James S. Jaffe Rare Books Llc
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Women of American Abstract Artists, 1936-Present
BLURRING BOUNDARIES THE WOMEN OF AMERICAN ABSTRACT ARTISTS, 1936-PRESENT TRAVELINGTRAVELING EXHIBITIONEXHIBITION SERVICESERVICE TRAVELING EXHIBITION SERVICE 1 2 BLURRING BOUNDARIES BLURRING BOUNDARIES The Women of American Abstract Artists, 1936 – Present The stamp of modern art is clarity: clarity of color, clarity of forms and of composition, clarity of determined dynamic rhythm, in a determined space. Since figuration often veils, obscures or entirely negates purity of plastic expression, the destruction of the particular form for the universal one becomes a prime prerequisite. Perle Fine (1905-1988) 1. Claire Seidl, Neither Here Nor There, 2016, oil on linen. Courtesy of the Artist. 1 TRAVELING EXHIBITION SERVICE 3 erle Fine’s declaration for the hierarchy of distilled form, immaculate line, and pure color came close to P being the mantra of 1930s modern art—particularly that of American Abstract Artists (AAA), the subject of a new exhibition organized by the Ewing Gallery and the Clara M. Eagle Gallery entitled Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present. Founded during the upheavals of America’s Great Depression, AAA was established at a time when museums and galleries were still conservative in their exhibition offerings. With its challenging imagery and elusive meaning, abstraction was often presented as “not American,” largely because of its derivation from the European avant-garde. Consequently, American abstract artists received little attention from museum and gallery owners. Even the Museum of Modern Art, which mounted its first major exhibition of abstract art in 1936, hesitated to recognize American artists working within the vein of abstraction. (MoMA’s exhibition Cubism and Abstract Art, groundbreaking at the time for its non- representational content, filled four floors with artwork, largely by Europeans.) This lack of recognition from MoMA angered abstract artists working in New York and was the impetus behind the founding of American Abstract Artists later that year. -
Reinventing, Downtown
Reinventing, Downtown By XICO GREENWALD | June 24, 2017 Abstract Expressionists Willem de Kooning, Jackson Pollock and Franz Kline urged a pair of friends to start an art gallery. Tibor de Nagy and John Bernard Myers followed their advice and, in 1950, on East 53rd Street, they opened the Tibor de Nagy Gallery. MEDRIE MACPHEE A Dream of Peace, 2017 oil and mixed media on canvas, 60 x 78 inches In the years to come, Mr. Myers and Mr. de Nagy would exhibit works by a number of second-generation Abstract Expressionists, including Alfred Leslie, Grace Hartigan, Robert Goodnough and Helen Frankenthaler. They also showed figurative paintings by the likes of Larry Rivers, Jane Freilicher, Fairfield Porter and Red Grooms. And Tibor de Nagy editions, the gallery’s book imprint, published poetry by Frank O’Hara, John Ashbery, Barbara Guest and others. Mr. Myers left the gallery in 1970. By that time, Tibor de Nagy had relocated to the 57th Street gallery district. When Mr. de Nagy died in 1993, he bequeathed his business to two young gallery assistants, Eric Brown and Andrew Arnot. Over the next 24 years, Mr. Arnot and Mr. Brown built on the gallery’s legacy together, exhibiting New York School pictures alongside works by select contemporary artists influenced by New York School poets and painters. But in the fast-paced New York art world, perhaps the only constant is change. Mr. Brown departed from the gallery this year. And now Mr. Arnot has relocated Tibor de Nagy to the Lower East Side, partnering with Betty Cuningham Gallery in a space-sharing agreement. -
JANE FREILICHER, MIRA DANCY, DANIEL HEIDKAMP January 6 - February 5, 2017 OPENING RECEPTION: Friday, January 6, 2017, 6-8Pm
