DOCSLIB.ORG

Anne Doris-Eisner, Resume Page 2 of 4

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anne Doris-Eisner, Resume Page 2 of 4 Anne Doris-Eisner, Artist Erector Square (203) 623-4854 315 Peck Street, Building 3 [email protected] New Haven, CT 06513 www.AnneDorisEisner.com Residencies: August 2004 – Vermont Studio Center (Johnson, VT), fellowship August 2003 – Vermont Studio Center (Johnson, VT) July 2002 – Atlin Art Centre (Atlin, British Columbia, Canada) August 2001 – Atlin Art Centre (Atlin, British Columbia, Canada) Solo Exhibitions: 2019 H. Pelham Curtis Gallery (New Canaan, CT): Each Mark Tells A Story: Works On Paper 2015 New Haven Lawn Club, (New Haven, CT): ONE SOURCE. 2013 The Mary C. Daly, RSM Gallery, Mercy Center at Madison, (Madison, CT): Warp and Weft. Curator Sarah Heiman National Juried Exhibitions: 2020 Limner Gallery (Hudson, NY): Arte Natura. BWAC Brooklyn Waterfront Artists Coalition (Brooklyn, NY): Black & White 2020. Juror: Jenée-Daria Strand, Brooklyn Museum (Brooklyn, NY) Verum Ultimum Art Gallery (Portland, OR): 7th Annual Living Mark Exhibition. 2018 First Street Gallery (New York, NY): 2018 National Juried Exhibition. Juror: Ronnie Landfield, American abstract painter (New York, NY) 2017 Providence Art Club (Providence, RI): Making Your Mark. (Award: First Prize) Juror: Kathryn Wat, National Museum of Women in the Arts (Washington, DC) BWAC Brooklyn Waterfront Artists Coalition (Brooklyn, NY): Black & White. Juror: Alison Hokanson, The Metropolitan Museum of Art (New York, NY) 2015 Verum Ultimum Art Gallery (Portland, OR): 2nd Annual Living Mark Exhibition. 2012 Hebrew Union College – Jewish Institute of Religion (Los Angeles, CA): Song of the Land. Juror: Ruth Weisberg 2011 Kraft Center for Jewish Life, Columbia University (New York, NY): Sanctuaries in Time, Juror: Maya Balakirsky Katz, Touro College 2010 Beverly Arts Center of Chicago (Chicago, IL): —drawing the line—, Juror: Sarah Giller Nelson, Art Institute of Chicago 2009 Three locations: American Jewish University (Los Angeles, CA); The Finegood Art Gallery (West Hills, CA); Gotthelf Art Gallery, San Diego Center for Jewish Culture (La Jolla, CA): Like Water on Rock. Juror: Dr. Barbara Gilbert 2008 The Women’s Museum, in Association with the Smithsonian Institution (Dallas, TX): In the Beginning. Juror: Joan Davidow 2007 Two locations: Rubin-Frankel Gallery at Hillel, Boston University (Boston, MA); Kraft Center for Jewish Life at Columbia University (New York, NY): Words Within. Juror: Laura Kruger New York/New England Regional Juried Exhibitions: 2020 Kehler-Liddell Gallery (New Haven, CT): Annual Juried Show - “I Am”. The West Hartford Art League (West Hartford, CT): CT+6. Juror: Tula Telfair Anne Doris-Eisner, Resume Page 2 of 4 2019 Kehler-Liddell Gallery (New Haven, CT): Annual Juried Show. 2018 New Haven Paint & Clay Club (New Haven, CT): 117th Annual Juried Exhibition. Juror: D. Samuel Quigley, Lyman Allyn Art Museum (New London, CT). (Award: Five Artist Group Show; Awards Juror: Paul Blaylock) 2017 New Britain Museum of American Art (New Britain, CT): 47th Annual Juried Members Exhibition. Juror: Sarah Fritchey, (New Haven, CT) New Haven Paint & Clay Club (New Haven, CT): 116th Annual Juried Exhibition. Juror: Richard