DOCSLIB.ORG

Ellsworth Kelly : a Retrospective

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Digitized by the Internet Archive in 2013 http://archive.org/details/ellswoOOkell ELLSWORTH KELLY ELLSWORTH KELLY: A RETROSPECTIVE Edited by Diane Waldman GUGGENHEIM MUSEUM Guggenheim Foundation, ELLSWORTH KELLY: A RETROSPECTIVE ©1996 The Solomon R. New York. All rights reserved. Organized by Diane Waldman Kelly. All Ellsworth Kell) works ©1996 Ellsworth Solomon R. Guggenheim Museum, New York Used by permission. All rights reserved. October 18, 1996-January 15, 1997 ISBN 0-8 HN hS c>~-5 (hardcover) The Museum of ( ontemporary Vrt, I os Angeles ISBN 0-8920- 177-x (softcover) February 16-May is. 1997 Guggenheim Museum Publications rallery, L ondon 1D"1 Fifth Avenue |une 12-September 7, 1997 New York, New York 10 1 2* Haus der Kunst, Munich Hardeover edition distributed In November 1997-Januarj 1998 Harry N. Abr.ims, Inc. 100 Fifth Avenue Nev. York. Nev. York 10011 Design In Matsumoto Incorporated, New York Cover by Ellsworth Kelly Printed m Germany by C antz 10 Ellsworth Kelly Contents Diane Waldman 40 Ellsworth Kelly's Multipanel Paintings Roberta Bernstein 56 Ellsworth Kelly's Curves Carter Ratcliff 62 Experiencing Presence Mark Rosenthal oloi Kelly's "1 ine, Form and ( 66 At Play with Vision: Ellsworth Clare Bell 81 Painting and Sculpture 2 5 3 Works on Paper 3 1 3 Chronology 320 Exhibition History and Bibliography Josette Lamoureux 333 Index of Reproductions This exhibition is sponsored by HUGO BOSS provided by Significant additional support lias been The Riggio Family and Stephen and Nan Swid. part by grants from the 1 his project is supported in National Endowment tor the Arts and The Owen Cheatham Foundation. challenge, themselves tot art-those who allow an ... disturb, The rewards of art are for people who exert Sponsor's Statement rhis conviction has art becomes a laboratory of life and creativity, and stimulate then,. I 01 such people, the work of partnership with the Guggenheim Museum, and to promote led Hugo Boss to embark on its unrest into our lives, emerging and established artists who bring a productive artists, who have also supports exemplary exhibitions devoted to ma)or As a sponsor, I [ugo Boss for Modern art. earned their stature by pointing a way forward career in look at an American artist who began his This Ellsworth Kelt) retrospective is a complete .oniemporarv Like European art, earliei as as postwar Pans; there, he engaged in a d.alogue with ^11 I making .hem. B, has shown that traditions can be ma.ntamed onl, all great artists, however, he has given American abstract art a nevv uWnon an individual style ol abstraction, Kell, developmg Wadman and the tireless and devoted work of Diane full of admiration and gratitude for lam than tins the, have assembled more contributors. 1 or exhibition her team of colleagues and international on paper, and the than one hundred and fiftj works one hundred palming* and sculptures and more of a lifetime rk. thread to gu.de us through the labyrinth ZEZ* tha the, have produced provides a Dr. Peter Littmann Chairman and CEO Hugo Boss AC Anderson .... Mary Margaret , Harry W. and c ' * ,. LenaersI enders toiu the Exhibition ^ ^ [nstmite Qj Chicago Berardo Collection, Sintra Museum of Modern Arc, Lisbon Irving Blum, New York lima and Norman Braman Collection, The Eli and Edythe L. Broad Los Angeles Caldic Collection, Rotterdam Constance R. Caplan, Baltimore Douglas S. Cramer Anthony d'Offay Gallery, London Miles and Shirley Fiterman Robert H. Halff, Beverly Hills, California The Helman Collection, New York Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Mr. and Mrs. Lee Kimmell, Ridgefield, Connecticut Franklin and Susanne Konigsberg, Los Angeles Sarah-Ann and Werner H. Kramarsky Janie C. Lee Gallery, Houston Los Angeles Los Angeles County Museum of Art, Stephen Mazoh The Metropolitan Museum of Art, New York Maryland Robert and Jane Meyerhoff, Phoenix, Musee de Grenoble Museo Nacional Centro de Arte Reina Sofia, Madrid Museum of Contemporary Art, San Diego The Museum of Modern Art, New York Collection, The Patsy R. and Raymond D. Nasher Dallas National Gallery of Art, Washington, D.C. The Nelson-Atkins Museum of Art, Kansas City San Francisco Museum of Modern Art Jack Shear Stcdelijk Museum Amsterdam Illinois Dr. and Mrs. Paul Sternberg, Glencoe, Stephen and Nan Swid Tate Gallery, London Wadsworth Atheneum, Hartford Walker Art Center, Minneapolis York Whitney Museum of American Art, New Family Foundation, ( Jinny Williams Collection of Ginny Williams anonymous Private collectors who wish to remain Trustees Honorary Trustees in Perpetuity The Solomon R. Guggenheim Foundation ( fiovanni Agnelli Solomon R. Guggenheim Jon Imanol Azua Justin K. Thannhauser Edgar Bronfman, Jr. Peggy Guggenheim The Right Honorable 1 arl Stewart Chairman Castle Mary Sharp Cronson Peter Lawson-Johnston