! JANE FREILICHER, MIRA DANCY, DANIEL HEIDKAMP January 6 - February 5, 2017 OPENING RECEPTION: Friday, January 6, 2017, 6-8pm Derek Eller Gallery is pleased to present an exhibition of works by Jane Freilicher, Mira Dancy, and Daniel Heidkamp. Freilicher's historic paintings will be hung in conversation with new work by contemporary artists Dancy and Heidkamp in a show that highlights common interests: improvisation, painting as a window, studio as subject, and the desire to interact with, and, at times, reinvent the New York cityscape. From the 1950s until her death in 2014, Jane Freilicher painted images of the countryside and the city as seen from her studios in Watermill and Manhattan, New York. In company with the work of her peers Fairfield Porter and Larry Rivers, Freilicher’s paintings utilized expressionist technique but were in direct opposition to the heroic abstraction that was in vogue when she began her career. The gallery will exhibit paintings from the 1980s, 1990s and 2000s depicting the view from her lower Fifth Avenue studio window. This body of work documents the changing skyline of lower Jane Freilicher, Window on the West Village, 1999, oil on Manhattan, albeit imprecisely; Freilicher admittedly would linen, 24 x 28 inches. reinvent things when the paintings needed it. In a 2009 interview, poet and fellow New York School member John Ashbery described her work as “inviting the spectator to share her discovering of how impossible it is really to get anything down.” As a result of this process, the subject of these paintings seems less the city and more a celebration of intuitive image making or the sanctuary of the studio. -
Moving Ahead with the Stevens Competition
the WORSHIPFUL COMPANY of GLAZIER S & PAINTERS OF GLASS Issue Number 63 Spring 20 21 the 2020 competition or do it differently. Then came lockdown two! No problem, Moving ahead We chose the latter. we have been here before. We reintroduced Firstly, we delayed the entry date by four the Design Only category and sat back. with the Stevens months in the hope that lockdown would be Inevitably, lockdown three arrived, so the eased in time for participants to complete entry date has been delayed to July and Competition their work. This worked. Secondly, we Prizegiving until October. Judging will be introduced a new type of entry, Design Only, virtual again and we have a panel of judges BRIAN GREEN reports: Organising the which allowed competitors to submit their who are looking forward to the challenge. Stevens Competition in 2020 and 2021 has design but removed the need to produce a The delay has been used to widen the been quite a game! So far, the Glaziers are sample panel. This worked; roughly 40% of potential field of entry; translations of the in the lead and we intend to keep it that way. the entries fell into this category. Thirdly, the brief have been circulated in Spanish, French The original game plan for Stevens 2020 decision was taken to judge the competition and German. had to be abandoned when the country online. This worked surprisingly well. We hope Stevens 2022 will be more went into the first lockdown in March 2020 At the end of the day the Prizegiving was straightforward. -
Frank O'hara As a Visual Artist Daniella M
Student Publications Student Scholarship Spring 2018 Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Daniella M. Snyder Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the American Art and Architecture Commons, Art and Design Commons, and the Theory and Criticism Commons Share feedback about the accessibility of this item. Snyder, Daniella M., "Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist" (2018). Student Publications. 615. https://cupola.gettysburg.edu/student_scholarship/615 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Abstract Frank O’Hara, a curator at the Museum of Modern Art in New York and a published poet in the 1950s and 60s, was an exemplary yet enigmatic figure in both the literary and art worlds. While he published poetry, wrote art criticism, and curated exhibitions—on Franz Kline, Robert Motherwell, and Jackson Pollock—he also collaborated on numerous projects with visual artists, including Larry Rivers, Michael Goldberg, Grace Hartigan, Joe Brainard, Jane Freilicher, and Norman Bluhm. Scholars who study O’Hara fail to recognize his work with the aforementioned visual artists, only considering him a “Painterly Poet” or a “Poet Among Painters,” but never a poet and a visual artist. Through W.J.T. Mitchell’s “imagetext” model, I apply a hybridized literary and visual analysis to understand O’Hara’s artistic work in a new way. -
