DOCSLIB.ORG

The Museum of Modern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Museum of Modern 38418 - 17 THE MUSEUM OF MODERN ART F0R 14 WEST 49TH STREET, NEW YORK IMMEDIATE RELEASE TELEPHONE: CIRCLE 7-MKE TO EDITORS OUTSIDE NEW YORK CITY: Artists and lenders of paintings and sculptures here listed are natives or residents in various cities and towns throughout the country. Localities are given in every instance. Today, April 20, the large Exhibition of American Art 1609-1938, which the Museum of Modern Art has assembled for Paris,, will leave New York for France on the S.S. Lafayette. More than one thousand items are included in the exhibition which will be held at the Jeu de Paume, Paris, from May 24 to July 13. For more than a year, at the invitation of the French Government, the Museum has been assembling the exhibition. The largest section includes approximately 200 oils and watercolors, 40 sculptures, and 80 prints, the work of artists in all parts of the United States during the past three centuries. The exhibits shown in this section have been selected by Mr. A. Conger Goodyear, President of the Museum, assisted by Mr. Alfred H. Barr, Jr., Director, and Miss Dorothy C. Miller, Assistant Curator of Painting and Sculpture. Mr. Barr is sailing this week to supervise the in­ stallation of the exhibition in Paris. The following pieces of sculpture and contemporary paintings will be shown in the exhibition: CONTEMPORARY PAINTINGS: GIFFORD BEAL, b. 1879, New York. Lives in New York. "Horse Tent" (1937) Lent by the Artist GEORGE WESLEY BELLOWS, b. 1882, Columbus, Ohio; d. 1925 "Stag at Sharkey's" (1909) Lent by the Cleveland Museum of Art, Cleveland, Ohio . "Easter Snow" (1915) Lent by Mrs. Charles W. Goodyear, Buffalo, N. Y. "Elinor, Jean and Anna" (1920) Lent by the Albright Art' Gallery, Buffalo, N. Y. THOMAS HART BENTON, b. 1889, Neosho, Missouri. Lives in Kansas City, "Homestead" (1934) Mo. Lent by the Museum of Modern Art, New York "Going Home" (1934) Lent by Irving Blumenthal, New York GEORGE BIDDLE, b. 1885, Philadelphia. Lives at Croton-on-Hudson, N.Y. "Frankie Loper" (1937) Lent by the Frank K. M. Rehn Gallery, New York PETER BLUME, b. 1906, Russia. Lives at Gaylordsville, Conn. "South of Scranton" (1931) Lent by the Artist ERNEST L. BLUMENSCHEIN, b. 1874, Pittsburgh, Pa. Lives in Taos, New Mexico "Jury for Trial of a Sheepherder for Murder" (1936) Lent by the Grand Central Art Galleries, New York -2- (JAMERON BOOTH, b. 1892, Erie, Pennsylvania. Lives in Minneapolis. "Street in Stillwater* (1936) Lent by the Minnesota Federal Art Project of the Works Progress Administration ROBERT BRACKMAN, b. 1896, Odessa, Russia. Lives in New York "Portrait of Charles A. Lindbergh" (1938) "Portrait of Anne Morrow Lindbergh" (1938) Lent by the Macbeth Gallery, New York ALEXANDER BROOK, b. 1898. Brooklyn, N. Y. Lives in New York "Summer Wind" (c.1934) Lent by the Frank K. M. Rehn Gallery, New York SAMUEL JOSEPH BROWN, b. 1907, Wilmington, <N. Car. Lives in Phila. "Portrait of Mrs. Simmons" (1936) Lent by the Pennsylvania Federal Art Project of the Works Progress Administration CHARLES E. BURCHFIELD, b. 1893, Ashtabula Harbor, Ohio. Lives at Lives at Gardenville, New York "The Song of the Katydids on an August Morning" (1917) Lent by Frank K. M. Rehn, New York "Night Wind" (1918) "Promenade" (1928) Lent by A. Conger Goodyear, New York "The Interurban Line" (1920) Lent by the Museum of Modern Art, New York PAUL CADMUS, b. 1904, New York. Lives in New York "Venus and Adonis" (1936) Lent by the Midtown Galleries, New York NICOLAI CIKOVSKY, b. 1894, Plnsk, Poland. Lives in Washington, D.C. "Girl in Green" (1937) Lent by The Downtown Gallery, New York GLENN 0. COLEMAN, b. 1887. Springfield, Ohio; d. 1932 "Angelo's Place" (1929) Lent by the Museum of Modern