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Soho Arts Network Soho Arts Network Map of Nonprofit Art Spaces
SoHo Arts Network 1 apexart 291 Church St. 11 International Center 250 Bowery 212 . 431 . 5270 of Photography Museum 212 . 857 . 0000 Tue – Sat: 11am – 6pm Tues – Sun: 10am – 6pm apexart.org *Thu open until 9pm $14, $12 for seniors, 2 Artists Space 55 Walker St. $10 for students, free for members Books & Talks 212 . 226 . 3970 and children under 14 Wed – Sun: 12 – 6pm icp.org artistsspace.org 12 Judd Foundation 101 Spring St. 3 Center for Architecture, 536 LaGuardia Pl. 212 . 219 . 2747 AIA New York Chapter 212 . 683 . 0023 Visits by appointment Mon – Fri: 9am – 8pm, Tue, Thu, and Fri: 1pm, 3pm, and 5pm Sat: 11am – 5pm Sat: 11am, 1pm, 2pm, and 4pm centerforarchitecture.org $24, $11.50 for students and seniors, free for high school students 4 CIMA – Center for Italian 421 Broome St., 4th fl. juddfoundation.org Modern Art 646 . 370 . 3596 Fri – Sat 13 Leslie-Lohman Museum 26 Wooster St. Tours: 11am and 2pm, of Gay and Lesbian Art 212 . 431 . 2609 Open hours: 1 – 6pm Wed – Sun: 12 – 6pm $10, free for members and students *Thu open until 8pm *Advance registration recommended $9 suggested donation italianmodernart.org leslielohman.org 5 Dia: The Broken 393 West Broadway 14 Museum of Chinese 215 Centre St. Kilometer 212 . 925 . 9397 in America 212 . 619 . 4785 Wed – Sun: 12 – 6pm (closed 3 – 3:30pm) Tue – Sun: 11am – 6pm diaart.org *Thu open until 9pm $10, $7 for seniors and students, free 6 Dia: The New York 141 Wooster St. for members and cool culture families SoHo Arts Network Earth Room 646 . -
Tom Betthauser
TOM BETTHAUSER b. San Francisco 1987 CONTACT: [email protected] EDUCATION: Yale University, School of Art — MFA, Painting / Drawing 2012 San Francisco Art Institute — BFA, Painting / Drawing 2010 TEACHING / EMPLOYMENT EXPERIENCE: College of Marin, CA – Adjunct Professor, Beginning & Advanced Painting, May 2018 – Present San Francisco Art Institute, CA – Public Education Instructor, Jan 2018 – Present West Valley College, San Jose CA – Adjunct Professor, Studio Art / Art History, 2017 – Present University of California San Diego CA – Visiting Artist (lecture / studio visits) – Nov 2017 Wylie & May Louise Jones Gallery, Bakersfield CA – Chief Gallery Director / Curator, 2014 – 2017 Bakersfield College, CA – Adjunct Professor, Studio Art / Art History, 2014 – 2017 Cerro Coso Community College, CA – Adjunct Prof. Studio Art / Art History, 2013 – 2017 Natural History Museum of Los Angeles – Exhibit Technician (Seasonal) 2015 – 2016 Artvoices Magazine, Los Angeles CA – Contributing Writer, 2014 – 2016 Yale School of Art, New Haven CT – Teaching Assistant to Samuel Messer, 2011 – 2012 Yale School of Art, New Haven CT – Chief Graduate Admissions Coordinator, 2011 – 2012 Yale School of Art, New Haven CT – Art Handler / Installation Assistant, 2011 – 2012 San Francisco Art Institute, CA –Teaching Assistant / Academic Tutor, 2007 – 2010 Exploratorium Museum, CA – Explainer / Tactile Dome / Public Programs, 2006 – 2012 SELECTED GROUP / SOLO EXHIBITIONS: 2015 – PRESENT Crocker Museum of Art, CA – Big Names Small Art Benefit Auction – May -
Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett. -
Your Concise New York Art Guide for Spring 2018
