Helen Lundeberg (1908-1999)
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A Finding Aid to the Lorser Feitelson and Helen Lundeberg Papers, Circa 1890S-2002, in the Archives of American Art
A Finding Aid to the Lorser Feitelson and Helen Lundeberg Papers, circa 1890s-2002, in the Archives of American Art Michael Yates and Jayna Josefson Funding for the processing of this collection was provided by the Getty Foundation; funding for the digitization of the collection was provided by the Terra Foundation for American Art. September 12, 2007 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 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Materials, 1922-1995........................................................... 6 Series 2: Correspondence, 1932-1998................................................................... -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
Helen Lundeberg: Classic Attitude November 3Rd – December 17Th, 2016 Opening Reception: Thursday, November 3Rd, 6:00 to 8:00 Pm
Helen Lundeberg: Classic Attitude November 3rd – December 17th, 2016 Opening reception: Thursday, November 3rd, 6:00 to 8:00 pm Cristin Tierney Gallery is pleased to present Classic Attitude, an exhibition of hard- edged abstract paintings from the early 1960s by Helen Lundeberg. Classic Attitude opens on Thursday, November 3rd with a reception from 6:00 to 8:00 pm. This is the gallery’s first exhibition of Lundeberg’s work. Helen Lundeberg was a leading figure of west coast abstraction in the post-war era. An active painter and writer, she was at the epicenter of a dynamic group of Los Angeles artists and critics that included Lorser Feitelson, Karl Benjamin, Jules Langsner, John McLaughlin, and Frederick Hammersley. Along with her peers, Lundeberg’s work formed the core of what later became known as California hard- edged painting. Although her contributions to American abstraction have long been recognized on the west coast, Lundeberg has yet to receive her due in the east. In the 1960s Lundeberg created a body of work considered to be her finest and most distinct. Distilled to essential elements of line, color, and space, her hard-edged paintings from this period effect a coherence of composition that borders on the sublime. Classic Attitude presents a selection of paintings from this moment, featuring works that are united by their compositional balance, subtleties of color, and pictorial refinement. The title of the exhibition derives from a statement Lundeberg wrote for a 1942 exhibition at MoMA: By classicism I mean, not traditionalism of any sort, but a highly conscious concern with esthetic structure which is the antithesis of intuitive, romantic, or realistic approaches to painting. -
The Body, the Brain and Modern Art
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2001 Making Sense of the Senses: The Body, the Brain and Modern Art Will South Curator of Collections, Weatherspoon Art Museum, University of North Carolina at Greensboro Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons South, Will, "Making Sense of the Senses: The Body, the Brain and Modern Art" (2001). Sheldon Museum of Art Catalogues and Publications. 43. https://digitalcommons.unl.edu/sheldonpubs/43 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Making Sense of the Senses: The BoCiYL the Brain and Modern Art The barking of dogs Is deepening the yellow Of the sunflowers. -Richard Wright (1908-1960)1 magine, as so many artists, musicians, writers, as none of us actually ever sees a collapsed lung. I poets and dreamers have tried to do so many Yet, all of us, including the most reasonable among times in so many ways, a universal Ian - us, use metaphor constantly. guage-one that could be understood by anyone And, apparently for good, unavoidable and in any place at any time. However implausible such wholly natural reasons. What both contemporary a language may seem, however romantic, naIve, or linguists and cognitive neuroscientists are now flatly impossible, its creation in visual terms was a telling us about the brain is that metaphors are not common pursuit of early modern painters, those dispensable decorations. -