Klein, The Aldrich Museum of Contemporary Art (Ridgefield, CT) 2016 New Britain Museum of American Art (New Britain, CT): 46th Annual Juried Members Exhibition. Juror: Judith McElhone, Five Points Gallery (Torrington, CT) Guilford Arts League 69th Annual Juried Exhibition (Guilford, CT): Arts Connecticut 2016. Juror: Lenny Moskowitz 2015 New Haven Paint & Clay Club (New Haven, CT): 114th Annual Juried Exhibition. Juror: Will Lustenader Golden Thread Gallery (West Hartford, CT): Black & White. Golden Thread Gallery (West Hartford, CT): Tree of Life. 2014 New Haven Paint & Clay Club (New Haven, CT): 113th Annual Juried Exhibition. (Award: Purchase Prize); Juror: Douglas Hyland Guilford Arts League 67th Annual Juried Exhibition (Guilford, CT): Arts Connecticut 2014. Juror: Helen Kauder Golden Thread Gallery (West Hartford, CT): Pioneer. Golden Thread Gallery (West Hartford, CT): Voyage. 2013 New Haven Paint & Clay Club (New Haven, CT): 112th Annual Juried Exhibition. Juror: Helen Klisser During Guilford Arts League 66th Annual Juried Exhibition (Guilford, CT): Arts Connecticut 2013. (Award: Third Prize); Juror: Frank Bruckmann 2012 The West Hartford Art League (West Hartford, CT): CT+6. Juror: Susan Cross Guilford Arts League 65th Annual Juried Exhibition (Guilford, CT): Arts Connecticut 2012. Juror: Julia Pavone New Haven Paint & Clay Club (New Haven, CT): 111th Annual Juried Exhibition. Jurors: Carol Odell and Tom Odell The UCONN Stamford Art Gallery (Stamford, CT): art for a changing world. Juror: Laura Einstein 2011 The Gertrude G. White Gallery, The Greenwich YWCA (Greenwich, CT): SHE. Juror: Camila Cook New Haven Paint & Clay Club (New Haven, CT): 110th Annual Juried Exhibition. Juror: Tom Yost John Slade Ely House Center for Contemporary Art (New Haven, CT): Extraordinary Facilities, Curator: Paul Clabby 2010 New Britain Museum of American Art (New Britain, CT): 41 st Annual Juried Members Exhibition. Juror: Dr. Susan Sturtevant, Hill-Stead Museum Mystic Arts Center (Mystic, CT): 54th Annual Regional Show, Honorable Mention. Juror: Anne Culver New Haven Paint & Clay Club (New Haven, CT): 109th Annual Juried Exhibition. Juror: Jerry N. Weiss The Gallery of Contemporary Art at Sacred Heart University (Fairfield, CT): Botanical Dreams &Nightmares. Juror: Cynthia Roznoy, Ph.D. 2009 New Britain Museum of American Art (New Britain, CT): 40th Annual Juried Members Exhibition. Juror: Dr. Nancy Stula, Lyman Allyn Art Museum Creative Arts Workshop (New Haven, CT): Cultural Passages: What’s Art Got To Do With It? New Haven Paint and Clay Club (New Haven, CT): 108th Annual Juried Exhibition. Juror: Richard Carleton Guilford Arts League 62nd Annual Juried Exhibition (Guilford, CT): Arts Connecticut 2009. Juror: Judy Birke The West Hartford Art League (West Hartford, CT): CT+5. Juror: Patricia Hickson Anne Doris-Eisner, Resume Page 3 of 4 New York/New England Regional Juried Exhibitions (continued): 2008 Housatonic Museum of Art (Bridgeport, CT): New York and New England Regional Juried Exhibition, Women’s Caucus for Art—CT: WHY NOT?! Juror: Helen Klisser During Guilford Arts League 61st Annual Juried Exhibition (Guilford, CT): Arts Connecticut 2008. Juror: Gary Sussman Mystic Arts Center (Mystic, CT): Connecticut Academy of Fine Arts, 97th Annual