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I. Those Present and Approval of Minutes of Regular Quarterly Meeting of May I, 1967
AGENDA The Board of Trustees October 30, 1967 (The Corcoran Gallery of Art Centennial: May IS, 1969) I. Those present and approval of minutes of Regular Quarterly meeting of May I, 1967. a) Resolution on the death of Mr. Fleming Bomar, President of The Friends of the Corcoran. l/ 2. Auditors Report for year ending December 31, 1966. 3. Treasurer's Interim Report. r; Report on Operation of the Budget. I___5> Financial report on the Art School for period September I, 1966 - August 31, 1967. 6. Financial report on the 1967 Summer School. Approval of Consolidated Endowment Fund. ^-3. Report on receipts from paid admissions for May - September 30, 1967. 9. Consideration of letter from Edmund Archer requesting sab- aticaI Ieave. 10. Report submitted by John Price Jones & Gale Associates. I I . ResoIution of thanks for the following gifts: This page was intentionally removed due to a research restriction on all Corcoran Gallery of Art Development and Membership records. Please contact the Public Services and Instruction Librarian with any questions. -3- Report on Membership: a) Art School student members. b) Report American Mail Advertising membership survey and results. c) Resolution on election of Fellow in the Association. Report of the Committee on Bui Iding and Grounds for Second and Third Quarters. a) Letter from General Services Administration re availa¬ bility of land in this block, b) Consideration of excavation to provide more parking// space in garden area. 16. Report of the Special Committee on Music. Financial report of the Women's Committee for period August I, 1966 through August 22, 1967 and minutes of meetings of May 23, 1967 and September 26, 1967. -
Electronic Zen
ELECTRONIC ZEN: The Alternate Video Generation By Jud Yalkut Copyright, 1984, Jud Yalkut. "The light-flower of heaven and earth fills all the thousand spaces. But also the light-flower of the individual body passes through heaven and covers the earth. Therefore, as soon as the light is circulating, heaven and earth, mountains and rivers, are all circulating with it at the same time. To concentrate the seed-flower of the human body above in the eyes, that is the great key of the human body." - THE SECRET OF THE GOLDEN FLOWER. "Zen Meditation is purely a subjective experience completed by a concentration which holds the inner mind calm, pure and serene. And yet Zen meditation produces a special psychological state based on the changes in the electroencephalogram. Therefore, Zen meditation influences not only the psychic life but also the physiology of the brain." - AKIRA KASAMATSU AND TOMIO HIRAI ("An Electroen- cephalographic Study on the Zen Meditation (Zazen)") in ALTERED STATES OF CONSCIOUSNESS (Charles Tart, editor). "We are not yet aware that telepathy is conveyed through the resonance factors of the mind... The electromagnetic vibration of the head might lead the way to Electronic Zen." - NAM JUNE PAIK. ELECTRONIC ZEN: THE ALTERNATE VIDEO GENERATION PREFACE Although the medium of television has existed in the American home since the post-war period, it has only been since the advent of portable video recorders in the late sixties that a meaningful dissemination of electronics communication technology has permitted the two-way interf low of information and vision exchange. This predominantly half-inch video technology engendered the emergence of alternate video innovators who have gradually mastered the parameters and circuitry of equipment woefully unstable as com pared to the hardware used daily by the vast television broadcasting networks. -
Michael Clark (A.K.A