Carlo De Benedetti 1 >aniel Filipacchi President Robert M. Gardiner Ronald O. Perelman Rainer Heubach Barbara [onas Vice-Presidents David II. Koch Robert M. Gardiner Thomas Krens Wendy L-J. McNeil Peter I awson-Johnston Rolf-Dieter Leister Vice-President and Treasurer Peter B. 1 ewis Stephen C. Swid Wendy L-J. McNeil Edward II. Meyer Director Ronald O. Perelman Thomas Krens Richard A. Rifkind Demse Saul Secretary Rudolph B. Schulhol Edward F. Rover Terry Semel [ames B. Sherwood Honorary Trustee Raja Sidawi Claude Pompidou Seymour Slive Stephen C . Swid Trustee, Ex Officio [ohn S. Wadsworth, |r. [acques E. I ennon C ornel Wesi Michael 1. Wettach Director Emeritus [ohn Wilmerding Thomas M. Messer William 1. Ylvisaker unorthodox has been , tumultuous and mcreas.ngly Given that the curse of twentieth-centur, art Foreword artis, to devote his career and sensibilities, it is rare for an Odyssey into new styles, materials, techniques, has done, ver smc .1 approach to form, - Ellsworth Ke 1, to expToring the potential of a singular adhered to he power of pieces of abstrac. art, he has steadfastly ate 1940s when Kelly created his first unexpected realities. Fr meticulous ptn to communicate new and ris ancing th< disciplines or dogma. H,s contribution lies inJ"*^*^ad, convention a noet.es of vision unbounded by for longstanding, is to be thanked o*^««*^ *pecia.l, ^^ exhibition, and th :^*^^tf£32^"a * - the with .ugo fl. Out parmenhip , "'^tS^'SSK^ d hspensable for avering; -h-- re i unw ££»* Boss 5S£U ^—H , andls, 1 C ha.rman and < = of n,, Peter Littmann, ^ .^ ^ cooperation _ ^ ^ to considerabl) in our mission join aided ns P^™^™^ r resources and to have tosshare , K, then, our profound thank o - Mm century. We extend to h ^ - s-i«^-as;ssf-*^3 ' museum s eadmn. continuing support of the ^^ resources to dedicate sc much I artists are as willing o „ Not many ^ ( ^ m fan planning, and .mplem » a. no assist with the research, ^ of wor n w. P who have the peasure g , the has bee„. Those *--»-'"J throughou rs^masterpiece. Wright's .irJntcctur.il Thomas Krens Director Foundation The Solomon R. Guggenheim a d h.s work u. past exh.h ..on a, Ellsworth Kelly since 1968, have included , Although 1 have known Collages Prmts ,n .t Acknowledgments publication ... Ellsworth Kelly. Drawings, 71 v ked closely with hin, on the opportunity to work w.th him on h,s total that 1 have had the want until this retrospective survey color, form, and scale seem s.mp e, makes his unparalleled mastery of oJ vr to date. In his art, Kelly every piece. Havmg etnoyed he vArant the human passion that animates ;, , ki g us aware of the years, .Us a shared with me in conversion over rvn ons and acute insights that he has Th sculptures and works on " audtences the full range of pa ntings ; faTme to he able to present to .rele dedicated work. He has 1 five decades of thoughtful, at he has created during nearly ^ generous sp.n, have made ,t a this project, and his good humor and g,ven his -pp..,, and energy to ' e P who have given so freely of their time Tthanks to the many individuals Tw^° ht ;:^ deeply of this exhibition and catalogue. I am and who have thus contributed to the success and e Pmt are a great photographs of Kelly and his surroundmgs, which grateful to jack Shear, for his exquisite about Kelly s oeuvre. me the wealth of his knowledge addnn ore catalogue, and for sharing with attention to ,he-an, * the ' helpful. For their assistant have also been enormously S studio Hughes,M^NekJ and the exh.bmon, I thank Wanda and implementation of this publication planning have provid d and Ed Suman of Peter Carlson Enterprises Walters and Ian Berry. Peter Carlson installation ,nformat,on regarding the fabrication T ™ Kelly s works paper prepanng Williamstown Art Conservation Center, a.dedf^^SX^^m Conservator of Paper, f° r d'Offay and Matthew benefited from the involvement of Anthony '"I attoAankfu. to have important materials and nformat.on support of their staffs, have prov.ded Marks who with the Blum and and works on paper. The recollect,,,,, of Irving concert KeTly's paintings, sculptures, Helman have been an exceptional resource. Joseph ho, the., thoughthouehtfulttu are pass.onate about the.r subject, Pleasure to work with writers who It is a Mark Rosenthal, and Care Roberta Bernstein, Carter Ratcliff, I extend my thanks to c inlogue ess y of of Kelly's role m the development BdfXiHnS, and scholarship will further the understanding abstra m has been ta ^ «. d « ^o* ;:'::,:e ;::i, ^m T ast coordmated every Bashkoff, Curatorial Assistant, who exh m dccplv indebted to Tracey °of th,s in Curator, for e grateful to Clare Bell, Assent Exhibition an/catalogue. 1 am also P of thl- and Lamoureux, Exh.bit.on Ass.stant, tor her help contribution to the project, and to josette that she compiled.
Recommended publications
  • OBITUARY: Sum of His Parts: John Coplans (1920-‐2003