Art, New York FRANCIS CRISS, b. 1901, London, England. Lives in New York "Americana" (1933) Lent by the Midtown Galleries, New York JOHN 8TEUART CURRY, b. 1897, Dunavant, Kansas. Lives at present in Madison, Wise. "The Stallion" (1937) Lent by the Walker Galleries, New York STUART DAVIS, b. 1894, Philadelphia. Lives in New York "Landscape with Garage Lights" (1933) Lent by the Downtown Gallery, New York CHARLES DEMUTH, b. 1883, Lancaster, Pa. ; d. 1935 "Acrobats" (1916) Lent by Mrs. Lathrop Brown, New York "Dancing Sailors" (1917) Lent by Albert Rothbart, Ridgefield, Conn. "Illustration for Henry James' The Turn of the Screw" (1918) Lent by Frank C. Osborn, Manchester, Vermont "My Egypt" (1925) Lent by the Whitney Museum of American Art, New York "Eggplant and Tomatoes" (1926) Lent by Philip Goodwin, New York "Red Poppies" (1929) Lent by Mrs. Edith Gregor Halpert, New York PRESTON DICKINSON, b. 1891. New York; d. 1930 "Industry" (before 1929) Lent by the Whitney Museum of American Art, New York "Still Life with Demijohn" (1930) Lent by the Downtown Gallery, New York ARTHUR G. DOVE, b. 1880, Canandalgua, N. Y. Lives in Geneva, N. Y. "Nircscer Go Fishin'" Lent by the Phillips Memorial Gallery, Washington, D. C. -3 GUY P^NE DU BOIS, b. 1884, Brooklyn, N. Y. Lives in New York. "Americans in Paris" (1987) Lent by the Museum of Modern Art, New York LOUIS MICHEL EILSHEMIUS, b. 1864, Arlington, N. J. Lives in New York "Samoa" (1907) Lent by Miss Adelaide Milton de G-root, courtesy the Metropolitan Museum of Art, New York LYONEL FEINING-ER, b. 1871, New York. Lived in Germany from 1886 until 1936. Now lives in New York. "Steamship Odin" (1927) Lent by the East River Gallery, New York ERNEST FIENE, b. 1894, Germany. Lives in New York "Yard Engine" (1937) Lent by the Artist LAUREN FORD, b. 1891, New York. Lives at Rye, New York "Little Saint John" Lent by Mrs. Cornelius N. Bliss, New York DAVID FREDENTHAL, b. 1914, Detroit, Mich. Lives in Detroit. "October" (1937) Lent by the Downtown Gallery, New York WALTER GAY, b. 1856, Hingham, Mass. Lived in Paris, d. 1937 (Painting to be selected in Paris) WILLIAM J. (SLACKENS, b. 1870, Philadelphia. Lives in New York "Coney Island" Lent anonymously ANNE GOLDTHWAITE, b. Montgomery, Alabama. Lives in New York "Her Daughter" (1936) Lent by the Downtown Gallery, New York ARSHILE GORKY, b. 1904, Russia. Lives in New York "Painting" (1936-37) Lent by the Whitney Museum of American Art, New York WILLIAM GROPPER, b. 1897, New York. Lives at Croton-on-Hudson, N. Y. "The Senate" (1935) Lent by the Museum of Modern Art, New York GEORGE GROSZ, b. 1893, Berlin, Germany. Has lived in America since 1932 "Punishment" (1934) Lent by the Museum of Modern Art, New York 0. LOUIS GUGLIELMI, b. 1906, Milan, Italy. Lives in New York Came to America in 1914 "Wedding in South Street" (1936) Lent by the New York Federal Art Project of the Works Progress Administration GEORGE OVERBURY ("POP") HART, b. 1868, Cairo, 111.: d. 1933 "Riding Ponies, Palisades Amusement Park" (1926) "The Jury, Mexico" (1927) "The Merry-go-round, Oaxaca, Mexico" (1927) Lent by the Museum of Modern Art, New York "The Mill Bousaada" (1930) Lent by Mrs. John Parkinson, Jr., Westbury, New York ROBERT HENRI, b. 1865, Cincinnati, Ohio; d. 1929 "Portrait of George Luks" (1904) Lent by Miss Violet Organ, courtesy the Macbeth Gallery, N.Y. HILAIRE HILER, b. 1898, St. Paul, Minn. Lives at present in San Francisco "Pouter Pigeons" (1928) Lent by the Museum of Modern Art, New York ALEXANDER HOGUEJ, b. 1398, Memphis, Missouri. Lives in Dallas, Tex. "Drouth Survivors" (1936) Lent by the Boyer Galleries, New York -4- EDWARD HOPPER, b. 1883, Nyack, N. Y. Lives in New York "Italian Quarter, Gloucester" (1923) Lent by Mrs. John Osgood Blanchard, New York "Roofs of Washington Square" (1926) Lent by