ARTIST MICHAEL CLARK: WASHINGTON April 3 – May 27, 2018 American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART FOREWORD Michael Clark (a.k.a. Clark Fox) has been an influential figure in the Washington art world for more than 50 years, despite dividing his time equally between the capital and New York City. Clark was not only a fly on the wall of the art world as the last half- century played out—he was in the middle of the action, making innovative works that draw their inspiration from movements as diverse as Pop Art, Op Art, Conceptual Art, Minimalism, and the Washington Color School. The result of this prolific and varied artistic oeuvre is that Clark’s output is too much for one show. After consulting with former Washington Post art critic Paul Richard, I decided Michael Clark: Washington Artist at the American University Museum would concentrate on his significant artistic contributions to the ‘60s, ‘70s, and ‘80s in Washington, DC. In line with his amazingly diverse and productive career, a conversation with Michael Clark is similar to drinking from a fire hose. In one sentence, he can jump from painting techniques using masking tape to making cookies for Jackie Onassis. My transcription of our conversation, presented here as a soliloquy, tries its best to maintain some kind of coherence and order, but in reality, I just tried to hold on for the ride. In contrast, the amazing thing about Clark’s art is how still, focused, and composed it is. The leaps and diversions of his lively mind are transmuted into an almost classical art, more Modigliani than Soutine, probably reflecting the time spent in his early years copying masterworks in the National Gallery of Art. -
Shared Visions Thoughts and Experiences in Social Arts Practice
Shared Visions Thoughts and Experiences in Social Arts Practice Merrill • Powers • Rehagen 2nd Edition Copyright © 2018 Chameleon Press All rights reserved. No part of this book may be reproduced or used in any form or by any means, electronic or mechanical, including means of photocopying or recording, or by any information storage or retrieval system, without written permission from the publisher and copyright holders except for purposes of reviewing the book. Chameleon Press Kansas City, MO www.chameleonartskc.org First Edition, 2014 Second Edition, 2018 ISBN: 9780999022214 Library of Congress Control Number: 2018932273 Cover: Haley Hatch and Chameleon Arts, Ghost Drawing, Emmanuel’s Community Center, Kansas City, Missouri, 2013. All images in book courtesy of Chameleon photo archives, unless otherwise noted. Acknowledgments Chameleon Arts would like to thank all of our dedicated artists, the poets who have spoken for justice, the young people we have served with arts programming, and the many schools and social agencies with whom we have worked. We had no idea 24 years ago that the agency would have helped so many people of varied circumstances and communities. We are humbled by our past history and lifted up by the opportunities of the present and future. None of this work would have been possible without the help of many foundations and organizations who understand the importance of art in creating positive social change. We wish to thank these supporters: The National Endowment for the Arts, the Missouri Arts Council, the ArtsKC Regional Arts Council, the R.A Long Foundation, Francis Family Foundation, Lawrence A. and Joan S. -
Free Art and a Planned Giveaway
54 ARCHIVES of AMERICAN ART JOURNAL | 57.1 fig. 9 Letter from Henri Ehrsam to Gene Davis, June 29, 1965. Henri Gallery Records, Archives of American Art, Smithsonian Institution. first attempt to create the paintings, using local art students, so poor that he refused to put his name to them.40 McGowin ultimately enlisted Michael Clark (now known as Clark V. Fox), a recent graduate of the Corcoran School of Art and a skilled artist, to paint the fifty copies.41 The process of mass-reproducing Popsicle highlighted a hierarchy of labor in Giveaway, by which the physical production of the work was subordinate to its conception. Working on five canvases at a time, twelve to sixteen hours a day for nine days, and paid less than a skilled worker’s hourly wages plus meals, Clark painted all fifty works.42 Extant canvases bear the silkscreened names of the three event organizers followed by Clark’s original signature, with some—but not all—of the works also signed by Clark’s assistants ( fig. 10).43 In effect diminishing the painter and fabricators’ skill and artistic contributions, Douglas Davis declared “although his work is original and profound, in some ways Gene Davis is an easy copy.”44 Like Sturtevant’s repetitions, the copies of Popsicle were not exact.45 Mixing pigments to produce the exact hues of the original painting was challenging, given the brevity of Davis’s instructions.46 Moreover, at least one critic noted stylistic differences between Davis’s and Clark’s stripes; the older artist had been interested in how overlapping colors could produce faint effects of subtle vibration, but Clark did not have the luxury of letting one stripe dry before painting the next.47 Subtle aesthetic differences between the original and its reproductions produced fresh skepticism about a model of creative practice unable to see beyond the dichotomy of author and nonauthor. -