Vija Celmins in California 1962-1981
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-3-2020 Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 Jessie Lebowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/546 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] Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 by Jessie Lebowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 December 19, 2019 Howard Singerman Date Thesis Sponsor December 19, 2019 Harper Montgomery Date Signature of Second Reader Table of Contents List of Illustrations ii Introduction 1 Chapter 1: The Southern California Renaissance 8 Chapter 2: 1970s Pluralism on the West Coast 29 Chapter 3: The Modern Landscape - Distant Voids, Intimate Details 47 Conclusion 61 Bibliography 64 Illustrations 68 i List of Illustrations All works are by Vija Celmins unless otherwise indicated Figure 1: Time Magazine Cover, 1965. Oil on canvas, Private collection, Switzerland. Figure 2: Ed Ruscha, Large Trademark with Eight Spotlights, 1962. Oil, house paint, ink, and graphite pencil on canvas, Whitney Museum of American Art, New York. Figure 3: Heater, 1964. Oil on canvas, Whitney Museum of American Art, New York. Figure 4: Giorgio Morandi, Still Life, 1949. Oil on canvas, Museum of Modern Art, New York. -
Mural Decorations - Completed and in Progress - by Federal Art Project in Northern Southern California April 1, 1937
Mural Decorations - Completed and in Progress - by Federal Art Project in Northern Southern California April 1, 1937 Area Institution Location City Name Medium Status S John C. Fremont School Anaheim Arthur Ames 2 panels oil on gesso Completed S Beaumont District Library Beaumont Henri De Kruif 2 panels oil on canvas Completed N Belvedere Public Library Selden G. Gile 3 x 12 ft decorative panel, oil Completed Belvedere 8 x 22 ft carved redwood N California School for the Blind Berkeley Sargent Johnson Completed panel low relief University of California - N UC Art Gallery, East Façade Berkeley Florence Swift tile mosaic Completed Berkeley University of California - N UC Art Gallery Berkeley Florence Swift glazed tile decorations In Progress Berkeley University of California - N UC Art Gallery, East Façade Berkeley Helen Bruton tile mosaic Completed Berkeley University of California - N UC Art Gallery Berkeley Helen Bruton glazed tile decorations In Progress Berkeley S Beverly Hills High School Music Room Beverly Hills P.G. Napolitano fresco panel In Progress N Sunset Grammar School Carmel Armin Hansen oil on canvas mural Completed Los Angeles Tubercular Phillip Goldstein and Reuben S Library Duarte fresco panel Completed Sanatorium Kadish S East Whittier Primary School Cafeteria East Whittier Caspar Duchow glazed tile mosaic Completed S El Monte Public Library El Monte R.W.R. Taylor 11 panels fresco on celotex In Progress S Mountain View School Wall Fountains El Monte Bessie Heller 2 panels glazed tile mosaic In Progress Frank H. Bowers and Arthur S Ruth School El Monte 2000 sq ft fresco In Progress W. -
John Mclaughlin
John McLaughlin Born 1898 in Sharon, MA Died 1976 in Los Angeles, CA Education 1962 San Francisco Art Institute, San Francisco, CA, M.F.A. 1961 San Francisco Art Institute, San Francisco, CA, B.F.A. Selected Solo Exhibitions 2017 John McLaughlin: Marvelous Void, Van Doren Waxter, New York, NY 2016 John McLaughlin Paintings: Total Abstraction, Los Angeles County Museum of Art, Los A Angeles, CA Baltimore Museum of Art, MD John McLaughlin, Museum of New Art, Detroit, MI 2014 John McLaughlin, Galerie Thomas Zander, Cologne, Germany 2013 John McLaughlin: Paintings 1947-1974, Van Doren Waxter, New York, NY 2012 Frieze Masters Spotlight: John McLaughlin, Franklin Parrasch Gallery, New York, NY 2010 Hard Edge Classicist: Paintings from the 1950s to the 1970s, Greenberg Van Doren Gallery, New York, NY 2007 John McLaughlin: The Tamarind Prints, Palm Springs Art Museum, Palm Springs, CA 2006 John McLaughlin: The Complete Prints, Susan Sheehan Gallery, New York, NY 2005 John McLaughlin: Paintings from the Estate of the Artist, Ameringer Yohe Fine Art, New York, NY California Modern, Orange County Museum of Art, Newport Beach, CA 1999 John McLaughlin: Paintings and Prints, Inverleith House, Edinburgh, Scotland John McLaughlin: Paintings, PACE Gallery, Beverly Hills, CA 1998 John McLaughlin: Paintings, Paula Cooper Gallery, New York, NY 1997 John McLaughlin: Western Modernism/Eastern Thought, Laguna Art Museum, Laguna, CA; Museum of Fine Arts, Houston, TX; Baltimore Museum of Art, Baltimore, MD; Joslyn Museum, Omaha, NE 1996 John McLaughlin, Orange -