Parrish Art Museum Annual Report 2019
REPORT 2019 PARRISH ART MUSEUM METRICS 60,981 734 TOTAL ATTENDANCE EDITORIAL PLACEMENTS 1,753 66 RESIDENT BENEFITS MEMBERS SCHOOL & COMMUNITY PARTNERSHIPS 4,173 305 MUSEUM MEMBERS ARTS + LANGUAGE STUDENTS ENGAGED 18 375 EXHIBITIONS ARTIST-IN-RESIDENCY STUDENTS 141 1,350 NEW ACQUISITIONS ACCESS PARRISH PARTICIPANTS 151 253 PERMANENT COLLECTION WORKS ON VIEW COLLABORATIVE & OUTREACH PROGRAMS 72 335 CONCERTS, TALKS, FILMS, PROGRAMS SCHOOL, GROUP, AND DOCENT-LED TOURS 30,024 81 SOCIAL MEDIA FOLLOWERS WORKSHOP SESSIONS FOR ADULTS 437 114 MOBILE APP USERS FAMILY PROGRAMS AND VACATION WORKSHOPS 2019 HIGHLIGHTS In 2019, the Parrish Art Museum continued its commitment to deepening The Education department, in addition to a rich schedule of classes and and expanding community partnerships; presenting engaging, unique workshops for children and adults, completed its fourth successful year of public programs; creating initiatives targeting underserved groups; Access Parrish, reaching nearly 1,400 people through 8 community organizing exhibitions that offered fresh scholarship on important artists partnership. 2019 marked the launch of Art in Corrections—a pilot and timely topics; and building its collection through the generosity of program at Suffolk County Correctional Facility in Riverhead, facilitated by foundations, artists, and individuals. The Museum added 140 new our own teaching artists Monica Banks, Jeremy Dennis, Eric Dever, Laurie paintings, photographs, and drawings in 2019, and more than 60 were on Lambrecht, Bastienne Schmidt, and Barbara Thomas. view. We are grateful for everyone who supported the Museum in 2019— We are truly grateful to The Saul Steinberg Foundation for its gift of 64 Our program and education funders and supporters of benefit events like works by the artist, and to Louis K. -
One of a Kind, Unique Artist's Books Heide
ONE OF A KIND ONE OF A KIND Unique Artist’s Books curated by Heide Hatry Pierre Menard Gallery Cambridge, MA 2011 ConTenTS © 2011, Pierre Menard Gallery Foreword 10 Arrow Street, Cambridge, MA 02138 by John Wronoski 6 Paul* M. Kaestner 74 617 868 20033 / www.pierremenardgallery.com Kahn & Selesnick 78 Editing: Heide Hatry Curator’s Statement Ulrich Klieber 66 Design: Heide Hatry, Joanna Seitz by Heide Hatry 7 Bill Knott 82 All images © the artist Bodo Korsig 84 Foreword © 2011 John Wronoski The Artist’s Book: Rich Kostelanetz 88 Curator’s Statement © 2011 Heide Hatry A Matter of Self-Reflection Christina Kruse 90 The Artist’s Book: A Matter of Self-Reflection © 2011 Thyrza Nichols Goodeve by Thyrza Nichols Goodeve 8 Andrea Lange 92 All rights reserved Nick Lawrence 94 No part of this catalogue Jean-Jacques Lebel 96 may be reproduced in any form Roberta Allen 18 Gregg LeFevre 98 by electronic or mechanical means, including photocopying, recording, or information storage retrieval Tatjana Bergelt 20 Annette Lemieux 100 without permission in writing from the publisher Elena Berriolo 24 Stephen Lipman 102 Star Black 26 Larry Miller 104 Christine Bofinger 28 Kate Millett 108 Curator’s Acknowledgements Dianne Bowen 30 Roberta Paul 110 My deepest gratitude belongs to Pierre Menard Gallery, the most generous gallery I’ve ever worked with Ian Boyden 32 Jim Peters 112 Dove Bradshaw 36 Raquel Rabinovich 116 I want to acknowledge the writers who have contributed text for the artist’s books Eli Brown 38 Aviva Rahmani 118 Jorge Accame, Walter Abish, Samuel Beckett, Paul Celan, Max Frisch, Sam Hamill, Friedrich Hoelderin, John Keats, Robert Kelly Inge Bruggeman 40 Osmo Rauhala 120 Andreas Koziol, Stéphane Mallarmé, Herbert Niemann, Johann P. -
Peter Anastas Papers