Beautiful Beast
NEW YORK ACADEMY OF ART PRESENTS BEAUTIFUL BEAST January 27 – March 8, 2015 Opening Reception: Tuesday, January 27 from 6:00 to 8:00pm New York, NY, November 20, 2014 – The New York Academy of Art is pleased to announce “Beautiful Beast,” a group exhibition of 16 acclaimed sculptors. This dynamic and interdisciplinary show explores the relationship between beauty and abjection through the lens of the grotesque with works by Barry X Ball, Monica Cook, Gehard Demetz, Lesley Dill, Richard Dupont, Eric Fischl, Judy Fox, Folkert de Jong, Elizabeth King, Mark Mennin, Evan Penny, Patricia Piccinini, Rona Pondick, Jeanne Silverthorne, Kiki Smith and Robert Taplin. Opening with a reception on Tuesday, January 27 from 6 to 8pm, the exhibition will remain on view through March 8 at New York Academy of Art, 111 Franklin Street in Tribeca. Connected by their use of distortion to create fearless depictions of humanity, the work of “Beautiful Beast” runs the gamut of human emotion, often teetering towards the uncanny. Highlighting a wide range of work made over the past 20 years, the exhibition encompasses a variety of materials including foam, wood, steel and digital projections. In her new work created for “Beautiful Beast,” Monica Cook fabricates distorted figures out of disposable, but still haunting materials while Mark Mennin debuts a human-chicken hybrid out of flesh-colored Portuguese marble. This paradox using finely crafted materials and debased materials to address horrific imagery is further echoed throughout the exhibition. Ball X Ball’s work uses Mexican onyx to create corroded images of Renaissance masterpieces. Gehard Demetz’s finely crafted wooden sculptures present isolated figures whose desperation is implied through the use of empty drawers. -
Book Review: Bad Boy: My Life on and Off the Canvas, Eric Fischl and Michael Stone
OCAD University Open Research Repository Faculty of Liberal Arts & Sciences 2014 Book Review: Bad Boy: My Life on and Off the Canvas, Eric Fischl and Michael Stone Charles Reeve OCAD University [email protected] The following article is a prepublication draft. It originally appeared in The Journal of Curatorial Studies. DOI: 10.1386/jcs.3.1.155_5 Suggested citation: Reeve, Charles. “Book Review: Bad Boy: My Life on and Off the Canvas, Eric Fischl and Michael Stone.” Journal of Curatorial Studies 3.1 (2014): 155–164. Web. From Journal of Curatorial Studies vol. 3 no. 1 (Fall 2014): 156-159 BAD BOY: MY LIFE ON AND OFF THE CANVAS, ERIC FISCHL AND MICHAEL STONE New York: Crown Publishers (2012), 357 pp., Hardcover, ISBN: 978-0-7704-3557-8, $31.00 Reviewed by Charles Reeve, OCAD University Shortly into Bad Boy, Eric Fischl laments, ‘What should have been the most memorable night of my professional life had already become a black hole’ (1). Partly he means that he cannot recall – too loaded – if that alcohol-and-anger-fuelled night marked his Whitney retrospective’s preview, or its opening. But he also means that despair besieged what should have been his early career’s acme. The crisis stemmed from Fischl being caught in the art world’s 1980s embrace of consumerism, a milieu in which dealers and collectors, having displaced critics and curators, ‘organized eventlike exhibitions, bid up hand-picked artists at auction, and turned the once-discreet marketing of art into spectacle’ (191). Of course, people had bought and sold art for centuries. -
Oral History Interview with Claudia Demonte, 1991 February 13- April 24