Exhibition. Jurors: Brain Flinn and Barbara S. Groff New Haven Paint & Clay Club (New Haven, CT): 107th Annual Juried Exhibition. Juror: Julia M. Pavone 2007 John Slade Ely House Center for Contemporary Art (New Haven, CT): 2007 Invitational Exhibition of Painting and Drawing The Gallery of Contemporary Art at Sacred Heart University (Fairfield, Connecticut): Caryatids. Juror: Jessica Hough 2006 Guilford Arts League 59th Annual Juried Exhibition (Guilford, CT): Arts Connecticut 2006. Juror: Julia Pavone Creative Arts Workshop (New Haven, CT): Particular Places, National Juried Show. Juror: Bernard Chaet 2005 Quick Center for the Arts, Fairfield University (Fairfield, CT): Night and Day, Regional Open Juried Show. Juror: Helen A. Cooper Housatonic Museum of Art (Bridgeport, CT): First Annual Open Juried Show. Juror: Judy Kim Mystic Arts Center (Mystic, CT): 49th Annual Regional Show. Juror: Denise Pelletier Curated Group Exhibitions 2020 Lyman Allyn Art Museum (New London, CT): A Century of Creativity: Connecticut Art from the New Haven Paint & Clay Club. Six Summit Gallery (Westbrook, CT). Owner/Juror: Leo Feroleto 2019 Ely Center of Contemporary Art (New Haven, CT): Selected Member Show. Curator: Paul Baylock Fair Haven Furniture (New Haven, CT): Land, Sea and Sky Breathing Room (New Haven, CT): Two Artists: RESPITE. Curator: Meghan Shah Chase Family Gallery (West Hartford, CT): Making Our Mark. Curator: C. Dianne Zweig 2017 Victory Hall Drawing Rooms (Jersey City, NJ): The Innocence of Trees. Curator: Anne Trauben 2016 Gallery RIVAA (Roosevelt Island, New York, NY): Visions of Gaia. Curator: Johnas Ruta Canton Public Library (Canton, CT): Word Art Show, to celebrate National Poetry Month. Hagaman Memorial Library (East Haven, CT): Winter Metaphors. Curator: Johnas Ruta Gallery at Connecticut Hospice (Branford, CT): Of the Land, Sea and Sky. Curator: Johnas Ruta 2015 Kehler-Liddell Gallery (New Haven, CT): Artist as Curator. Curator: Roy Money 12th Annual Members Show, Arts Council of Greater New Haven (New Haven, CT): ReEnvision The Gallery at EleMar, Arts Council of Greater New Haven (New Haven, CT): Somewhat Off the Wall 2014 Golden Thread Gallery (West Hartford, CT): Member Show. Best in Show Summer McKnight Gallery, Arts Council of Greater New Haven (New Haven, CT): More Than A Face. Juror: Marissa Rozanski 2012 The Institute Library (New Haven, CT): Stone Work. Curator: Stephen Vincent Kobasa The O’Donnell Company, Arts Council of Greater New Haven (New Haven, CT): Somewhat Off the Wall 2011 Wilton Library (Wilton, CT): Black & White and Read All Over. WCA-CT Members Exhibition University of New Haven Seton Art Gallery (West Haven, CT): ‘the Earth is not a cold dead place’: Art Explores How Humans Interact With Nature. Student curators under the direction of Kerry O’Grady Southern Connecticut State University, Earl Hall Gallery (New Haven, CT): Solo Show, Curator: Arthur Guagliumi Anne Doris-Eisner, Resume Page 4 of 4 Curated Group Exhibitions: (continued) 2010 A–Space Gallery at West Cove Studios (West Haven, CT): LOCATIONS/6 Views Bruce S. Kershner Gallery at the Fairfield Public Library
Load more

Recommended publications
  • THE AMERICAN ART-1 Corregido
    THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America.
