Somarts 40Th Anniversary Exhibition July 18, 2019
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The San Francisco Arts Quarterly SA Free Publication Dedicated to the Artistic Communityfaq
i 2 The San Francisco Arts Quarterly SA Free Publication Dedicated to the Artistic CommunityFAQ SOMA ISSUE: July.August.September Bay Area Arts Calendar The SOMA: Blue Collar to Blue Chip Rudolf Frieling from SFMOMA Baer Ridgway Gallery 111 Minna Gallery East Bay Focus: Johansson Projects free Artspan In Memory of Jim Marshall CONTENTS July. August. September 2010 Issue 2 JULY LISTINGS 5-28 111 Minna Gallery 75-76 Jay Howell AUGUST LISTINGS 29-45 Baer Ridgway Gallery 77-80 SEPTEMBER LISTINGS 47-60 Eli Ridgeway History of SOMA 63-64 Artspan 81-82 Blue Collar to Blue-Chip Heather Villyard Ira Nowinsky My Love for You is 83-84 SFMOMA 65-68 a Stampede of Horses New Media Curator Meighan O’Toole Rudolf Frieling The Seeker 85 Stark Guide 69 SF Music Collector Column Museum of Craft 86 Crown Point Press 70 and Folk Art Zine Review 71 East Bay Focus: 87-88 Johansson Projects The Contemporary 73 Jewish Museum In Memory: 89-92 Jim Marshall Zeum: 74 Children Museum Residency Listings 93-94 Space Resource Listings 95-100 FOUNDERS / EDITORS IN CHIEF Gregory Ito and Andrew McClintock MARKETING / ADVERTISING CONTRIBUTORS LISTINGS Andrew McClintock Contributing Writers Listing Coordinator [email protected] Gabe Scott, Jesse Pollock, Gregory Ito Gregory Ito Leigh Cooper, John McDermott, Assistant Listings Coordinator [email protected] Tyson Vogel, Cameron Kelly, Susan Wu Stella Lochman, Kent Long Film Listings ART / DESIGN Michelle Broder Van Dyke, Stella Lochman, Zmira Zilkha Gregory Ito, Ray McClure, Marianna Stark, Zmira Zilkha Residency Listings Andrew McClintock, Leigh Cooper Cameron Kelly Contributing Photographers Editoral Interns Jesse Pollock, Terry Heffernan, Special Thanks Susie Sherpa Michael Creedon, Dayna Rochell Tina Conway, Bette Okeya, Royce STAFF Ito, Sarah Edwards, Chris Bratton, Writers ADVISORS All our friends and peers, sorry we Gregory Ito, Andrew McClintock Marianna Stark, Tyson Vo- can’t list you all.. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
Leo Valledor: Interview About the Artist with Professor Carlos Villa of San Francisco Art Instititute
Leo Valledor: Interview about the artist with Professor Carlos Villa of San Francisco Art Instititute CV: Carlos Villa MB: Maria Bonn CV: I think that he is probably super important. He is super important because at the time there were maybe five or six artists, all of whom came from the Philippines, that set the foundation for Pilipino‐American art history for instance. But the first practitioner, or the first participant, in the art world who was born here was my cousin Leo Valedor. And Leo Valedor was an artist who came here to California School of Fine Arts on a scholarship directly from high school. He was about 18 at the time and he excelled so much in what he did. He stood beyond most of the people here at school that were just at his stage and he was recognized by a lot of the people who started the Six Gallery. The people who started the Six Gallery were all members of studio 15. Studio 15 was one of the studios, it’s an honors studio now, but before that it was a studio in which Joan Brown, Hayward King, all of these people and Wally Hedrick… MB: Here? CV: Yeah, here at the school. And it was a hot bed. All of these people were students at the school. They were the people beyond the great teachers and they went out and started the Six Gallery. Well, they saw Leo’s work and they said you are coming into Studio 15. So being in Studio 15 was incredibly honorific and he was the youngest kid there. -
Collected Writings
THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) . -
SFAI 150 | Spirit of Disruption Press Release