Frank K. LI." Rehn, New York "Manhattan Bridge Loop" (1928) Lent by the Addison Gallery of American Art, Andover, Mass. "Lighthouse at Two Lights" (1939) Lent by Mrs. Samuel A. Tucker, New York EARL HORTER, b. 1883, Philadelphia. Lives in Philadelphia "Rainy Night, Chinatown" (1937) Lent by the Artist FELICIE WALDO HOWELL, b. 1897, Honolulu, Hawaii. Lives in New York "The Chef" (1926) Lent by the Art Institute of Chicago JOE JONES, b. 1909, St. Louis, Mo. Lives in New York "We Want More Pay" (1936) Lent by the A. C. A. Gallery, New York MORRIS KANTOR, b. 1896, Russia. Lives in New City, N. Y. "Black Lace Parasol" (1931) Lent by the Phillips Memorial Gallery, Washington, D. C. BERNARD KARFIOL, b. 1886, near Budapest (of American parents) Lives in New York "Two Seated Figures" (1934) Lent by the Downtown Gallery, New York HENRY GEORGE KELLER, b. 1870, Cleveland, Ohio. Lives in Cleveland "Rhythms" Lent by the Artist ROCKWELL KENT, b. 1882, Tarrytown Heights, N, Y. Lives at Ausable Forks, N. Y. "Road Roller" (1909) Lent by the Phillips Memorial Gallery, V/ashington, D. C. LEON KROLL, b. 1884, New York. Lives in New York "The Park, Winter" (1923) Lent by the Cleveland Museum of Art, Cleveland, Ohio WALT KUHN, b. 1880, New York. Lives in New York "The Man from EdenM Lent by A. Conger Goodyear, New York YASUO KUNIYOSHI, b. 1893, Japan. Came to America, 1907. Lives in New York "Self Portrait as Golf Player" (1927) Lent by the Downtown Gallery, New York ERNEST LAWSON, b. 1873, San Francisco, Calif. Lives in New York "The Little Church around the Corner" (1936) Lent by the Ferargll Galleries, New York JACK LEVINE, b. 1915, Boston, Mass. Lives in Boston "The Feast of Pure Reason" (1937) Lent by the Massachusetts Federal Art Project of the Works Progress Administration EDMUND D. LEWANDOWSKI, b. 1914, Milwaukee, Wise. Lives in Milwaukee "Pride of Algoma" (1937) Lent by the Downtown Gallery, New York JONAS LIE, b.
Load more

Recommended publications
  • John Sloan's Illustrations for the Novels of Charles Paul De Kock Oct
    Drawn to SSATIREATIRE John Sloan’s Illustrations for the Novels of Charles Paul de Kock Oct. 24, 2009 –March 29, 2010 The Susan and Stephen Chandler Wing of the Virginia Steele Scott Galleries of American Art The Huntington Library, Art Collections, and Botanical Gardens ThThee MMisplacedisplaced KKISSISS REMARQUES A remarque is a small sketch made anywhere in the margins of an etching plate and originally served as a way for artists to test the sharpness of their etching needles. By the late 19th century, print dealers promoted “remarque proofs” as more valuable and ex - clusive than impressions without them. Sloan’s remarques, included on etchings found in the most deluxe editions of the de Kock novels, are often clever puns on the illustrations and enhance their meaning. The Misplaced Kiss ,1905, etching, state 2 of 3, 6 x 4 in. (also on the cover). From the novel Cherami , vol. 1. Partial and promised gift of Gary, Brenda, and Harrison Ruttenberg. The dual cause of The Misplaced Kiss —alcohol and ardor—can be found in the remarque of a blindfolded, tipsy cupid next to an overturned champagne bottle and glass. Although illustrating only a moment in the narrative, Sloan infuses the remarque with the essence of the scene. rom 1902 to 1905, American artist John Sloan F(1871–1951) created 53 etchings to illustrate novels by French author Charles Paul de Kock (1793 –1871), whose satires of early 19th-century Parisian society were popular in the United States around the turn of the century. While Sloan is best known for his gritty depictions of life in the streets, taverns, and tenements of New York City, the de Kock commission gave him the op portunity to refine his etching technique and hone his ability to convey anecdotal incidents with wry humor.