Jules Langsner Papers, 1941-1967
http://oac.cdlib.org/findaid/ark:/13030/kt5v19r00h No online items Finding Aid for the Jules Langsner papers, 1941-1967 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2007 The Regents of the University of California. All rights reserved. Finding Aid for the Jules Langsner 1748 1 papers, 1941-1967 Descriptive Summary Title: Jules Langsner papers Date (inclusive): 1941-1967 Collection number: 1748 Creator: Jules Langsner, 1911-1967. Extent: 26 boxes (13 linear feet)1 oversize box. Abstract: Jules Langsner was born on May 5, 1911, in New York, New York and died in Los Angeles, California, on September 29, 1967. Langsner was surrounded by intellectuals and artists from a young age, and became a celebrated art writer, critic and curator. The collection consists of correspondence, manuscripts, ephemera, and photographs related to Langsner's writing, research and curatorial work. Language: English Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. -
Oral History Interview with Lorser Feitelson and Helen Lundeberg, 1965 Mar
! " # $ % & DONATE About Ask a Question Contact ' Explore the ' Research & ' Exhibitions ' Publications ' The Primary ' Support Collections Reference Collection materials The Archives' journal, Source Donate to the Archives Records and resources Services we provide on view books, and essays News, updates, and the blog Overview Search and Browse Collections / Oral history interview with Lorser Feitelson and Helen Lundeberg, 1965 Mar. 17 SHARE ( Transcript Oral history interview with Lorser Feitelson and How to Use This Collection Helen Lundeberg, 1965 Mar. 17 Make a Reading Room Request Feitelson, Lorser, 1898-1978 Make a Reproduction Request Painter, Printmaker Help Audio excerpt: Oral history interview with Lorser Feitelson and Helen Lundeberg, 1965… 00:00 / 05:00 Overview Transcript How to Use This Collection Transcript Download Preface Transcript The following oral history transcript is the result of a tape-recorded interview with Helen Lundeberg on March 17, 1965. The interview was Oral history conducted at Helen Lundeberg's home in Los Angeles by Betty Lochrie interview with Lorser Hoag for the Archives of American Art, Smithsonian Institution. Feitelson and Helen Lundeberg, 1965 Mar. Interview 17 Date: March 17, 1965 Part I Get Adobe Reader BETTY HOAG: This is Betty Lochrie Hoag interviewing Helen Lundeberg Feitelson in her home in Los Angeles on March 17, 1965-St. Patrick’s Day. Tags LORSER FEITELSON: Yes Feitelson, Lorser, 1898- 1978 BETTY HOAG: That should be a good omen for us. Feitelson, Lorser, 1898- 1978 HELEN LUNDEBERG: -
Download Exhibition Catalogue
LIGHT / SPACE / CODE Opposite: Morris Louis, Number 2-07, 1961 (detail) Light / Space / Code How Real and Virtual Systems Intersect The Light and Space movement (originated in the 1960s) coincided with the Visual art and the natural sciences have long produced fruitful collaborations. development of digital technology and modern computer programming, and in Even Isaac Newton’s invention of the color wheel (of visible light spectra) has recent years artists have adapted hi-tech processes in greater pursuit of altering aided visual artists immensely. Artists and scientists share a likeminded inquiry: a viewer’s perception using subtle or profound shifts in color, scale, luminosity how we see. Today’s art answers that question in tandem with the expanded and spatial illusion. scientific fields of computer engineering, cybernetics, digital imaging, information processing and photonics. Light / Space / Code reveals the evolution of Light and Space art in the context of emerging technologies over the past half century. The exhibit begins by iden- — Jason Foumberg, Thoma Foundation curator tifying