    [Show full text]
  • March 3-9, 2017 Books/Talks Santa Fe Ukulele Social Club Events ¡Chispa! at El Mesón Jordan Flaherty Thebeestrobistro, 101 W
    CALENDAR LISTING GUIDELINES •Tolist an eventinPasa Week,sendanemail or press release to [email protected] or [email protected]. •Send material no less than twoweeks prior to the desired publication date. •For each event, provide the following information: time,day,date, venue/address,ticket prices,web address,phone number,and brief description of event(15 to 20 words). •All submissions arewelcome; however, events areincluded in Pasa Week as spaceallows. Thereisnocharge forlistings. • Returnofphotos and other materialscannot be guaranteed. • Pasatiempo reserves the righttopublish received information and photographs on The NewMexican's website. ARTS AND ENTERTAINMENT CALENDAR •Toadd your eventtoThe New Mexican online calendar,visit santafenewmexican.com and click on the Calendar tab. March3-9,2017 •For further information contactPamela Beach: [email protected], 202 E. MarcySt., Santa Fe,NM87501, phone: 505-986-3019. CALENDAR COMPILED BYPAMELABEACH FRIDAY 3/3 available,505-988-1234, ticketssantafe.org, Saturdayencore. Galleryand Museum Openings Enfrascada AdobeGallery Teatro Paraguas Studio,3205 Calle Marie, 505-424-1601 221 Canyon Rd., 505-955-0550 Teatro Paraguas presents acomedy by playwright ACenturyofSan Ildefonso Painters: 1900-1999; TanyaSaracho,7:30 p.m., $12 and $20, enfrascada reception 5-7 p.m.; through April. .brownpapertickets.com, Thursdays-Sundays Axle Contemporary through March12. Look forthe mobile galleryinfront of the New Mexico Spring IntoMotion Museum of Art, 107W.PalaceAve. National DanceInstituteNew MexicoDanceBarns, Physical,mixed-media installation by Kathamann; 1140 Alto St. reception 5-7 p.m. Visit axleart.com forvan Astudentproduction, 7p.m., $10 and $15, locations through March26. ndi-nm.org, 505-983-7661. Back PewGallery UnnecessaryFarce First Presbyterian Church of SantaFe, 108 GrantAve., SantaFePlayhouse,142 E.
    [Show full text]
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • The Museum of Modern Art U West 53 Street, New York, N.Y
    The Museum of Modern Art U west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart NO. 13 FOR RELEASE: FEBRUARY 11, 1972 RECENT ACQUISITIONS X A construction and a painting from the early twentieth century by two Russians and a group of six paintings from the sixties make up the exhibition of new acquisitions to The Museum of Modern Art Painting and Sculpture Collection on view on the first floor through March 5. The Russian works are a life-size figure constructed of painted wood elements (with some crushed eggshells applied for pointillist effect) by the virtually forgotten sculptor and painter Vladimir Baranoff-Rossine (1888-1942), and a large gouache by Ivan Puni (1894- 1956) called Flight of Forms. These purchases constitute major additions by artists not previously represented in the Museum's collection of the crucial, short-lived development of abstract art in Russia before and after the Revolution of 1917. Historically, the Bara- noff-Rossine is especially interesting. Called Symphony Number 1, it was done in Paris in 1913 under the influence of Cubism and establishes the artist as a pioneer experimenter, together with Picasso and Archipenko, with the concept of constructed sculpture, using found components and unconventional materials. In its ambitious scale and intricacy of construction and painted surface, however, it goes beyond anything produced until then by either Picasso or Archipenko. Its title parallels the use of musical nomenclature by the artist's fellow Russian, Wassily Kandinsky, and other works by Baranoff-Rossine confirm his interest in finding a means of integrating musical concepts with those of the visual arts.
