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La Huella Majistral for Divi
Majestic Impression La Huella Magistral September 22 through October 28, 2017 Curated by Nitza Tufiño Jaime Montiel Rini -Templeton This exhibition features the works of artists printmakers who are members of the ''Consejo Grafico '' (The Graphic Council), a national Latinx organization of ''Talleres'' printmaking workshops. The portfolio of prints is by selected artists, who have created original works honoring a master printmaker who has influenced him or her. The featured artists are Rene Arceo; Pepe Coronado; Francisco X Siqueiros; Marianne Sadowski; Kay Brown; Poli Marichal; Juan R Fuentes; Richard Xavier Serment; Ramiro Rodriguez; Joe Segura; Paul del Bosque; Sandra C Fernandez; Maceo Montoya; Lezlie Salkowitz Montoya; Malaquias Montoya; Loanda Lozano; Nitza Tufiño; Betty Cole; Eliezer Berrios; and Marcos Dimas. In addition, during this event, there will be an adjoining exhibit featuring the work from members of the Dominican York Proyecto GRAFICA (DYPG) and Taller Boricua’s Rafael Tufiño Printmaking Workshop. Since 2000, a group of independent printmaking workshops began to form a coalition, the CONSEJO GRÁFICO, to "advance Latino printmakers' capacity and legacy in the United States." This beautiful series of prints constitutes their third Portfolio Exchange. The Portfolio, an edition of 30, gathers 19 participating artists, each contributing to print MAJESTIC IMPRESIONS 2017 1 The Portfolio's title, LA HUELLA MAGISTRAL: HOMAGE TO MASTER PRINTMAKERS, reveals the charitable purpose of the participating artists: to honor their teachers — master printmakers who taught, mentored, or inspired them. These artists share moral values and social ideals with those who inspired them: the defense of poor and oppressed peoples, solidarity with workers, a commitment to public education. -
For Immediate Release Contact Allegra Favila [email protected] 212/998-6789
For Immediate Release Contact Allegra Favila [email protected] 212/998-6789 EXHIBITION RETHINKS MID-CENTURY ABSTRACT ART IN MIDDLE EAST AND BEYOND Taking Shape: Abstraction from the Arab World, 1950s–1980s On view at New York University’s Grey Art Gallery January 14–April 4, 2020 Taking Shape: Abstraction from the Arab World, 1950s–1980s explores the development of abstraction in the Arab world via paintings, sculpture, and works on paper dating from the 1950s through the 1980s. By looking critically at the history and historiography of mid-20th century abstraction, the exhibition considers art from North Africa and West Asia as integral to the discourse on global modernism. At its heart, the project raises a fundamental art historical question: How do we study abstraction across different contexts and what models of analysis do we use? Examining how and why artists investigated the expressive capacities of line, color, and texture, Taking Shape highlights a number of abstract movements that developed in the Middle East, Mohamed Melehi (Morocco) North Africa, and West Asia, as well as the Arab diaspora. Across Composition, 1970. Acrylic these regions, individual artists and artist collectives grappled with on wood, 47 1/4 x 39 3/8 in. issues of authenticity, national and regional identity, and the Collection of the Barjeel Art decolonization of culture. Drawn from the collection of the Barjeel Foundation, Sharjah, UAE Art Foundation based in Sharjah, United Arab Emirates, the exhibition features nearly 90 works by a diverse group of artists such as Etel Adnan, Shakir Hassan Al Said, Kamal Boullata, Huguette Caland, Ahmed Cherkaoui, Saloua Raouda Choucair, Rachid Koraïchi, Mohamed Melehi, and Hassan Sharif, among others. -
Checklist of Anniversary Acquisitions
Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1. -
Women Artists Utah Museum of Fine Arts • Lesson Plans for Educators October 28, 1998 Table of Contents
Women Artists Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators October 28, 1998 Table of Contents Page Contents 3 Image List 5 Woman Holding a Child with an Apple in its Hand,, Angelica Kauffmann 6 Lesson Plan for Untitled Written by Bernadette Brown 7 Princess Eudocia Ivanovna Galitzine as Flora, Marie Louise Elisabeth Vigée-Lebrun 8 Lesson Plan for Flora Written by Melissa Nickerson 10 Jeanette Wearing a Bonnet, Mary Cassatt 12 Lesson Plan for Jeanette Wearing a Bonnet Written by Zelda B. McAllister 14 Sturm (Riot), Käthe Kollwitz 15 Lesson Plan for Sturm Written by Susan Price 17 Illustration for "Le mois de la chevre," Marie Laurencin 18 Lesson Plan for Illustration for "Le mois de la chevre" Written by Bernadette Brown 19 Illustration for Juste Present, Sonia Delaunay 20 Lesson Plan for Illustration for Juste Present Written by Melissa Nickerson 22 Gunlock, Utah, Dorothea Lange 