PETER ANASTAS PAPERS Creator: Peter Nicholas Anastas Dates: 1954-2017 Quantity: 26.0 linear feet (26 document boxes) Acquisition: Accession #: 2014.077 ; Donated by: Peter Anastas Identification: A77 ; Archive Collection #77 Citation: [Document Title]. The Peter Anastas Papers, [Box #, Folder #, Item #], Cape Ann Museum Library & Archives, Gloucester, MA. Copyright: Requests for permission to publish material from this collection should be addressed to the Librarian/Archivist. Language: English Finding Aid: Peter Anastas Biographical Note Peter Nicholas Anastas, Jr. was born in Gloucester, Massachusetts in 1937. He attended local schools, graduating in 1955 from Gloucester High School, where he edited the school newspaper and was president of the National Honor Society. His father Panos Anastas, a restaurateur, was born in Sparta, Greece in 1899, and his mother, Catherine Polisson, was born in Gloucester of native Greek parents, in 1910. His brother, Thomas Jon “Tom” Anastas, a jazz musician, arranger and composer, was born in Gloucester, in 1939, and died in Boston, in 1977. Anastas attended Bowdoin College, in Brunswick, Maine, on scholarship, majoring in English and minoring in Italian, philosophy and classics. While at Bowdoin, he wrote for the student Peter Anastas Papers – A77 – page 2 newspaper, the Bowdoin Orient, and was editor of the college literary magazine, the Quill. In 1958, he was named Bertram Louis, Jr. Prize Scholar in English Literature, and in 1959 he was awarded first and second prizes in the Brown Extemporaneous Essay Contest and selected as a commencement speaker (his address was on “The Artist in the Modern World.”) During his summers in college, Anastas edited the Cape Ann Summer Sun, published by the Gloucester Daily Times, and worked on the waterfront in Gloucester. -
Mcdowell Title Page
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 Permalink https://escholarship.org/uc/item/5mf693nb Author McDowell, Tara Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 By Tara Cooke McDowell A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Emerita Anne M. Wagner, Chair Professor Emeritus T.J. Clark Professor Emerita Kaja Silverman Spring 2013 Abstract House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 by Tara McDowell Doctor of Philosophy in History of Art University of California, Berkeley Professor Emerita Anne M. Wagner, Chair This dissertation examines the work of the San Francisco-based artist Jess (1923-2004). Jess’s multimedia and cross-disciplinary practice, which takes the form of collage, assemblage, drawing, painting, film, illustration, and poetry, offers a perspective from which to consider a matrix of issues integral to the American postwar period. These include domestic space and labor; alternative family structures; myth, rationalism, and excess; and the salvage and use of images in the atomic age. The dissertation has a second protagonist, Robert Duncan (1919-1988), preeminent American poet and Jess’s partner and primary interlocutor for nearly forty years. Duncan and Jess built a household and a world together that transgressed boundaries between poetry and painting, past and present, and acknowledged the limits and possibilities of living and making daily. -
Uconn Libraries Newsletter Volume 18 Number 1
University of Connecticut OpenCommons@UConn UConn Libraries Newsletter UConn Library Spring 2012 UConn Libraries Newsletter Volume 18 Number 1 Follow this and additional works at: https://opencommons.uconn.edu/libr_news Part of the Library and Information Science Commons Recommended Citation "UConn Libraries Newsletter Volume 18 Number 1" (2012). UConn Libraries Newsletter. 48. https://opencommons.uconn.edu/libr_news/48 UNIVERSITY OF CONNECTICUT YourLIBRARIES Information CONNection www.lib.uconn.edu Spring 2012 Historical Aerial Photos of Connecticut’s Coast Now Online Result of MAGIC and DEEP Collaboration In August 2011, Tropical Storm Irene coast, major waterways, and natural resources Long Island Sound Programs (OLISP) of took a hard swipe at Connecticut’s are much easier to understand now that his- the Connecticut Department of Energy and 350 miles of coastline, eroding dunes torical aerial photographs of the state’s coast Environmental Protection (DEEP). and redistributing sand to the extent covering the past 40 years are available online. Since 1974, OLISP has conducted aerial that the state’s coastline appeared to The new resource is the result of collaboration surveys of the state’s coastline approxi- be altered. The consequences of such between UConn Libraries Map and Geographic major weather events on Connecticut’s taken in color infrared, a format that pres- mately every five years. The photos are ents vegetation as shades of red and water Information Center (MAGIC) and the Office of in black, making it easier to identify natural Aerial views of Griswold resources and the demarcation between Point, Old Lyme, CT, water and land. They are widely used for a barrier beach at the site reviews and assessments that sup- mouth of the Connecticut port permitting and planning activities, to River, taken more than 25 years apart, are now 1974 2000 available online. -