    OBITUARY: Sum of His Parts: John Coplans (1920-‐2003

    OBITUARY: Sum of His Parts: John Coplans (1920-2003) ARTFORUM, Jan 2004 http://www.mutualart.com/OpenArticle/Sum-of-His-Parts--John-Coplans--1920- 200/6576ED6A4646BBD5 An obituary for John Coplans, an international photographer who died in Aug 2003 at the age of 83 is presented. Among other things, Coplans became an internationally successful photographer oVer the last two decades by focusing his lens on his intensely personal yet oddly alien terra incognita. To readers under a certain age (say, thirty-five), the name John Coplans probably conjures pictures of a hairy, schlumpy, climacteric bag of flesh. Turning his body into a liVing landscape tableau, Coplans became an internationally successful photographer oVer the last two decades by focusing his lens on this intensely personal yet oddly alien terra incognita. Photography was in fact the third full career Coplans, who died last August at age eighty-three, enjoyed. In his lifetime, the Britishborn, South African-raised figure neVer followed the straight trajectory. If it is rare to find an indiVidual who flourishes in a new milieu when most are tidying up the achieVements of a lifelong pursuit, "lateness" is hardly a conceit foreign to Coplans`s biography. Indeed, his record is inflected both by the notion of belatedness and by its antonymic partner, prescience. As a curator at the Pasadena Art Museum in the mid-`6os, Coplans was among the earliest champions of Pop art and a Vociferously sympathetic critic of the work of Roy Lichtenstein and especially Andy Warhol. (He organized a surVey of Pop as early as 1:963 and later was responsible for retrospectiVes of Lichtenstein and Warhol as well as the 1968 "Serial Imagery" exhibition.) But despite his reputation as a curator ahead of the curVe, Coplans largely abandoned museum work until 1978, when he became director of the Akron Art Museum.
  • Press Release