23 Lesson Plan for Gunlock, Utah Written by Louise Nickelson 28 Newsstand, Berenice Abbott 29 Lesson Plan for Newsstand Written by Louise Nickelson 33 Gold Stone, Lee Krasner 34 Lesson Plan for Gold Stone Written by Melissa Nickerson 36 I’m Harriet Tubman, I Helped Hundreds to Freedom, Elizabeth Catlett 38 Lesson Plan for I’m Harriet Tubman Written by Louise Nickelson Evening for Educators is funded in part by the StateWide Art Partnership 1 Women Artists Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators October 28, 1998 Table of Contents (continued) Page Contents 46 Untitled, Helen Frankenthaler 48 Lesson Plan for Untitled Written by Virginia Catherall 51 Fourth of July Still Life, Audrey Flack 53 Lesson Plan for Fourth of July Still Life Written by Susan Price 55 Bibliography 2 Women Artists Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators October 28, 1998 Image List 1. -
LET's LOOK ZAPATA Diego Rivera Created This Print of Revolutionary
ZAPATA Diego Rivera created this print of revolutionary leader and land- reform champion Emiliano Zapata in 1932, twelve years after the end of the Mexican Revolution. Dressed in simple white peasant clothing, Zapata and his horse stand over the lifeless figure of a soldier. The farm workers for whose cause he fought gather behind him. In con- 1932 Lithograph trast to the soldier’s sword, Zapata and his followers carry farming Image: 16 1/4 × 13 1/8 inches (41.3 × 33.4 cm) tools as weapons, showing their close ties to the land. Sheet: 17 1/16 × 14 inches (43.4 × 35.5 cm) ABOUT THIS ARTIST JOSÉ DIEGO MARÍA RIVERA Mexican Diego Rivera (1886–1957) was born in Mexico to parents of Purchased with the Lola Downin Peck Fund from the Carl and Laura Zigrosser Collection, 1976, 1976-97-114 European and Mexican ancestry. Because of his amazing drawing ability, he was accepted to the Academia de San Carlos, a pres- tigious art school in Mexico City, at the age of twelve. When Rivera LET’S LOOK What do you think is was twenty-one, he received a government scholarship to travel in happening in this picture? Spain and France. There he met leading modern artists, including What happened before Pablo Picasso, and learned to paint in the Cubist style that was this moment? popular in Europe. What will happen next? In 1921 Rivera returned home. He and other Mexican artists began How is the main figure, Zapata, dressed? to look to pre-Columbian artifacts (made before the arrival of What is he holding? Columbus to the Americas) and native folk art for inspiration, hoping How are the people to create works that were uniquely Mexican. -
July 1, 2015–June 30, 2016 FY16: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2015–June 30, 2016 FY16: A LOOK BACK This fiscal year, running from July 1, 2015, a dramatic uptick in attendance during the to June 30, 2016, was, as usual, packed with course of the show. Heather Foster, an MFA activities at the Georgia Museum of Art. The student at UGA in painting and an intern in exhibition El Taller de Gráfica Popular: Vida y our education department, created a series of Arte kicked off our fiscal year, providing the Pokemon-inspired cards highlighting different inspiration for our summer Art Adventures objects in the exhibition. We also embarked programming in 2015 as well as lectures, upon our first Georgia Funder, using UGA’s films, family programs and much more. We crowd-funding platform to raise money for the engaged in large amounts of Spanish-language exhibition’s programming. Caroline Maddox, programming, and the community responded our director of development, left for a position positively. at the Los Angeles County Museum of Art, and Laura Valeri, associate curator, for Georgetown In July, the Friends of the Georgia Museum University Press. of Art kicked off a three-month campaign to boost membership by 100 households. Through In November, we focused attention on three carefully crafted marketing emails and the first major gifts from the George and Helen Segal in a series of limited-edition mugs available only Foundation, devoting an entire exhibition to through membership, they did just that and them. Other major acquisitions included a more. painting by Frederick Carl Frieseke (due to the generosity of the Chu Family Foundation), one In August, with the beginning of the university’s by Anthony Van Dyck and studio (from Mr. -
Josfi GUADALUPE POSADA, the CORRIDO, and the MEXICAN