pre-digital methods of systems-style thinking in the work of geometric and Op painters, when radiant pigments and hypnotic compositions inferred the pow- er of light. Then, light sculpture introduces the medium of light as an expression of electronic tools. Finally, software-generated visualizations highlight advanced work in spatial imaging and cyberspace animation. Several kinetic and inter- active works extend the reach of art into the real space of viewer participation. A key sub-plot of Light / Space / Code concerns the natural world and its ecol- ogy. Since the Light and Space movement is an outgrowth of a larger environ- mental art movement (i.e., Earthworks), and its materials are directly drawn from natural phenomena, Light and Space artists address the contemporary conditions of organisms and their habitation systems on this planet. -
Birth of the Cool: California Art, Design, and Culture at Midcentury
BIRTH OF THE COOL: CALIFORNIA ART, DESIGN, AND CULTURE AT MIDCENTURY WORKING CHECKLIST GALLERY D: PERIOD ART GALLERY KARL BENJAMIN Karl Benjamin, Black Karl Benjamin, Small Pillars, 1957, oil on Planes: White, Blue and canvas, 48 x 24 in. (121.9 Pink, 1957, oil on linen, x 61 cm), private collection 36 x 48 in. (91.4 x 121.9 cm), The Buck Collection, Laguna Beach, California Karl Benjamin, Easter, Karl Benjamin 1957, oil on canvas, 36 x F.S. #20, 1963 48 in. (91.4 x 121.9 cm), Oil on Canvas, 32 x 42 in. private collection (81.3 x 106.7 cm), Courtesy Louis Stern Fine Arts, West Hollywood Karl Benjamin, Totem Karl Benjamin, F.S. #1, Group IV, 1957, oil on 1961, oil on canvas, 42 x canvas, 40 x 50 in. (101.6 50 in. (106.7 x 127 cm), x 127 cm), San Jose Santa Barbara Museum of Museum of Art Art, Museum Purchase Karl Benjamin, Red, Blue, Karl Benjamin, Pink, 1958, oil on canvas, Interlocking Forms (Big 30 x 40 in. (76.2 x 101.6 Magenta with Green), cm), courtesy Louis Stern 1959, oil on canvas, 40 x Fine Arts, West Hollywood 50 in. (101.6 x 127 cm), private collection Karl Benjamin Karl Benjamin, I.F. I.F. (Violet, Burnt Umber), (Interlocking Forms), 1958, oil on canvas, 50 x 1958, oil on canvas, 22 x 30 in. (127 x 76.2 cm), 14 in. (55.9 x 35.6 cm), Collection John and Collection of Carol Phyllis Kleinberg Sharer, Avon, Colorado LORSER FEITELSON Lorser Feitelson, Magical Lorser Feitelson, Untitled Space Forms: Stripes, Dichotomic Organization, 1954, oil on canvas, 60 x 1959, oil on canvas, 50 x 50 in. -
Lorser Feitelson: Curvilinear April 24 – May 25, 2018
Lorser Feitelson: Curvilinear April 24 – May 25, 2018 Cristin Tierney Gallery is pleased to present Lorser Feitelson: Curvilinear, an exhibition of the artist’s line paintings from 1963-69. Curvilinear is the gallery’s first solo exhibition of Feitelson’s works, and the artist’s first solo show in New York in over ten years. It opens on Tuesday, April 24th and continues through Friday, May 25th. A private reception will be held during Frieze Week on Thursday, May 3rd from 6:00 to 8:00 pm. Lorser Feitelson was a Los Angeles-based artist whose career reads as a mini-art historical survey, moving from Cubism and Post-Surrealism to biomorphic abstraction, hard-edge abstraction, and beyond. Spurred by the creative freedom that Los Angeles offered, with its lack—at the time—of an established arts scene, Feitelson produced a wildly original body of work that is equal in importance to the early contributions of east coast contemporaries such as Ellsworth Kelly, Helen Frankenthaler, and Morris Louis. A critical member of the “Abstract Classicists,” he was part of a group of artists that championed geometric abstraction and arts cultivation in LA, setting the city on the path to becoming the modern arts destination that it is today. Between 1963 and 1969, Feitelson produced a series of paintings that showed the range of experimentation possible with a single compositional element: the line. Straight or curving, of uniform or tapered width, the lines in these works demonstrate the artist’s preoccupation with the relationship of the “container to the contained.”1 In each painting he employed lines with minimal stylization to define the space inside the four edges of the work.