FOR IMMEDIATE RELEASE SFAI 150 | A Spirit of Disruption The San Francisco Art Institute celebrates its 150th anniversary with an exhibition and podcast series reflecting on the school’s extraordinary and diverse legacy Exhibition on view: March 19—July 3, 2021 Are you listening? Podcast and web series begins March 19, 2021 Curated by Margaret Tedesco and Leila Weefur San Francisco, CA, February 4, 2021 — The San Francisco Art Institute (SFAI) celebrates its 150th anniversary in 2021 with A Spirit of Disruption, an exhibition that reflects on the school’s profound and sustained influence on contemporary art and highlights the contributions of generations of diverse artists and individuals often overlooked in the historical narrative of SFAI. A Spirit of Disruption includes the work of more than thirty alumni and faculty from the 1960s to the present; a dynamic media installation drawn from SFAI’s vast archive; and a section dedicated to artist model Florence “Flo” Wysinger Allen, the subject of countless paintings, sculptures, and drawings made at the school from 1933-1997. Also launching in conjunction with the March 19th exhibition opening and anniversary day is a 10-episode podcast and web series, created by the exhibition’s curators, that reveals new stories and old gleaned from the archive. Founded in 1871, generations of important artists, scholars, and thinkers from around the world have been educated and have taught at SFAI, formerly the California School of Fine Arts. This spirited and often unruly community established SFAI as a microcosm of the Bay Area art world—a place dedicated to the interdisciplinary, where ideas and education reach beyond formal boundaries. -
Minimal Art and Body Politics in New York City, 1961-1975 By
Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work. -
Oral History Interview with Klaus D. Kertess, 1975 Oct. 1
Oral history interview with Klaus D. Kertess, 1975 Oct. 1 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Klaus Kertess on October 1, 1975. The interview was conducted at New York City, NY by Paul Cummings for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview PAUL CUMMINGS: Let me say it is October 1, 1975. Paul Cummings talking to Klaus Kertess in his loft on Bond Street. I'll start at the beginning. You were born in New York City, right? KLAUS KERTESS: Born in New York City in 1940, grew up in Westchester, started going away to school when I was 14 [inaudible]—do you want schools and things like that as well? MR. CUMMINGS: Oh yeah. Well, you were born in New York City. You lived here until when? MR. KERTESS: I didn't live in the city. I was born here. My parents had a home about 20 miles outside of the city. MR. CUMMINGS: Oh, where was that? MR. KERTESS: In—first in Briarcliff and then in an apartment in Ardsley [ph] and then a house in Ardsley. So I grew up [inaudible] years and when to Andover and then went to Yale, got a B.A. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Trees in the Forest July 23–Sept. 2, 2016 Curated by Kari Rittenbach
Stereo view high above the Columbia River at former Indian campsite. Carleton E. Watkins, Courtesy Oregon Historical Society (bb014690) TREES IN THE FOREST JULY 23–SEPT. 2, 2016 CURATED BY KARI RITTENBACH Andrei Koschmieder, Plant on radiator (if the phone rings...), detail, 2012. Courtesy the artist and Real Fine Arts, New York Arts, New detail, 2012. Courtesy the artist and Real Fine Martha Rosler, Seattle: Hidden Histories, 1991–95. Courtesy the artist and York Arts Intermix, New Electronic 84” x 84” x 8” diameter © Jackie Winsor. Courtesy Paula Cooper Gallery, New York Courtesy the artists detail, 2016. , 1971-72. Wood and twine. , 1971-72. Wood Bound Grid Nina Könnemann, Madagascar, 2004. Courtesy the artist Toyota Sunflower, Sunflower, Toyota Jackie Winsor, Jackie Winsor, (1995), XP (2001), Vista (2006), 7 (2009), 2016 Real Life magazine #19, Winter 1989 Jen Shear & Vinnie Smith, Jen Shear & Vinnie Windows Disclaimer: 95 Windows Courtesy the artist and 47 Canal, New York Courtesy the artist and 47 Canal, New Elise Duryee-Browner, Elise Duryee-Browner, Martin Beck, video still from The Environmental Witch-Hunt, 2008. Charles Gaines, Trisha Brown Dance, Set 7, 1980–1981, Cibachrome photographs, ink on Strathmore paper. Set of 4 small drawings, 2 large drawings and 2 photographs. Small drawings: 11” x 19 drawings and 2 photographs. Small drawings: 11” YU Tim Young & Ben Blackwell Young Tim YALE UNION 800 SE 10th Ave Portland, Oregon 97214 Courtesy the artist. Photos: Howard Fried, Fireman’s Conflict Resolution #4 and Fireman’s Conflict Resolution #5, 1982. Los Angeles Projects Los Vielmetter Susanne and York New Gallery, Cooper Paula Courtesy Gaines. -
Art Teacher's Book of Lists