    Press Release

    DON DUDLEY : RECENT WORK 17 September - 29 October, 2017 Opening Reception: Sunday, 17 September, 6-8pm Magenta Plains is pleased to present Don Dudley: Recent Work, an exhibition of eight new panel paintings and eight works on paper made during the past two years by the New York-based painter. Born in Los Angeles, California in 1930, Dudley lived and worked on the West Coast for thirty-eight years before relocating to New York City in 1969. Dudley is a crucial, historical link between the optical and surface oriented “Cool School” or “Finish Fetish” generation of California artists who came into prominence in the 1960s (largely revolving around the Ferus Gallery scene) and the more cerebral, Hard-edged Minimalist artists such as Frank Stella, Brice Marden and Ellsworth Kelly. Since the early 1960s, Dudley’s practice has embraced drawing and painting by way of sculpture and installation— creating subtle and sophisticated wall works that stand out for both their elegance and formal intelligence. Like many of his peers and friends, including Robert Irwin, John Altoon and Ken Price, Dudley’s early, sprayed-lacquer Prism paintings channelled the industrial sublime promised by seemingly limitless corporate innovation, car culture and the youthful optimism of an endless summer. In 1969, Dudley gave up his Venice Beach studio and teaching position at CalArts, packed his belongings into a station wagon and drove from Los Angeles to New York City. Settling first into a loft on Broome Street in SoHo, he later became one of the early pioneers in TriBeCa—where his studio remains to this day.
  • Chinese Contemporary Art and the Value of Dissidence by Marie

    Chinese Contemporary Art and the Value of Dissidence by Marie

    Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence by Marie Dorothée Leduc A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Visual Art and Globalization Department of Sociology and Art and Design University of Alberta © Marie Leduc, 2016 Abstract Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence Marie Leduc Taking an interdisciplinary approach combining sociology and art history, this dissertation considers the phenomenal rise of Chinese contemporary art in the global art market since 1989. The dissertation explores how Western perceptions of difference and dissidence have contributed to the recognition and validation of Chinese contemporary art. Guided by Nathalie Heinich’s sociology of values and Pierre Bourdieu’s work on the field of cultural production, the dissertation proposes that dissidence may be understood as an artistic value, one that distinguishes artists and artwork as singular and original. Following the careers of nine Chinese artists who moved to France in and around 1989, the dissertation demonstrates how perceptions of dissidence – artistic, cultural, and political – have distinguished Chinese artists as they have transitioned into an artistic field dominated by Western liberal-democratic values and artistic taste. The transition and transformation of Chinese contemporary art and artists then highlights how the valorization of dissidence in the West is both artistic and political, and significant to the production of contemporary art. ii Preface This thesis is an original work by Marie Leduc. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board, Project Name “Transition and Transformation: Contemporary Chinese Art in the Global Marketplace,” No.
  • Annual Report 2016

    Annual Report 2016

    Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors.
  • Arnold) Glimcher, 2010 Jan

    Arnold) Glimcher, 2010 Jan

    Oral history interview with Arne (Arnold) Glimcher, 2010 Jan. 6-25 Funding for this interview was provided by the Widgeon Point Charitable Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 recorded interview with Arne Glimcher on 2010 January 6- 25. The interview took place at PaceWildenstein in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by the Widgeon Point Charitable Foundation. Arne Glimcher has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JAMES McELHINNEY: This is James McElhinney speaking with Arne Glimcher on Wednesday, January the sixth, at Pace Wildenstein Gallery on— ARNOLD GLIMCHER: 32 East 57th Street. MR. McELHINNEY: 32 East 57th Street in New York City. Hello. MR. GLIMCHER: Hi. MR. McELHINNEY: One of the questions I like to open with is to ask what is your recollection of the first time you were in the presence of a work of art? MR. GLIMCHER: Can't recall it because I grew up with some art on the walls. So my mother had some things, some etchings, Picasso and Chagall. So I don't know.
  • EDISON's Warriors