Oral history interview with Claudia DeMonte, 1991 February 13- April 24 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 tape-recorded interview with Claudia DeMonte on February 13 & 27 and April 24, 1991. The interview took place in College Park, Maryland, and was conducted by Liza Kirwin for the Archives of American Art, Smithsonian Institution. Interview LIZA KIRWIN: This is Liza Kirwin interviewing Claudia DeMonte for the Archives of American Art, February l3, l99l -- Ash Wednesday -- CLAUDIA DEMONTE: Yes! LIZA KIRWIN: -- a day to think about your immortality and maybe a good day to reflect on the past. I thought we'd just lead off with a question about your childhood. What were some of your early memories? CLAUDIA DEMONTE: I grew up in a very ethnic neighborhood in Queens called Astoria, where my mother still lives, which I love and am very proud of, and I grew up thinking I was rich. If I took you to where I grew up, you'd be shocked that I ever thought that, but we lived in this little apartment building next to an empty lot, next to a huge school building. No one spoke the same language. My grandparents came from Europe and everybody's grandparents there came from Europe and everybody was kind of aiming to become middle class -- Queens is very middle class. -
DISTURBING INNOCENCE Curated by Eric Fischl
PRESS CONTACT: Maureen Sullivan Red Art Projects, 917.846.4477 [email protected] DISTURBING INNOCENCE Curated by Eric Fischl Exhibition Dates: October 25, 2014 – January 31, 2015 Opening Reception: Saturday, October 25th, 6-8pm Inez van Lamsweerde &Vinoodh Matadin. Kirsten, Star, 1997. © Inez & Vinoodh / Courtesy Gagosian Gallery The FLAG Art Foundation is pleased to present Disturbing Innocence, a group exhibition curated by artist Eric Fischl, on view on FLAG’s 9th floor from October 25, 2014 – January 31, 2015. Disturbing Innocence features over 50 historical and contemporary artists whose use of dolls, toys, mannequins, robots, and other surrogates forms a deep and powerfully expressive genre. The exhibition poses profound questions surrounding social constructs of youth, beauty, transformation, violence, sexuality, gender, identity, and loneliness. Inspired by Fischl’s own childhood in suburban Long Island, NY, and his early career as an artist working in New York City in the 1980’s, Disturbing Innocence presents a subversive and escapist world at odds with the values and pretensions of polite society. Featured Artists: Morton Bartlett Carroll Dunham Sarah Lucas David Salle Vanessa Beecroft Inka Essenhigh Loretta Lux Claudette Schreuders Hans Bellmer Eric Fischl Walter Martin & Cindy Sherman Amy Bennett Alberto Giacometti Paloma Muñoz Laurie Simmons Louise Bourgeois Steve Gianakos Paul McCarthy Wolfgang Stoerchle James Casebere Ralph Gibson Ralph Eugene Meatyard Inez Van Lamsweerde & Jake & Dinos Chapman Robert Gober Malcolm Morley Vinoodh Matadin Bonnie Collura Helen Verhoeven Martin Gutierrez Jim Nutt Will Cotton John Waters Hilary Harkness Tony Oursler Gregory Crewdson John Wesley Andrew Huang Alexandra Penney George Condo Lucy Winton Mike Kelley Ellen Phelan James Croak Elizabeth King & Richard Prince Ivan Witenstein Chris Cunningham Richard Kizu-Blair Man Ray Dare Wright Henry Darger Charles LeDray Aura Rosenberg Lisa Yuskavage E.V. -
Juan Downey's Communications Utopia
JUAN DOWNEY’S COMMUNICATIONS UTOPIA Julieta González “The power of the arts to anticipate future social and technological developments by a generation and more has long been recognized. In this century Ezra Pound called the artist «the antennae of the race». Art as radar acts as «an early alarm system», as it were, enabling us to discover social and psychic targets in lots of time in order to prepare to cope with them. This concept of the arts as prophetic contrasts with the popular idea of them as merely a form of self-expression. If art is an «early warning system» to use the phrase from World War II, when radar was new, art has the utmost relevance not only to the study of media but to the development of media controls.” Marshall McLuhan, Understanding Media, 1964 McLuhan’s statement reflects a shared sentiment within the artistic community in the 60s; that artists could pick up the signals emitted by scientific progress and put their particular sensibilities and discursive strategies at the service of society at large. Juan Downey was one such artist, who foresaw