    [Show full text]
  • Ronnie Landfield
    FIRST STREET GALLERY 2018 NATIONAL JURIED EXHIBITION JUNE 21 - JULY 14, 2018 JUROR: Ronnie Landfield ENTRY DEADLINE INQUIRIES CONTACT: MUST BE RECEIVED BY [email protected] APRIL 3, 2018 (646) 336- 8053 ABOUT THE JUROR Ronnie Landfield is an American abstract painter, born in 1947 in the Bronx, NY. It is during his early career from the mid-1960s through the 1970s, that his paintings were first associated with Lyrical Abstraction, (related to Post Minimalism, Color Field Painting, and Abstract Expressionism). Represented in those years by the David Whitney Gallery and the André Emmerich Gallery in NYC, he is currently represented by Findlay Galleries, NYC and Palm Beach, FL Landfield has had more than seventy-five solo exhibitions in New York City and elsewhere. In 2007-8, he had a major retrospective at the Butler Institute of American Art, Youngstown, OH, "Ronnie Landfield, Paintings from Five Decades". His work has appeared in more than two hundred group exhibitions worldwide. His paintings are represented in public and private collections including The Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden, the National Gallery of Art, The Seattle Museum of Art, the Norton Simon Museum, the Philadelphia Museum of Art, the Walker Art Center, New York University, Stanford University, Yale University, the University of New Mexico, the U.S. State Department and the Federal Reserve Board, amongst many others. ELIGIBILITY Open to U.S. resident artists at least 18 yrs. old. Exception: Artists currently represented by FIRST STREET GALLERY.
    [Show full text]
  • From Theleague
    LINES from the League The Magazine of the Art Students League of New York Spring 2017 Message from President Ellen Taylor Dear League Community, Welcome to our Spring 2017 issue of Lines from the League. I’m happy and proud to share with you the art, news, listings, and insights in this issue. My fellow Board members and I have been meeting with instructors and many members, students, and staff. You are reaching out to us and we are listening. You’ve got some great ideas. Let’s keep that up! Timothy J. Clark, our Interim Executive Director, has been graciously helping the League through this transition period. He’s been working with the staff and the Board to secure the schedule for both the summer and fall sessions. You will see some exciting new classes and workshops. I encourage you to branch out and sample some of them. Take advantage of what the League has to offer. The diversity of instruction the League provides is unparalleled. We are truly a “one-of- a-kind” place. This issue of Lines features stories about all the things that make the League so fantastic: a discussion of teaching with Costa Vavagiakis, news of the success of our members, suggestions of what exhibitions to see around town this spring and summer, programming updates, news of our supporters, and of course art! In addition, an interview I did with Stephanie Cassidy and Jeanne Lunin is on page 8. It gives some insight into my personal history and relationship with the League. I hope it’s an interesting read.
    [Show full text]
  • JAMES LITTLE FOREWORD the Vanguard Become So Widely Accepted That They Constitute a New Shifting Towards Representation of Any Kind
    NEW YORK CEN TRIC Curated by The Art Students League of New York The American Fine Arts Society Gallery 215 West 57th Street, NYC JAMES LITTLE FOREWORD the vanguard become so widely accepted that they constitute a new shifting towards representation of any kind. academy and, in turn, provoke the development of alternatives. In the NEW YORK–CENTRIC: A NON-COMPREHENSIVE OVERVIEW late 1950s, when Abstract Expressionism was increasingly acclaimed The Color Field painters remained faithful to their older predecessors’ by the small art world of the time, and the meaning of authenticity, conviction that abstraction was the only viable language for artists “Too much is expected of Art, that it mean all kinds of things and is of what he called “color-space-logic.” His work for social justice de- the necessity of abstraction, and the function of art as a revelation of their generation and faithful, as well, to the idea that the painter’s the solution to questions no one can answer. Art is much simpler than manded so much of his time that it often prevented him from painting of the unseen were passionately debated in the Cedar Tavern and role was to respond to inner imperatives, not reproduce the visible. that. Its pretentions more modest. Art is a sign, an insignia to cel- (he mainly produced drawings and works on paper in the 1930s) but The Club, so many younger artists who absorbed these values strove Like the Abstract Expressionists, too, the Color Field painters were ebrate the faculty for invention.” it had significant results, such as getting artists classified as workers to emulate Willem de Kooning’s dense, layered paint-handling that convinced that every canvas, no matter how much it resembled noth- eligible for government support—hence the WPA art programs.