    [Show full text]
  • Finding Aid for the John Sloan Manuscript Collection
    John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer.
    [Show full text]
  • Judaism and Its Effects on Moses Soyer's Paintings and Drawings
    Cleveland State University EngagedScholarship@CSU ETD Archive 2017 A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings Rachel Arzuaga Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons How does access to this work benefit ou?y Let us know! Recommended Citation Arzuaga, Rachel, "A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings" (2017). ETD Archive. 965. https://engagedscholarship.csuohio.edu/etdarchive/965 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. A CULTURAL APPROACH: JUDAISM AND ITS EFFECTS ON MOSES SOYER’S PAINTINGS AND DRAWINGS RACHEL ARZUAGA Bachelor of Arts in Art History Cleveland State University December 2013 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY August 2017 We hereby approve this thesis for Rachel Arzuaga Candidate for the Master of Arts in History degree for the Department of History and the Department of Art and the CLEVELAND STATE UNIVERSITY College of Graduate Studies _________________________________________________________________ Thesis Chairperson, Dr. Samantha Baskind _____________________________________________
    [Show full text]
  • 2010-2011 Newsletter
    Newsletter WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF A RT OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2010–11 Newsletter ••••• 1 1 CLASS OF 1955 MEMORIAL PROFESSOR OF ART MARC GOTLIEB Letter from the Director Greetings from Williamstown! Our New features of the program this past year include an alumni now number well over 400 internship for a Williams graduate student at the High Mu- going back nearly 40 years, and we seum of Art. Many thanks to Michael Shapiro, Philip Verre, hope this newsletter both brings and all the High staff for partnering with us in what promises back memories and informs you to serve as a key plank in our effort to expand opportuni- of our recent efforts to keep the ties for our graduate students in the years to come. We had a thrilling study-trip to Greece last January with the kind program academically healthy and participation of Elizabeth McGowan; coming up we will be indeed second to none. To our substantial community of alumni heading to Paris, Rome, and Naples. An ambitious trajectory we must add the astonishingly rich constellation of art histori- to be sure, and in Rome and Naples in particular we will be ans, conservators, and professionals in related fields that, for a exploring 16th- and 17th-century art—and perhaps some brief period, a summer, or on a permanent basis, make William- sense of Rome from a 19th-century point of view, if I am al- stown and its vicinity their home. The atmosphere we cultivate is lowed to have my way.
    [Show full text]
  • Glackens, William Illustration Collection
    William Glackens Illustration Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Ira Glackens, 1989 Extent 2 linear feet Abstract The collection contains tear sheets and proofs of illustrations by the artist from a variety of magazines, including Century Magazine, McClure’s Magazine, and The Saturday Evening Post. Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation William Glackens Illustration Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Chronology of William Glackens 1870 – Born March 13 in Philadelphia to Samuel Glackens and Elizabeth Finn Glackens. William was the youngest of three children. His brother Louis became a well-known cartoonist and illustrator. 1889 – Graduated from Central High School in Philadelphia, where he met John Sloan and Albert C. Barnes. 1891-1894 – Worked as newspaper artist on the Philadelphia newspapers the Record, the Press, and the Public Ledger. Moving between papers he renewed acquaintance with John Sloan and met Everett Shinn, George Luks, James Preston, and Frederic Gruger. Attended evening classes at the Pennsylvania Academy of the Fine Arts, where he met Robert Henri. Was part of the short-lived Charcoal Club. In 1894, shared a studio with Robert Henri. 1895 – First published book illustrations appeared in Through the Great Campaign with Hastings and his Spellbinders by George Nox McCain. 1895-1896 – Traveled to Paris, and with Robert Henri and James Wilson Morrice made sketching trips outside the city.