the future of technology as a social driving force, and in correspondence with this vision manifested a constant concern for the relations between humankind and technology throughout his prolific career. Downey's practice developed against the backdrop of cybernetics' systemic view of the world; one recast in computational terms as a series of homeostatic systems regulated by feedback dynamics. This essay thus attempts to map the influence of cybernetic thought on Juan Downey’s entire oeuvre, identifying it as the connecting thread that runs through his diverse and heterogeneous bodies of work; from his early electronic sculptures to the deconstruction of the ethnographic canon in the works he produced as the result of his stay with the Yanomami in the mid-seventies. -
ARTISTS MAKE US WHO WE ARE the ANNUAL REPORT of the PENNSYLVANIA ACADEMY of the FINE ARTS Fiscal Year 2012-13 1 PRESIDENT’S LETTER
ARTISTS MAKE US WHO WE ARE THE ANNUAL REPORT OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FISCAL YEAR 2012-13 1 PRESIDENT’S LETTER PAFA’s new tagline boldly declares, “We Make Artists.” This is an intentionally provocative statement. One might readily retort, “Aren’t artists born to their calling?” Or, “Don’t artists become artists through a combination of hard work and innate talent?” Well, of course they do. At the same time, PAFA is distinctive among the many art schools across the United States in that we focus on training fine artists, rather than designers. Most art schools today focus on this latter, more apparently utilitarian career training. PAFA still believes passionately in the value of art for art’s sake, art for beauty, art for political expression, art for the betterment of humanity, art as a defin- ing voice in American and world civilization. The students we attract from around the globe benefit from this passion, focus, and expertise, and our Annual Student Exhibition celebrates and affirms their determination to be artists. PAFA is a Museum as well as a School of Fine Arts. So, you may ask, how does the Museum participate in “making artists?” Through its thoughtful selection of artists for exhibition and acquisition, PAFA’s Museum helps to interpret, evaluate, and elevate artists for more attention and acclaim. Reputation is an important part of an artist’s place in the ecosystem of the art world, and PAFA helps to reinforce and build the careers of artists, emerging and established, through its activities. PAFA’s Museum and School also cultivate the creativity of young artists. -
Tribeca Ball 2021
TRIBECA BALL 2021 Honoring Eric Fischl Chairs Scott & Sarah Avett Nicolas Bos PRESS COVERAGE NEWNEW YORK YORK ACADEMYACADEMY OFOF ART PRESSPRESS RELEASERELEASE NEWNEW YORK YORK ACADEMY ACADEMY OF OF ARTART PRESSPRESS RELEASE RELEASE NEWNEW YORK YORK ACADEMY ACADEMY OFOF ART’S TRIBECA BALLBALL GOESGOES VIRTUAL, VIRTUAL, NEW YORK ACADEMYHONORS OF ART’S ERIC TRIBECA FISCHL BALL GOES VIRTUAL, NEW YORK ACADEMYHONORS OF ART’S ERIC TRIBECA FISCHL BALL GOES VIRTUAL, Livestream:HONORS Monday ERIC April FISCHL 5, 6 pm EST Livestream:HONORS Monday ERIC April FISCHL 5, 6 pm EST Livestream: Monday April 5, 6 pmApril EST 5 – May 2 Livestream: Monday April 5, 6 AprilpmApril EST5 5– May– May 2 2 www.tribecaball.comwww.tribecaball.com www.tribecaball.com April 5 – May 2 On Monday, April 5 On Monday,On Monday, April April 5 5www.tribecaball.com EricEricEric FischlFischl Fischl On Monday,ScottScott April &Scott & Sarah 5Sarah & Sarah Avett Avett Avett, ,Nicolas Nicolas, Nicolas BosBos Bos ofof of VanVan Van CleefCleef Cleef & Arpels and andand . Van CleefVan &Cleef Arpels & Arpels Van Cleef & ArpelsEric Fischl Scott & Sarah Avett, Nicolas Bos of Van Cleef & Arpels and . SteveSteveSteve Martin Martin Martin and and and Van Cleef & Arpels ScottScott Avett ScottAvett ofAvett of the the of Avett Avettthe Avett Brothers Brothers BrothersAndyAndyAndy Warhol Warhol Warhol with with withKenny Kenny Kenny Scharf Scharf Scharf and and and Brooke Shields BrookeBrooke Shields Shields www.tribecaball.com Steve Martin and www.tribecaball.comwww.tribecaball.com Scott Avett of the Avett BrothersAndy Warhol with Kenny Scharf and Brooke Shields www.tribecaball.com edition print to sell in aid of the Academy.