    [Show full text]
  • For Immediate Release
    FOR IMMEDIATE RELEASE Contact: [email protected] PETER YOUNG Ellipse Paintings ARTIST’S FIRST SOLO EXHIBITION AT GALLERY WENDI NORRIS September 8 – October 29, 2016 Opening Reception: Thursday, September 8, 6-8PM Peter Young in conversation with Gary Garrels, Elise S. Haas Senior Curator of Painting & Sculpture, SFMOMA Wednesday, September 28, 6-7PM #36 – 1994, 1994, Acrylic on canvas, 67 3/4 x 80 1/2 inches (172.1 x 204.5 cm) July 5, 2016 – San Francisco – For the first exhibition with Peter Young, Gallery Wendi Norris will exhibit nine large paintings on canvas and eight small paintings on paper from the artist’s “Ellipse” series. The solo show will encompass the entire gallery with works completed between 1989-2001. Charisma and exuberance flow through the gestural color swatches in Young’s work. In works like #75- 2000 and #76-2000, the central color palette is that of primary colors, and in others, such as #36-1994, the softer hues of western landscapes appear. For example, in #36-1994, the sienna glow of the rocky environs surrounding his Southern Arizona home is prominent, with thinly washed turquoise strokes, suggesting the pristine blue skies of the desert. Though the foreground is made up of flat, thickly colored geometric shapes, the background is comprised of delicate washes of acrylic or vacant white canvas. Such distinct layers produce a surprising sense of depth and motion as the viewer’s eye moves from one plane to the other. A dancing effect materializes and the works approach the near figurative, as if in conversation with paintings of an earlier era with a similar emphasis on joie-de-vivre, perhaps those of Matisse and his fauvist compatriots.
    [Show full text]
  • Lyrical Abstraction
    Lyrical Abstraction Findlay Galleries presents the group exhibition, Lyrical Abstraction, showcasing works by Mary Abbott, Norman Bluhm, James Brooks, John Ferren, Gordon Onslow Ford, Paul Jenkins, Ronnie Landfield, Frank Lobdell, Emily Mason, Irene Rice Pereira, Robert Richenburg, and Vivian Springford. The Lyrical Abstraction movement emerged in America during the 1960s and 1970s in response to the growth of Minimalism and Conceptual art. Larry Aldrich, founder of the Aldrich Museum, first coined the term Lyrical Abstraction and staged its first exhibition in 1971 at The Whitney Museum of American Art. The exhibition featured works by artists such as Dan Christensen, Ronnie Landfield, and William Pettet. David Shirey, a New York Times critic who reviewed the exhibition, said, “[Lyrical Abstraction] is not interested in fundamentals and forces. It takes them as a means to an end. That end is beauty...” Jackson Pollock’s drip paintings and Mark Rothko’s stained color forms provided important precedence for the movement in which artists adopted a more painterly approach with rich colors and fluid composition. Ronnie Landfield, an artist at the forefront of Lyrical Abstraction calls it “a new sensibility,” stating: ...[Lyrical Abstraction] was painterly, additive, combined different styles, was spiritual, and expressed deep human values. Artists in their studios knew that reduction was no longer necessary for advanced art and that style did not necessarily determine quality or meaning. Lyrical Abstraction was painterly, loose, expressive, ambiguous, landscape-oriented, and generally everything that Minimal Art and Greenbergian Formalism of the mid-sixties were not. Building on Aldrich’s concept of Lyrical Abstractions, Findlay Galleries’ exhibition expands the definition to include artists such as John Ferren, Robert Richenburg and Frank Lobdell.