Your Concise New York Art Guide for Spring 2018 February 28, 2018 Events Your list of 45 must-see, fun, insightful, and very New York art events this season. Leonard Fink, “Self-Portrait on Pier 46 (“This is Serious Too”)” (1979), silver gelatin print, 8 x 10 in (collection and © of the LGBT Community Center National History Archive) We’re back with our yearly spring guide of must-see, fun, insightful, and very New York art events. From museum shows to air fairs to film festivals, you’ll have plenty to keep you busy with this season. Please note that some of the exhibitions listed here opened in January and February, but lucky for us they continue through the spring. January The Beautiful Brain: The Drawings of Santiago Ramon y Cajal and Baya: Woman of Algiers When: January 9–March 31 Where: Grey Art Gallery (100 Washington Square East, Greenwich Village, Manhattan) The Grey Art Gallery is putting on two fascinating and very distinct exhibitions this season. One displays neuroscientist Santiago Ramon y Cajal’s drawings of the brain, which are not only beautiful but remarkably clear and accurate. Eighty of his drawings, which date to the late 19th and early 20th centuries, will be shown alongside contemporary visualizations of the brain. The gallery’s second exhibition is devoted to Baya Mahieddine (known as Baya), an Algerian artist who has yet to gain international recognition. Her vibrant, patterned gouaches Baya, “Femme et enfant en bleu (Woman and child in blue)” (1947) and ceramics drew the attention gouache on board, 22 3/4 x 17 7/8 in (Collection Isabelle Maeght, Paris © of André Breton, Henri Matisse, Photo Galerie Maeght, Paris) and Pablo Picasso. -
Oral History Interview with Nicholas Krushenick, 1968 Mar. 7-14
Oral history interview with Nicholas Krushenick, 1968 Mar. 7-14 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 tape-recorded interview with Nicholas Krushenick on March 7, 1968. The interview was conducted in New York by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview PAUL CUMMINGS: This is March 7, 1968. Paul Cummings talking to Nicholas Krushenick. You’re a rare born New Yorker? NICHOLAS KRUSHENICK: Yes. One of the last. PAUL CUMMINGS: Let’s see, May 31, 1929. NICHOLAS KRUSHENICK: Very Young. PAUL CUMMINGS: That’s the year to do it. NICHOLAS KRUSHENICK: That’s the year of the zero, the crash. PAUL CUMMINGS: Well, why don’t you tell me something about your family, what part of New York you were born in. NICHOLAS KRUSHENICK: I was born up in the Bronx in a quiet little residential neighborhood. Luckily enough my father actually brought me into the world. The doctor didn’t get there soon enough and my father did the operation himself; he ties the knot and the whole thing. When the doctor got there he said it was a beautiful job. And I went to various public schools in the Bronx. PAUL CUMMINGS: You have what? –one brother? More brothers? Any sisters? NICHOLAS KRUSHENICK: Just one brother. PAUL CUMMINGS: What did you live in – a house? Or an apartment? NICHOLAS KRUSHENICK: No. Actually it was the Depression days. And we were the superintendents of a building. -
Pat Adams Selected Solo Exhibitions
PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia, -
Amanda Marchand
AMANDA MARCHAND EDUCATION: 2000 M.F.A., photography, San Francisco Art Institute, San Francisco, C.A 1992 Multi-media studies, Emily Carr College of Art & Design, Vancouver, B.C. 1990 B.A., Queen’s University, Kingston, O.N. SELECTED SOLO EXHIBITIONS: 2015 Night Garden, Traywick Contemporary, Berkeley, CA 2012 Night Garden: The Summer Project, http://amandamarchand.com/blog/ 2005 The Density of Air, Bolinas Art Museum, Bolinas, CA 2004 415/514. San Francisco City Hall, Arts Commission Gallery, San Francisco, CA 2003 Amanda Marchand & Dennis McLeod. Traywick Gallery, San Francisco, CA 2002 You Came So Close. The Project Space, Headlands Center for the Arts, Marin, CA 2001 Under his Knowledge, Gallery Petite L.G., Houston, TX SELECTED GROUP EXHIBITIONS: 2015 Front Yard/Backstreet, Palo Alto Art Center, Palo Alto, CA Center Forward, The Center for Fine Art Photography, Fort Collins, CO Curve, CENTER, Santa Fe, NM Mind-scape, (exhibition and book launch), Datz Museum, Seoul, Korea 2012 Materials + Process, Traywick Contemporary, Berkeley, CA 2011 Tomorrow’s Stars: Verge Art Brooklyn, Dumbo, NY Manipulated, Castell Photography, Asheville, NC George Eastman House Panel (see below), Preview Show/Auction, The Metropolitain Pavillion, NY 2010 George Eastman House Preview Show and Auction, Sotheby’s, NY Love Pictures, curated by Will Mebane and Scott Tolmie. 