37^ //$ I HOJAS VOLANTES: JOSfi GUADALUPE POSADA, THE CORRIDO, AND THE MEXICAN REVOLUTION THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Melody Mock, B.F.A. Denton, Texas August, 1996 37^ //$ I HOJAS VOLANTES: JOSfi GUADALUPE POSADA, THE CORRIDO, AND THE MEXICAN REVOLUTION THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Melody Mock, B.F.A. Denton, Texas August, 1996 Mock, Melody. Hojas Volantes: Jose Guadalupe Posada, the Corrido, and the Mexican Revolution. Master of Arts (Art History), August 1996, 101 pp., 26 illustrations, references, 138 titles. This thesis examines the imagery of Jose Guadalupe Posada in the context of the Mexican Revolution with particular reference to the corrido as a major manifestation of Mexican culture. Particular emphasis is given to three corridos: "La Cucaracha," "La Valentina," and "La Adelita." An investigation of Posada's background, style, and technique places him in the tradition of Mexican art. Using examples of works by Posada which illustrate Mexico's history, culture, and politics, this thesis puts Posada into the climate of the Porfiriato and Revolutionary Mexico. After a brief introduction to the corrido, a stylistic analysis of each image, research into the background of the song and subject matter, and comments on the music draw together the concepts of image, music, and text. TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii Chapter 1. INTRODUCTION 1 Posada's Background Statement of the Problem Methodology 2. -
Culture Shapes Community - January 5, 2006 the Mexican Fine Arts Ce
Culture Shapes Community - January 5, 2006 The Mexican Fine Arts Ce... http://www.cultureshapescommunity.org/index.php?option=com_conten... home about news resources forums tell your story home news press january 5, 2006 the mexican fine arts center museum presents "the african presence in mexico" Username January 5, 2006 The Mexican Fine Arts Center Museum Password presents "The African Presence in Mexico" Remember me The Mexican Fine Arts Center Museum organizes its most important exhibition to Login date: Password Help The African Presence in México: From Yanga to the Present February 11 – September 3, 2006 Hear the Voices Opportunities for community Chicago – The Mexican Fine Arts Center Museum (MFACM) is showcasing The art at Mass MOCA by Rebecca Uchill African Presence in México, the most comprehensive project ever organized about African contributions to Mexican culture featuring three exhibitions: The African Nuestras Raíces TOP project Presence in Mexico: From Yanga to the Present, Roots, Resistance and Recognition, by Eric Toensmeier and Common Goals, Common Struggles, and Common Ground. The project also Rallying People Together by features numerous public and educational programs throughout the seven months Carol Bebelle that the exhibitions will be presented. The project examines the missing chapter in Mexican history that highlights the African contributions to Mexican culture over the past nearly 500 years. These groundbreaking exhibitions also attempt to stimulate Upcoming Events a better understanding of Mexican culture among Mexicans and non-Mexicans alike. No Latest Events The exhibitions will run from February 11 – September 3, 2006 and subsequently tour to at least four other museums in the U.S. -
Mcnay ART MUSEUM 2013 | 2015 Annual Report Visitors Enjoy a Free Family John and Peg Emley with Bill Chiego at the Margaritaville at the Day at the Mcnay
McNAY ART MUSEUM 2013 | 2015 Annual Report Visitors enjoy a free family John and Peg Emley with Bill Chiego at the Margaritaville at the day at the McNay. McNay Spring Party. Lesley Dill and René Paul Barilleaux, Chief Curator/Curator of Contemporary Art, at the Opening of Lesley Dill: Performance as Art. McNay Second Thursday band plays indie tunes on the Brown Sculpture Terrace. Visitors enjoy a free family day at the McNay. Emma and Toby Calvert at the 60th Sarah E. Harte and John Gutzler at the 60th Anniversary Celebration Anniversary Celebration Visitor enjoys field day activities during a free A local food truck serves up delicious dishes at McNay Second Suhail Arastu at the McNay Gala Hollywood Visions: Dressing the Part. family day at the McNay. Thursdays. Table of Contents Board of Trustees As of December 31, 2015 Letter from the President ................................................................................4 Tom Frost, Chairman Sarah E. Harte, President Letter from the Director ...................................................................................5 Connie McCombs McNab, Vice President Museum Highlights ...........................................................................................6 Lucille Oppenheimer Travis, Secretary Barbie O’Connor, Treasurer Notable Staff Accomplishments ...................................................................10 Toby Calvert Acquisitions ..........................................................................................................13 John W. Feik -
Modern Women: 13 Lebanese Female Artists in “LEBANON MODERN!” at the Beirut Art Fair 2016 | Art Radar 4/11/17, 9:42 AM
Modern women: 13 Lebanese female artists in “LEBANON MODERN!” at the Beirut Art Fair 2016 | Art Radar 4/11/17, 9:42 AM Art Radar Contemporary art trends and news from Asia and beyond Modern women: 13 Lebanese female artists in “LEBANON MODERN!” at the Beirut Art Fair 2016 Posted on 09/09/2016 Follow Like Share 3 Tweet 37 6 Votes Exhibition highlights women artists from country’s culturally rich modernist period. The Beirut Art Fair 2016 honours influential Lebanese female artists from the country’s modernist art scene of the 20th century with an exhibition titled “LEBANON MODERN!” running from 15 to 18 September 2016. http://artradarjournal.com/2016/09/09/lebanon-modern-at-the-beirut-art-fair-2016/ Page 1 of 18 Modern women: 13 Lebanese female artists in “LEBANON MODERN!” at the Beirut Art Fair 2016 | Art Radar 4/11/17, 9:42 AM Beirut Art Fair 2016 logo. Image courtesy the Beirut Art Fair. Since 2010, the Beirut Art Fair has been introducing visual artists from the ME.NA.SA (Middle East, North Africa, South Asia) region to curators, collectors and institutions. The fair continues to thrive and gain both local and international support, with the event welcoming some 21,000 visitors and exhibiting 1,500 works in 2015. At the helm of the fair’s seventh edition is founder Laure d’Hauteville, returning Artistic Director Pascal Odille and Marine Bougaran as Head of Exhibitor Relations and Director of the fair’s “Projects” space. A new space known as “REVEALING by SGBL” will promote the region’s hottest up-and-coming talent, while “LEBANON MODERN!” shines a spotlight on the country’s most significant female artists from the modernist period (1945-1975). -
Art Prints for Theme Enrichment Fine Art Images and Artists 1
Art Prints for Theme Enrichment Fine Art Images and Artists Package Number Theme Print Type Artwork Artist 1 America Large Print Edward and Sarah Rutter Joshua Johnston 1 America Large Print Gros Ventre Shield Jar, Acoma Pueblo, New 1 America Small Print Mexico Lucy M. Lewis Pair of George III Tea Louisa Perina 1 America Small Print Caddies Courtauld Portrait of the Marquise de Adélaïde Labille- 1 America Small Print Lafayette (?) Guiard Jennie Augusta 1 America Small Print Thanksgiving at Plymouth Brownscombe The Family of the Earl of 1 America Small Print Gower Angelica Kauffman Mrs. Noah Smith and Her 1 America Transparency Family Ralph Earl 1 America Transparency Sampler Patty Coggeshall Ancient Red Figured Amphora Berlin painter 2 Civilizations Large Print (vase) (attributed) Ancient 2 Civilizations Large Print The Great Stupa Ancient Cumean Sibyl (after 2 Civilizations Small Print Domenichino) Angelica Kauffman Ancient 2 Civilizations Small Print Jar, Santa Clara Pueblo Margaret Tafoya Ancient 2 Civilizations Small Print Symbols Ida Kohlmeyer Ancient The Family of the Earl of 2 Civilizations Small Print Gower Angelica Kauffman Ancient 2 Civilizations Small Print Through the West Gate Bertha Lum Ancient 2 Civilizations Transparency Egyptian Mummy Case unknown Ancient 2 Civilizations Transparency Painted Storage Jar unknown 3 Animals Large Print Cable Car Festival Dong Kingman 3 Animals Large Print Silver Llama Unknown 3 Animals Small Print Breakfast of the Birds Gabriele Münter Plate 69 from Dissertation in Insect Generations and -
LET's LOOK SHARECROPPER “I'm Not Thinking About Doing Things New and Different. I'm Thinking About Creating Art for My P
SHARECROPPER “I’m not thinking about doing things new and different. I’m thinking about creating art for my people.” —Elizabeth Catlett A woman wearing a broad-brimmed hat and a jacket fastened with a safety pin looks intently beyond the edge of this picture. Although 1952 her hair is turning white, she is lean and strong. Highlights on her Linocut cheekbone, broad nose, and lower lip make a striking contrast with Block: 17 13/16 x 16 3/4 inches (45.2 x 42.5 cm) Sheet: 22 1/8 x 19 inches the deep black shadows that define her neck and upper lip. Despite (56.2 x 48.3 cm) wearing humble clothes, she exudes strength, wisdom, and dignity. ELIZABETH CATLETT American We see this sharecropper from below, which makes her appear larger Purchased with the Alice Newton Osborn Fund, 1999, 1999-135-1 than life, like a hero. A sharecropper is a person who lives and grows crops on land LET’S LOOK owned by someone else, paying the rent by giving the owner a What could this be? Is this a man or a share of the crops. After the U.S. Civil War (1861–65), many former woman? Why? slaves became sharecroppers. Because they were obliged to give What adjectives come up huge amounts of their crops, many led harsh lives of poverty. to your mind when you look at this person? Elizabeth Catlett admired the strength and perseverance of African Look for different patterns Americans when faced with such adversity and injustice. and textures (hat, hair, coat, shirt, background, face).