    [Show full text]
  • Oral History Interview with David Novros, 2008 Oct. 22-27
    Oral history interview with David Novros, 2008 Oct. 22-27 Funding for this interview was provided by the Brown 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 mini-disc recorded interview with David Novros on October 22 and 27, 2008. The interview took place at the artist's home in New York, New York, and was conducted by Michael Brennan for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by a grant from the Brown Foundation, Inc. David Novros and Michael Brennan have reviewed the transcript and have 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 MICHAEL BRENNAN: This is Michael Brennan interviewing the painter David Novros on October 22, 2008, in his studio on Broome Street [New York City]. So, David, can you tell me when and where you were born? DAVID NOVROS: I was born in Los Angeles, California, in 1941. MR. BRENNAN: And describe your childhood in L.A. and your family background. MR. NOVROS: I was raised by two people who were both artists, painters originally. My father became a filmmaker and opened a studio, and my mother worked on the animated films that he made.
    [Show full text]
  • Red Dot Winner Exhibition 2020
    PRICE LIST – RED DOT WINNER EXHIBITION 2020 To purchase available work, please email [email protected], incl. phone number Hikaru Akieda Untitled 2019 Oil on canvas, 48" × 54" $3,000 Instructor: Mary Beth McKenzie Hikaru Akieda Untitled 2019 Oil on canvas, 48" × 24" NFS Instructor: Costa Vavagiakis Walter Altamirano www.waltamirano.com, www.instagram.com/waltamirano_fineart/ Matrimonial 2019 Carrara marble, 17 ⅞” x 9 ⅓” NFS Instructor: Dionisio Cimarelli Miriam Ancis www.miriamancis.com Green Folds 2019 Steel, acrylic, 48" x 70" x 30" $6,500 Instructor: Dana Palier Gregory Belok Charcoal Drawing 2020 Charcoal, 14" x 17" $150 Instructor: Gregg Kreutz 1 PRICE LIST – RED DOT WINNER EXHIBITION 2020 To purchase available work, please email [email protected], incl. phone number Raissa Berman www.instagram.com/raissa_fineart/ Self Portrait 2020 Oil on canvas, 14" x 18" $1,700 Instructor: Mary Beth McKenzie Oksana Berzinsh www.berzinart.com www.instagram.com/berzinart Reflections Of The Light #8 2019 Oil on canvas, 45" x 55" $5,300 Instructor: Ronnie Landfield Anthony Biggs www.instagram.com/Alonzobi Carlinda 2019 Pencil, 8 1/2" x 11" NFS Instructor: Sherry Camhy Laura Bleau www.laurableauportraits.com Maria 2019 Pastel on pumice board, 15" x 20" $2,000 Instructor: Ellen Eagle Martine “Tina” Brochard www.tinab-art.com www.instagram.com/tinavisualarts Andre 2020 Wax, 14" x 12" x 12" NFS Instructor: Oscar Garcia 2 PRICE LIST – RED DOT WINNER EXHIBITION 2020 To purchase available work, please email [email protected], incl.
    [Show full text]
  • From Theleague
    LINESfrom the League The Student and Alumni Magazine of the Art Students League of New York Winter 2013 Letter from the Executive Director hen thinking about public artwork in New York City, I go back to the work of Augustus Saint-Gaudens—the Sherman monument at Grand W Army Plaza, or the Farragut monument in Madison Square Park. These are commemorative artworks, created to honor military figures and the specific historical roles they played. I am reminded of what Model to Monument (M2M) instructor Greg Wyatt refers to as “the public square speaking for the people”— the artist as a voice for the public. What is public art if not a mirror of the aspirations and expectations of a culture and society? Michelangelo’s David stood in the Piazza della Signoria, a reflection of Florentine civic pride. Recently, I returned from a trip to Beijing, China, where I traveled to meet with the artist Ai Weiwei. Our conversation was primarily about his experience at the League, where he attended from 1983 to 1986. He remembers well the sense of freedom he felt in pursuing his art and the open discourse he had with his instruc- tors. One thing that interests me very much about Ai Weiwei’s work is the freedom with which he expresses himself on issues that are controversial to the Chinese government, and the clarity of his statements. On the wall of one of his studios is the list of the names of thousands of children who died in the Szechuan earthquake, from which he created a very moving mural using backpacks such as those the children would have carried to the schools that collapsed on them.
    [Show full text]