2009 Group Show, Cavallo Point Lodge, Marin, CA. 2008 Arm’s Length in: Ceramics and the Treachery of Objects in the Digital Age. (Catalogue), Scripps College, 64th Annual, Claremont, CA. (collaboration with Jeanne Quinn) 2005 Photo New York. SFAI, Metropolitan Pavilion, New York, NY. Photo-Based. Traywick Contemporary, Berkeley, CA. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
Lava Thomas [email protected] B
Lava Thomas www.lavathomas.com [email protected] b. Los Angeles, CA Selected Solo Exhibitions 2018 Mugshot Portraits: Women of the Montgomery Bus Boycott, Rena Bransten Gallery, San Francisco, CA 2015 Looking Back and Seeing Now, Berkeley Art Center, Berkeley, CA 2014 Lava Thomas: Beyond, Museum of the African Diaspora, San Francisco, CA Selected Group Exhibitions 2020 New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA The Black Index, Leubsdorf Gallery, Hunter College, New York City, NY UNTITLED, ART, Rena Bransten Gallery, San Francisco, CA 2019 UNTITLED, ART, Rena Bransten Gallery, Miami, FL To Reflect Us, Rena Bransten Gallery, San Francisco, CA Adjust Yo’ Eyes For This Darkness, Ashara Ekundayo Gallery, Oakland, CA The Outwin 2019: American Portraiture Today, National Portrait Gallery, Washington, DC Women to Watch 2020 Nominee, Surfacing Histories, Sculpting Memories, Hubble Galleries, California College of the Arts, San Francisco, CA Plumb Line: Charles White and the Contemporary, California African American Museum, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Las Cruces Museum of Art, NM Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Gallery 360, Northeastern University, Boston, MA Spring Auction Exhibition, Kala Art Institute, Berkeley, CA 2018 PULSE Miami Beach, Rena Bransten Gallery, Miami, FL My Silences Had Not Protected Me, For Freedoms and Fort Gansevoort, New York, NY EXPO Chicago, Rena Bransten Gallery, Chicago, IL Pretty Big Things, Walter Maciel Gallery, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Krasl Art Center, St. -
JAY DEFEO May 1 – June 7, 2014
JAY DEFEO May 1 – June 7, 2014 NEW YORK, April 09, 2014 – Mitchell-Innes & Nash is pleased to present the first solo exhibition of Jay DeFeo’s work in New York since the acclaimed Jay DeFeo: A Retrospective at the Whitney Museum of American Art in 2013. Assembling fifty key works spanning the years 1965–1989, the exhibit examines DeFeo’s distinctive exploration of visual vocabulary, rich materiality and experimental process across the media of painting, drawing, photography and rarely seen photocopy works. DeFeo’s diverse and constantly evolving practice extended far beyond her seminal work The Rose (1958–66). Throughout her career, DeFeo consistently blurred the boundaries between abstraction and representation, transcending the identity of the common objects that fascinated her. Moving seamlessly between painting, drawing and collage, DeFeo introduced photography into her oeuvre in 1970. In the mid-1970s, the artist began using the photocopy machine as a new type of photographic lens through which she created series of works that defy an accepted understanding of the limitations of the photocopier. As seen in large-scale works such as Tuxedo Junction (1965/1974), surface and texture are of paramount importance in her oeuvre, partly inspired by the crumbling facades found in Paris and Florence, where she traveled early in her career. The densely layered surface of built-up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions. This exhibition focuses on a handful of forms and objects that appear and reappear in her work: a torn fragment of a 1958 work titled White Spica, her camera tripod, a hybrid item created from an antique candlestick telephone, flowers, a generic tissue box, or a tiny ceramic cup. -