    [Show full text]
  • Yeats at Petitpas' 1910/C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Sloan American, 1871 - 1951 Yeats at Petitpas' 1910/c. 1914 oil on canvas overall: 66.2 × 81.28 cm (26 1/16 × 32 in.) framed: 80.96 × 96.36 × 6.51 cm (31 7/8 × 37 15/16 × 2 9/16 in.) Inscription: lower right: John Sloan Corcoran Collection (Museum Purchase, Gallery Fund) 2014.136.54 ENTRY In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1]. [1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three. [2] The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag. [3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922.
    [Show full text]
  • "Art Feeling Grows" in Oregon : the Portland Art Association, 1892-1932
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2011 "Art Feeling Grows" in Oregon : The Portland Art Association, 1892-1932 Patrick A. Forster Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Forster, Patrick A., ""Art Feeling Grows" in Oregon : The Portland Art Association, 1892-1932" (2011). Dissertations and Theses. Paper 220. https://doi.org/10.15760/etd.220 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. “Art Feeling Grows” in Oregon: The Portland Art Association, 1892-1932 by Patrick A. Forster A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Thesis Committee: David A. Horowitz, Chair Richard H. Beyler David A. Johnson Sue Taylor Portland State University ©2011 ABSTRACT Founded in 1892, the Portland Art Association (PAA) served as Oregon’s and the Pacific Northwest’s leading visual arts institution for almost a century. While the Association formally dissolved in 1984, its legacy is felt strongly today in the work of its successor organizations, the Portland Art Museum and Pacific Northwest College of Art. Emerging during a period of considerable innovation in and fervent advocacy for the arts across America, the Association provided the organizational network and resources around which an energetic and diverse group of city leaders, civic reformers and philanthropists, as well as artists and art educators, coalesced.
    [Show full text]
  • The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
    The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam .................................................................................................................
    [Show full text]
  • THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
    THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years.
    [Show full text]
  • A Finding Aid to the Peter Blume Papers, 1870-2001, in the Archives of American Art
    A Finding Aid to the Peter Blume Papers, 1870-2001, in the Archives of American Art Jayna M. Josefson Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art 2014 January 08 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1950-1992..................................................... 5 Series 2: Correspondence, 1926-1992.................................................................... 6 Series 3: Writings and Notes, 1929-1986.............................................................
    [Show full text]
  • Exhibitions Photographs Collection
    Exhibitions Photographs Collection This finding aid was produced using the Archivists' Toolkit November 24, 2015 Describing Archives: A Content Standard Generously supported with funding from the National Historical Publications and Records Commission (NHPRC) Archives and Manuscripts Collections, The Baltimore Museum of Art 10 Art Museum Drive Baltimore, MD, 21032 (443) 573-1778 [email protected] Exhibitions Photographs Collection Table of Contents Summary Information ................................................................................................................................. 3 Scope and Contents....................................................................................................................................... 4 Arrangement...................................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Exhibitions............................................................................................................................................... 7 Museum shop catalog.........................................................................................................................
    [Show full text]
  • Jan | Feb | March | 2020
    jan | feb | march | 2020 SANTA BARBARA MUSEUM OF ART from the director Dear Members, Happy New Year! The year 2020 is truly one for celebrating! The Museum continues to present groundbreaking exhibitions, including that of Tatsuo Miyajima. On view through April 19, this exciting installation represents the artist’s first solo U.S. museum exhibition in over two decades and the rare opportunity to experience the captivating and immersive light-based work that embodies his Buddhist practice. In addition, a selection of small-format American paintings will grace a section of Ridley-Tree Gallery in later March, highlighting the important Preston Morton Collection of American art. This installation is an impressive reminder of the breadth of the Museum’s holdings in that area and includes beautiful works by Frederic Edwin Church, Thomas Eakins, Walter Gay, and William Merritt Chase, just to name a few. The ever-popular Parallel Stories Lecture Series returns with Pulitzer Prize-winning author Jane Smiley in February and former California and U.S. Poet Laureate Juan Felipe Herrera in March. In addition, Art Matters makes a comeback this winter season with engaging lectures by eminent scholars on the artists Michelangelo and Frederick Hammersley. Finally, this year marks the beginning of the countdown to the October 11 re-opening of SBMA’s galleries, which have been closed due to the current renovation project. This will be the first time that Members and visitors will have the opportunity to experience the extraordinary transformation of the Museum, including new dedicated exhibition spaces for contemporary art, photography, and new media; a breathtaking re- installation of Ludington Court; a new grand staircase; and refined finishes and state-of-the-art lighting.
    [Show full text]