    EDISON's Warriors

    EDISON’S WaRRIORS Christoph Cox Real security can only be attained in the long run through confusion. — Hilton Howell Railey, commander of the Army Experimental Station1 Simulantur quae non sunt. Quae sunt vero dissimulantur. — Motto of the 23rd Special Troops2 In “The Invisible Generation,” an experimental text from 1962, William S. Burroughs unveiled a proposal to unleash urban mayhem via the use of portable tape recorders. “Now consider the harm that can be done and has been done when recording and playback is expertly carried out in such a way that the people affected do not know what is happening,” he wrote. “Bands of irresponsible youths with tape recorders playing back traffic sounds that confuse motorists,” Burroughs gleefully imagined, could incite “riots and demonstrations to order.”3 Championing the productive (and destructive) powers of portable audio, “The Invisible Generation” is an emblematic text in the history of sound art and DJ culture. Yet, nearly 20 years earlier, Burroughs’s vision had already been conceived and deployed by none other than the United States Army, whose “ghost army,” the 23rd Special Troops, included several units dedicated to “sonic deception” and its results: enemy confusion and carnage.4 The first division in American Armed Forces history assigned exclusively to camouflage and deception, the 23rd was a military oddity. Despite the centrality of deception in the history of warfare from the Trojan Horse on, soldiers drilled in the West Point code of duty, honor, trust, and integrity were ill-suited to a life of simulation and dissimulation; and American officers tended to dismiss deceptive tactics as underhanded, a sign of weakness in every sense.5 It’s not surprising, then, that the 23rd consisted primarily of a population with an occupational predisposition to deception, invention, and fabrication: artists.
  • American Prints 1860-1960

    American Prints 1860-1960

    American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago.
  • The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Online

    The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Online

    XumZy [Read now] The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Online [XumZy.ebook] The Ghost Army of World War II: How One Top- Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Pdf Free Rick Beyer, Elizabeth Sayles DOC | *audiobook | ebooks | Download PDF | ePub #19765 in Audible 2016-01-08Format: UnabridgedOriginal language:EnglishRunning time: 252 minutes | File size: 67.Mb Rick Beyer, Elizabeth Sayles : The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery before purchasing it in order to gage whether or not it would be worth my time, and all praised The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery: 46 of 46 people found the following review helpful. A MUST READ FOR ANY FAN OF WWIIBy RC MayerImagine, captured German maps showing 15,000 Allied troops in a location that there were no troops. Imagine, Nazirsquo;s keeping their soldiers out of position opposite what they think are thousand of enemy troops. Imagine, they can hear the US tanks lining up on the opposite riverbank. They can even here the soldiers yell ldquo;Hey Private! Put out that cigarette! Therersquo;s gas tanks over there!rdquo; Imagine, Nazi civilian spys transmitting radio broadcasts to Berlin that they overheard conversations in a pub in from soldiers in 4th Infantry Division that they were moving into Metz this evening.
  • Contemporary American Painting and Sculpture

    Contemporary American Painting and Sculpture

    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
  • Robert Morris, Minimalism, and the 1960S

    Robert Morris, Minimalism, and the 1960S

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
  • Treatment of Donald Judd's Untitled 1977

    Treatment of Donald Judd's Untitled 1977

    Article: Treatment of Donald Judd’s Untitled 1977: Retention of the original acrylic sheets Author(s): Eleonora E. Nagy, Bettina Landgrebe, and Shelley M. Smith Source: Objects Specialty Group Postprints, Volume Eighteen, 2011 Pages: 113-125 Compilers: Sanchita Balachandran, Christine Del Re, and Carolyn Riccardelli © 2011 by The American Institute for Conservation of Historic & Artistic Works, 1156 15th Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Eighteen, 2011 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. TREATMENT OF DONALD JUDD’S UNTITLED 1977: RETENTION OF THE ORIGINAL ACRYLIC SHEETS ELEONORA E.
  • About Henry Street Settlement

    About Henry Street Settlement

    TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement.