of artists – Mohamed Melehi (b.1936, Asilah, Morocco), Mona Saudi (b.1945, Amman, Jordan), Hamra Abbas (b.1976, Kuwait), Mohamed Ahmed Ibrahim (b. 1962, Khorfakkan, UAE), Shaikha Al Mazrou (b.1988, UAE) and Vivien Zhang, (b.1990, Beijing, China) - Upsurge explores notions of perception within abstract art: how form, colour and contrast affect the visual experience to give illusions of depth or dynamism based on our psychological predisposition. Different starting points lead each to converge on Op art: the perceptual experience is related to how vision functions. A term coined in 1964 by Time magazine, Op art describes a form of abstract art, specifically non-objective art, that uses optical illusions. Never a movement, more a tendency, works now described as "op art" were produced decades earlier by Victor Vasarely in the 1930s and as early as the 1920s, by Francis Picabia. Other artists and works associated with the term include those as diverse as Josef Albers from the 1950s, and Richard Anuszkiewicz and Bridget Riley from the 1960s. For Moroccan modernist Mohamed Melehi, his point of departure was the hard-edge abstraction with which he came into contact in New York at the beginning of the 1960s. Melehi’s early rectilinear works soon gave way to curves (which he described as “Soft Edge”), later morphing into his now-familiar waves.
    [Show full text]
  • JANUARY WHITE SALE Curated by Beth Rudin Dewoody
    JANUARY WHITE SALE Curated by Beth Rudin DeWoody January 13 – February 12, 2011 Opening reception: Thursday, January 13, 2011, 6 - 8 pm Loretta Howard Gallery is pleased to announce January White Sale, curated by Beth Rudin DeWoody, an exhibition of white works from over fifty well-known and emerging international artists. A play on the slightly dated term for a department store bedding clearance, January White Sale is anything but. The exhibition blends both important post-war American works, the focus of the gallery, with DeWoody’s playful and sometimes highly provocative aesthetic. Works in various media such as painting, photography, sculpture, works on paper, assemblage, and video arise from a surreal and rarely seen all-white installation. It is also in this viewing that the overlooked differentiation in shades of white becomes apparent. The combination of titaniums, bones, antiques, and ivories, along with the intricate silhouettes, create an even more compelling installation. Recalling her favorite color as the visual theme, DeWoody states, "My motto is 'Paint it white’. In design and architecture, mistakes can often be rectified by making an object or structure white. With the lack of color in art, the form becomes most important, and emerges front and center." January White Sale will include works by Richard Anuszkiewicz, Alice Aycock, Darby Bannard, Sheila Berger, Bram Bogart, Hubert Bush, Francis Celentano, John Chamberlain, Julia Chiang, Jim Clark, Colette, Michael Combs, Keith Coventry, E.V. Day, Peter Dayton, Don Dudley,
    [Show full text]
  • Artnet Auctions Presents Color and Light: a Sale of Abstract
    PRESS RELEASE For Immediate Release Presents Color and Light: A Sale of Abstract Art A selection of Contemporary Abstract artworks exploring color and light will be offered on artnet Auctions from August 1 through 8, 2013 Sam Francis Untitled (SF75-089), 1975 Acrylic on paper 22 x 30 in. (55.9 x 76.2 cm.) Est. US$50,000–60,000 New York / Berlin, August 1, 2013—artnet Auctions is pleased to feature Color and Light: A Sale of Abstract Art, an auction of Contemporary Abstract artworks exploring color and light in their purest forms. The sale will feature glowing, visionary works by Contemporary artists such as Sam Francis, Helen Frankenthaler, Kenneth Noland, Frank Stella, Ellsworth Kelly, Mary Heilmann, Josef Albers, Imi Knoebel, Sol LeWitt, Victor Vasarely, Julio Le Parc, and James Turrell. The works in the sale have estimates ranging from US$8,000 to 275,000. The sale will feature two exceptional Abstract Expressionist works on paper by painter Sam Francis (American, 1923–1994). Each work is estimated at US$50,000–60,000 and display the expressive and emotional use of color that has come to define Francis’s aesthetic. Untitled (SF75-089) is a luminous, jewel-toned piece that is typical of the artist’s style of the 1970s. Untitled (SF90-369) is a late work in which splashes of violet, blue, deep green, and orange form a dynamic composition tinged with melancholy, and embody Francis’s sense of art’s relationship to spirituality. The sale will also feature the mixed media work Study for the Gas Company Tower Commission, a maquette created by Frank Stella (American, b.1936) for Dusk, his extraordinary 1991 mural for the Gas Company Tower in Los Angeles, CA.
    [Show full text]