JOSSEY-BASS TEACHER Jossey-Bass Teacher provides educators with practical knowledge and tools to create a positive and lifelong impact on student learning. We offer classroom-tested and research-based teaching resources for a variety of grade levels and subject areas. Whether you are an aspiring, new, or veteran teacher, we want to help you make every teaching day your best. From ready-to-use classroom activities to the latest teaching framework, our value-packed books provide insightful, practical, and comprehensive materials on the topics that matter most to K–12 teachers. We hope to become your trusted source for the best ideas from the most experienced and respected experts in the field. TITLES IN THE JOSSEY-BASS EDUCATION BOOK OF LISTS SERIES THE SCHOOL COUNSELOR’S BOOK OF LISTS, SECOND EDITION Dorothy J. Blum and Tamara E. Davis • ISBN 978-0-4704-5065-9 THE READING TEACHER’S BOOK OF LISTS, FIFTH EDITION Edward B. Fry and Jacqueline E. Kress • ISBN 978-0-7879-8257-7 THE ESL/ELL TEACHER’S BOOK OF LISTS, SECOND EDITION Jacqueline E. Kress • ISBN 978-0-4702-2267-6 THE MATH TEACHER’S BOOK OF LISTS, SECOND EDITION Judith A. Muschla and Gary Robert Muschla • ISBN 978-0-7879-7398-8 THE ADHD BOOK OF LISTS Sandra Rief • ISBN 978-0-7879-6591-4 THE ART TEACHER’S BOOK OF LISTS, FIRST EDITION Helen D. Hume • ISBN 978-0-7879-7424-4 THE CHILDREN’S LITERATURE LOVER’S BOOK OF LISTS Joanna Sullivan • ISBN 978-0-7879-6595-2 THE SOCIAL STUDIES TEACHER’S BOOK OF LISTS, SECOND EDITION Ronald L. -
Alexander, Asian American Art and the Obligation of Museums
ISSN: 2471-6839 Cite this article: Aleesa Pitchamarn Alexander, “Asian American Art and the Obligation of Museums,” conclusion to “Asian American Art, Pasts and Futures,” Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11465. Asian American Art and the Obligation of Museums Aleesa Pitchamarn Alexander, Assistant Curator of American Art and Co- Director, Asian American Art Initiative, Cantor Arts Center, Stanford University Figs. 1, 2. Left: Toshio Aoki, Persimmons in an Indian Basket, 1895. Oil on canvas, 24 1/2 x 32 1/8 in. Cantor Arts Center, The Michael Donald Brown Collection, made possible by the William Alden Campbell and Martha Campbell Art Acquisition Fund and the Asian American Art Initiative Acquisitions Fund, 2020.21; right: Toshio Aoki, Title unknown, c. 1890. Watercolor and sumi ink on paper, 27 3/4 x 21 3/4 in. Cantor Arts Center, The Michael Donald Brown Collection, made possible by the William Alden Campbell and Martha Campbell Art Acquisition Fund and the Asian American Art Initiative Acquisitions Fund, 2020.24 Consider one object by Japanese-born artist Toshio Aoki (1854–1912), acquired by the Cantor Arts Center at Stanford University from The Michael Donald Brown Collection, an 1895 painting, Persimmons in an Indian Basket (fig. 1).1 In the only known oil by Aoki, ripe persimmons are seen spilling out of a basket of presumably Indigenous design onto a russet-brown ground. It is composed in keeping with conventions of traditional still-life painting, but Persimmons is an unusual work for both Aoki and American art history. -
Bernice Bing Papers M2651
http://oac.cdlib.org/findaid/ark:/13030/c8j109gt No online items Guide to the Bernice Bing papers M2651 Gurudarshan Khalsa Department of Special Collections and University Archives 2021 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the Bernice Bing papers M2651 1 M2651 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Bernice Bing papers Creator: Bing, Bernice, 1936-1998 source: Bernice Bing Estate Identifier/Call Number: M2651 Physical Description: 11 Linear Feet(12 manuscript boxes, 1 half manuscript box, 10 flat boxes, 3 map folders) Physical Description: 11.06 gigabyte(s)Disk images for reformatted optical media: 3 DVD-Rs, 5 CD-Rs. Date (inclusive): 1957-2019 Abstract: The Bernice Bing papers document the life and work of the Asian American lesbian artist Bernice Bing. Scope and Contents The Bernice Bing papers document the life and work of the San Franciscan Abstract Expressionist Asian American artist. The materials include journals, sketchbooks, arwork (acrylic, watercolor and oil paintings on paper, board, metal, and canvas) Chinese calligraphy on paper, prints (etchings and lithographs), correspondence, diplomas and certificates, photographs, negatives, slides, exhibition posters, newspaper clippings, art supplies (paintbrushes and pencils), ephemera, and other materials. Biographical / Historical Bernice Bing was born on April 10, 1936 in San Francisco, California. When she was six years old her mother died and her and her sister were mostly raised in foster homes and by their grandmother. Bing also lived in the Ming Quong Home. She was encouraged by her grandmother to explore her interest in art.