Pure Psychic Chance Radio: 2016 Jim Leftwich
Pure Psychic Chance Radio: 2016 Jim Leftwich Table of Contents Pure Psychic Chance Radio: Essays 2016 1. Permission slips: Thinking and breathing among John Crouse's UNFORBIDDENS 2. ACTs (improvised moderate militiamen: "Makeshift merger provost!") 3. Applied Experimental Sdvigology / Theoretical and Historical Sdvigology 4. HOW DO YOU THINK IT FEELS: On The Memorial Edition of Frank O’Hara’s In Memory of My Feelings 5. mirror lungeyser: On Cy Twombly, Poems to the Sea XIX 6. My Own Crude Rituals 7. A Preliminary Historiography of an Imagined Ongoing: 1830, 1896, 1962, 2028... 8. In The Recombinative Syntax Zone. Two Bennett poems partially erased by Lucien Suel. In the Recombinative Grammar Zone. 9. Three In The Morning: Reading 2 Poems By Bay Kelley from LAFT 35 10. The Glue Is On The Sausage: Reading A Poem by Crag Hill in LAFT 32 11. My Wrong Notes: On Joe Maneri, Microtones, Asemic Writing, The Iskra, and The Unnecessary Neurosis of Influence 12. Noisic Elements: Micro-tours, The Stool Sample Ensemble, Speaking Zaum To Power 13. TOTAL ASSAULT ON THE CULTURE: The Fuck You APO-33, Fantasy Politics, Mis-hearing the MC5... 14. DIRTY VISPO: Da Vinci To Pollock To d.a.levy 15. WHERE DO THEY LEARN THIS STUFF? An email exchange with John Crouse 16. FURTHER SUBVERSION SEEMS IN ORDER: Reading Poems by Basinski, Ackerman and Surllama in LAFT 33 17. A Collage by Tom Cassidy, Sent With The MinneDaDa 1984 Mail Art Show Doc, Postmarked Minneapolis MN 07 Sep '16 18. DIRTY VISPO II (Henri Michaux, Christian Dotremont, derek beaulieu, Scott MacLeod, Joel Lipman on d.a.levy, Lori Emerson on the history of the term "dirty concrete poetry", Albert Ayler, Jungian mandalas) 19. -
Special Topics Course Descriptions
Anth 180A: The Anthropology of Childhood Ann Metcalf M, W 11:00-12:15 Fall 2015 “It seemed clear to me that a culture that repudiated children could not be a good culture…” Margaret Mead How do children grow, learn, respond to and shape their worlds? Is childhood a universally recognized stage of human development? Is it a time of innocence or agency? What cultural forces shape and influence children, and in what ways are children initiators of cultural change? This course will explore childhood from a cross-cultural, anthropological perspective. We will begin with a focus on traditional and tribal cultures, exploring parenting and child rearing, language acquisition, play, work, sexuality, and transition to adulthood. Then we will consider issues arising from industrialization, colonization and globalization: gender, race and class, child labor, sex trafficking, education, the effects of war and famine, the emergence of children’s rights movements. Selected Readings Why Don’t Anthropologists Like Children? Lawrence A Hirschfeld The Ethnography of Childhood, Margaret Mead Childhood in the Trobriand Islands, Bronislaw Malinowski Infant Care in the Kalahari Desert, Melvin Konner Swaddling, Cradleboarding and the Development of Children, James Chisholm Child’s Play in Italian Perspective, Rebecca New Talking to Children in Western Samoa, Elinor Ochs Altruistic and Egoistic Behavior of Children in Six Cultures, John Whiting and Beatrice Whiting Why African Children Are So Hard to Test, Sue Harkness and Charles Super Getting in, Dropping Out, and Staying on: Determinants of Girls’ School Attendance in the Kathmandu Valley in Nepal, Sarah LeVine The Child as Laborer and Consumer: the Disappearance of Childhood in Contemporary Japan, Norma Field Seducing the Innocent: Childhood and Television in Postwar America, Lynn Spigel .