Autobiographical in the Oeuvre Of
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Fernando Canovas
FERNANDO CANOVAS Born in Argentina in 1960 to an inventor/sculptor father, it was always clear that Fernando Canovas was destined to be an artist. Impressed by the personality, originality and impeccable execution of his earliest works as a child in Buenos Aires, his teachers encouraged him to further his artistic studies in Europe or the United States. Following his arrival at L’Ecole des Beaux Arts in Paris, Canovas began to win accolades. He was chosen from among hundreds of applicants to study with Pierre Alechinsky and was also chosen as a student by surrealist Roberto Matta. By the beginning of his third year, Canovas was the top student at the school, and his work was coveted by many galleries who fought to represent him. In his work, he shows a deep concern about space and time. His intent is to capture them, and, as a result, his paintings emanate a strong sensation of vertigo and have a no-space, no-time feeling. In his latest spatial projects, he incorporates collage in his compositions to take the image into the three dimensional world. Renowned critics, including Bonito Oliva and Lyle Rexer, have written about his art, and his works today are part of many important collections. He currently splits his time between Buenos Aires, Paris and New York. Selected Solo Exhibitions 2012 “Canovas – Polaridades” Cronopios Hall, Recoleta Cultural Center (CCR); Buenos Aires, Argentina 2007 MAMAN Fine Art Gallery; Buenos Aires, Argentina “Fernando Canovas,” IVAM Museum; Valencia, Spain 2006 Knew Gallery; Washington, D.C. 2005 Krampf-Pei -
The Perception of the Body in Diderot's Art Criticism and in Modern Aesthetics and Visual Art1
The percepTion of The body in dideroT's arT criTicism and in modern aesTheTics and visual arT1 by else marie bukdahl ''The landscape thinks itself in me and i am its consciousness'' paul cézanne (in merleau-ponty 1948a: 17) The french philosopher, encyclopédiste and art critic ('avant la lettre'), denis di- derot, was in many ways a precursor to contemporary theoreticians and theories of art, especially as embodied in the intertwining of spectator and art work in the modern tradition, inspired by the phenomenologist maurice merleau-ponty. in this tradition, mind and body are not separated in a cartesian cleavage; rather, the mind (including our perception of the world) is intimately related to the world that we perceive. When interacting with a work of art, we do not merely look at it, we 'enter' it, 'walk' through it, using all our senses. referring to pictorial examples and quotations from painters, sculptors, and art critics, the article epitomizes these features, by which the interactive viewer is experientially drawn into the space of the art forms as spectacularly instantiated in works by artists like barnett newman or richard serra. descartes' philosophy, which had a great impact on Western art and culture, is predicated on a separation of mind from body, much like disembodied eyes with a single perspective. an important early philosopher central to dismantling the car- tesian model and introducing the idea of embodied perception as a basis for this was maurice merleau-ponty (1908-1961). When he wrote Eye and Mind (1964)2 he instigated an important turning point in the history of the aesthetics of art. -
Education Resource
EDUCATION RESOURCE REGIONAL TOUR BROKEN HILL REGIONAL ART GALLERY, NSW 29 NOVEMBER 2014 - 22 FEBRUARY 2015 WESTERN PLAINS CULTURAL CENTRE, NSW 18 APRIL 2015 - 31 MAY 2015 TOOWOOMBA REGIONAL GALLERY, QLD 15 JUNE 2015 - 2 AUGUST 2015 CABOOLTURE REGIONAL ART GALLERY, QLD 5 MARCH 2016 - 7 MAY 2016 ABOUT THIS RESOURCE This resource is designed to enhance the visitor experience of the Objects & Energies exhibition. It provides strategies and suggestions for avenues of investigation for the three artists and their works. Designed primarily for teachers and their school groups, the resource focuses on each of the artists with critical/historical and artmaking suggestions for primary and secondary students. Additionally this resource is useful for non-school visitors hoping to gain a greater insight into the themes of the exhibition, and can be used as a support to the accompanying catalogue. Further reading suggestions and a glossary are provided at the back of the resource, with associated in-text words underlined. National Art School Gallery Forbes Street Darlinghurst NSW 2010 T (02) 9339 8744 W www.nas.edu.au Museums & Galleries of NSW Museums & Galleries of NSW Level 1, The Arts Exchange, 10 Hickson Road The Rocks NSW 2000 T (02) 9252 8300 F (02) 9252 9866 W www.mgnsw.org.au Museums & Galleries of NSW is assisted by the NSW Government through Arts NSW and by the Australian Government through the Australia Council, its arts funding and advisory body. This project is supported by an Artist or Curator in Residence grant. The Artist or Curator in Residence Grant Program is assisted by the Copyright Agency Limited’s Cultural Fund, and is managed by Museums & Galleries of NSW. -
Matts Leiderstam CV WL 30.1.20
Matts Leiderstam, 1956 Born in Gothenburg (SE), lives in Stockholm http://www.mattsleiderstam.com/ Education: 1974-77 Pottery apprentice, Rörstrands AB, Lidköping (SE) 1977-81 B.A of Art Education, University College of Arts, Crafts and Design, Stockholm (SE) 1984-89 M.A, Valand, University of Gothenburg College of Art, Gothenburg (SE) 1986 Royal College of Art, The Printmaking Department, London (GB) 2002-06 Ph.D. in Fine Arts, Malmö Art Academy, Lund University (SE) Residencies: 2006 International Residence at Couvents des Recollets, Paris, France 2005 Cove Park, Scotland 2004-05 IASPIS’s studio, Stockholm, Sweden 2001 CEPA Gallery, Buffalo, USA 1999 Villa Saint Clair, Sète, France 1996-97 IASPIS’s studio, London, UK 1992 The Swedish Art Grants Committee’s Studio Residency in Montréal, Canada Grants: 2019 3 year grant for artistic research, Swedish Research Council Solo Exhibitions 2018 Stefan Karlssons museum för dålig konst, Gothenburg (SE) Panels, Andréhn-Schiptjenko, Stockholm (SE) 2017 Matts Leiderstam, Panels, Wilfried Lentz Rotterdam (NL) 2016 First Seen at the Lentz Collection, Collectorspace, Istanbul (TR) 1989, Andréhn-Schiptjenko, Stockholm (SE) 2015 The Common, Lund City Art Collection, Lunds Konsthall (SE) 2014 Life Masks, Wilfried Lentz, Rotterdam (NL) 2013 Andréhn-Schiptjenko, Stockholm (SE) 2012 Platsens själ, Artipelag, Värmdö, Stockholm (SE) 2011 Seen from Here, Kuntsi Museum of Modern Art, Waasa (FI) After Image, Wilfried Lentz Rotterdam (NL) 2010 Seen from here, Kunsthalle, Duesseldorf (DE) Seen from here, Malmö Art -
Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso. -
Art of Judging
NEW YORK UNIVERSITY LAW REVIEW VOLUME 71 JUNE 1996 NUMBER 3 THE ART OF JUDGING STEWART G. POLLOCK* In the second annual William J. Brennan, Jr. Lectur4 New Jersey Supreme Court Justice Stewart G. Pollock explores the relationship between art and adjudication. The separationof powers, the federalist system, and the inherent constraints of the common law confine state courts. Notwithstanding those constraints,state courts have demonstrated creativity when interpretingstate statutes and constitutionsand when adapting the common law to changing conditions. Thus, Justice Pollock fnds artistry in the work of state courts. He begins by exploring creativity in statu- tory interpretation. Then, Justice Pollock examines two areasof substantive law of greatpublic concern: public-school-financelitigation under state constitutions and the common-law redefinition of the modem family. Justice Pollock demonstrates how state appellate courts, through public-school-finance litigation, have shaped the constitutionalright to a public-school education. Justice Pollock then discusses how state courts have reacted to the changing composition of the American family. By recognizing these changes, state courts have redefined the family in areas as diverse as zoning ordinances, surrogacy agreements, and same-sex marriages. Common to all these endeavors is protection of the inherent dignity of the individ- ual Justice Pollock concludes that an appreciationof the similarities between art and judging may lead to a better understandingof the judicial process. Delivering the Brennan Lecture in Vanderbilt Hall is for me deeply moving. Justice Brennan graced the New Jersey Supreme Court for four years before starting his remarkable service on the United States Supreme Court. Also, this building is named for the former dean of this law school and the Chief Justice of the New Jersey Supreme Court with whom Justice Brennan served, Arthur T. -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
Mary Cassatt
National Gallery of Art Summer 2008 ngakids inside scoop Washington Pull-out who?what?how? [images for this section: Leonardos’ Ginevra de’Benci; Leonardo’s self-portrait] [design: place quote somewhere inside] A face is not well done unless it expresses a state of mind. Leon- “I have had a joy from which no one can rob me — I have been able to touch some people with my art.” Mary Cassatt Mary Cassatt, The Boating Party (detail), 1893 / 1894, National Gallery of Art, Chester Dale Collection who? what? how? Impressionist Connection 2 Early in her career, Cassatt explored different styles exhibit with the Impressionists in 1879. The Impres- of painting. Soon, however, she began to observe and sionists depicted fleeting moments in both nature and paint the scenes around her in Paris, exploring the ordinary human activity and experimented with bright subject of modern life. But Cassatt was not a bohemian colors, loose brush strokes, and innovative angled artist. She was comfortable in her own social milieu, viewpoints. These techniques reflected a dynamic new and it is this world — populated by family, friends, and approach to painting. their children — that she depicted. Ladies seated in Among these artists, Cassatt was the only American — the theater, women reading or taking tea in homes or and one of only three women. Her artistic talent, gardens, mothers washing and swaddling babies, and understanding of French language and culture, and children playing were the subjects that were part of her independent thinking earned her the respect of everyday world. this selective group, whose membership included Her ability to capture a moment in time caught the Claude Monet, Auguste Renoir, Camille Pissarro, and attention of Edgar Degas, who invited Cassatt to Alfred Sisley. -
Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the American Art and Architecture Commons, Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation Cresseveur, Jessica, "The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt." (2016). Electronic Theses and Dissertations. Paper 2409. https://doi.org/10.18297/etd/2409 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUEER CHILD AND HAUT BOURGEOIS DOMESTICITY: BERTHE MORISOT AND MARY CASSATT By Jessica Cresseveur B.A., University of Louisville, 2000 M.A., University College London, 2003 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
Louise Bourgeois: Ma Maison À Easton
Louise Bourgeois: Ma Maison à Easton The neatly ordered jars set in the oak cupboard were a great comfort to Louise Bourgeois in the summer of 1942. Food rationing had begun that same year as the Second World War heavily burdened US supply chains. Government posters encouraged women to preserve local harvests and help feed their families, but Louise did more than set up food storage. She literally preserved the image of her kitchen pantry, and captured that moment in time through the lines and colors of her printmaking. Within her design, she reveals something of herself with the symbolic use of red-a color that signaled complex emotions for the artist. Bourgeois, Louise, During the War: Shortage of Food in Easton, 1942-44, woodcut on paper, © The Easton Foundation As a new mother of three young boys, she had all the concerns one would expect of a parent facing economic challenges, only for her, there were added anxieties: the traumatic memories of her childhood and the horrors she witnessed during the First World War in France. On top of deep seated fears of harm and abandonment were layers of guilt and shame at having left behind her family and friends in Europe. Here in Connecticut, she found a measure of safety that allowed her to reflect on these feelings and use the creative process to liberate herself from the disquiet that plagued her. Often, she would sit at the kitchen table for hours carving into wood with a small knife creating blocks for printing and sculptural forms. Her sons would marvel at how she worked with her hands as diligently as any typical mother might have been knitting. -
Innovate 4 Water a Matchmaking Forum for Sustainable Development
E WIPO /I NN /H20/ GE/1 7/INF/ 1 ORIGINAL: ENGLISH JUNE 9, 201 7 Innovate 4 Water A Matchmaking Forum for Sustainable Development Organized by Waterpreneurs, WaterVent and the World Intellectual Property Organization (WIPO) Geneva, Switzerland, June 7 to 9, 2017 WIPO Headquarters, Rooms AB 13.1, B and A PROGRAM prepared by the Secretariat Sponsors Open Challenges Sponsor WIPO/INN/H20/GE/17/INF/1 page 2 Confirmed participants include expert representatives from the following organizations: WIPO/INN/H20/GE/17/INF/1 page 3 Wednesday, June 7, 2017 COACHING SESSIONS (ROOM AB 13.1) 14.00 – 18.00 For all entrepreneurs pitching on June 8 16:00 – 16:30 Coffee break WIPO/INN/H20/GE/17/INF/1 page 4 Thursday, June 8, 2017 MATCHMAKING DAY (ROOM B ) Moderators: Mr. Ulf Leonhard, Founder, WaterVent, Berlin Mr. Nicolas Lorne, Director and Cofounder, Waterpreneurs, Geneva, Switzerland 08.15 – 09.00 Coffee and Registration 09.00 – 09.20 Opening and Welcome Speaker: Mr. Minelik Alemu Getahun, Assistant Director General, Global Issues Sector, World Intellectual Property Organization (WIPO) 09.20 – 09.30 Speakers: Mr. Ulf Leonard Mr. Nicolas Lorne 09:30 – 10:00 Different Ways of Dealing with Water Issues Speakers: Ms. Sally Gutierrez, Director, Environmental Technology Innovation Cluster Development and Support Program, Environmental Protection Agency (EPA), Cincinnati, United States of America Mr. Booky Oren, CEO, Booky Oren Global Water Technologies, Tel Aviv, Israel 10:00 – 10.15 Panel I: Statement on Water by a Senior Insider Speaker: Mr. Herbert Oberhänsli, Former Vice President, Economics and International Relations, Nestle, Vevey, Switzerland 10.15 – 10.45 Panel II: Universities and Researchers Speakers: Ms.