Bruce Conner (1933 – 2008)
BRUCE CONNER (1933 – 2008) BORN: McPherson, Kansas EDUCATION: 1956 B.F.A., Nebraska University 1956 Brooklyn Museum Art School 1957 University of Colorado SOLO EXHIBITIONS: 2012 Gallery Paule Anglim, San Francisco, CA Bruce Conner and the Primal Scene of Punk Rock, MCA Denver, Denver, CO 2011 Bruce Conner: An Anonymous Memorial, American University, Katzen Arts Center, Washington D.C. Bruce Conner: Falling Leaves: An Anonymous Memorial, Paula Cooper Gallery, New York, NY 2010 Bruce Conner: 1970’s, Kunstalle Wien, Vienna, Austria (travelled to Kunsthalle Zurich, Switzerland) I am Not Bruce Conner, Ursula Blickle Foundation, Krachtal, Germany Bruce Conner, Inova/Kenilworth Institute, University of Wisonsin, Milwaukee, Peck School of the Arts 4 ½, Creative Time, New York, NY Long Play: Bruce Conner and the Singles Collection, SFMOMA, San Francisco The Late Bruce Conner, Susan Inglett Gallery, New York, NY 2009 Bruce Conner: Discovered, Gallery Paule Anglim, San Francisco, CA Bruce Conner in the 1970s, Michael Kohn Gallery, Los Angeles, CA Intelligent Design: Untitled Lithographs 1970-1971, Milwaukee Art Museum, Milwaukee, WI 2008 Gallery Paule Anglim, San Francisco, CA Applause, Miyake Fine Art, Tokyo, Japan Mabuhay Gardens, UC Berkeley Art Musuem, Berkeley, CA 2007 Bruce Conner, Susan Inglett Gallery, New York, NY Gallery Paule Anglim, San Francisco, CA Michael Kohn Gallery, Los Angeles, CA 2006 Bruce Conner Sheldon Memorial art Gallery, Lincoln, NE 2005 After Conner: Anonymous, Anonymouse and Emily Feather, Katzen Art Center Museum, American -
Christine Giles Bill Bob and Bill.Pdf
William Allan, Robert Hudson and William T. Wiley A Window on History, by George. 1993 pastel, Conte crayon, charcoal, graphite and acrylic on canvas 1 61 /2 x 87 '12 inches Courtesy of John Berggruen Gallery, San Francisco, California Photograph by Cesar Rubio / r.- .. 12 -.'. Christine Giles and Hatherine Plake Hough ccentricity, individualism and nonconformity have been central to San Fran cisco Bay Area and Northern California's spirit since the Gold Rush era. Town Enames like Rough and Ready, Whiskey Flats and "Pair of Dice" (later changed to Paradise) testify to the raw humor and outsider self-image rooted in Northern California culture. This exhibition focuses on three artists' exploration of a different western frontier-that of individual creativity and collaboration. It brings together paintings, sculptures, assemblages and works on paper created individually and collabora tively by three close friends: William Allan, Robert Hudson and William T. Wiley. ·n, Bob and Bill William Allan, the eldest, was born in Everett, Washington, in 1936, followed by Wiley, born in Bedford, Indiana, in 1937 and Hudson, born in Salt Lake City, Utah, in 1938. Their families eventually settled in Richland, in southeast Washington, where the three met and began a life-long social and professional relationship. Richland was the site of one of the nation's first plutonium production plants-Hanford Atomic Works. 1 Hudson remembers Richland as a plutonium boom town: the city's population seemed to swell overnight from a few thousand to over 30,000. Most of the transient population lived in fourteen square blocks filled with trailer courts.