Louise Bourgeois
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
PAAM Collection Oct 18.Pdf
First Middle Last Birth Death Sex Accession Acc ext Media code Title Date Medium H W D Finished size Credit Jules Aarons 1921 2008 m 1828 Ph06 Jules Aarons Portfolio: In the Jewish Neighborhoods 1946-76 box, 100 silver gelatin prints, signed verso 15.5 12 3 Gift of David Murphy, 2006 Jules Aarons 1921 2008 m 1928 001 Ph08 untitled (Weldon Kees speaking to assembly of artists) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 002 Ph08 Sunday (The fishermen's children playing on the loading wharf.) c.1949-50 silver gelatin photograph 8 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 003 Ph08 untitled (Sunday II, fishermen's children playing on loading wharf.) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 004 Ph08 untitled (the flag bearers) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 005 Ph08 Parting c.1949-50 silver gelatin photograph 9 7 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 006 Ph08 untitled (2 ladies at an exhibition) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 007 Ph08 Dante (I, Giglio Raphael Dante sitting on floor, ptg. behind) c.1949-50 silver gelatin photograph 10 8 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 008 Ph08 Lawrence Kupferman, a Prominent Modern American Artist (etc.) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 009 Ph08 Kahlil (Gibran, playing music on bed) c.1949-50 silver gelatin photograph 7 7.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 010 Ph08 Kahlil & Ellie G. -
Galerie Karsten Greve Ag
GALERIE KARSTEN GREVE AG Louise Bourgeois, New Orleans, oil on cardboard, 1946, 66 x 55.2 cm / 26 x 21 1/4 in LOUISE BOURGEOIS December 19, 2020 – extended until March 30, 2021 Opening: Tuesday, December 29, 2020, 11 am – 7 pm Galerie Karsten Greve AG is delighted to present its third solo exhibition of works by Louise Bourgeois (1911-2010) in its St. Moritz gallery space. Twenty-three distinctive pieces created during a period of six decades (1946-2007) are on show. The exhibition pays homage to one of the most significant artists of our time, reflecting thirty years of close collaboration between Galerie Karsten Greve and Louise Bourgeois. Following the artist’s first retrospective in Europe, shown at Frankfurter Kunstverein in 1989, Karsten Greve organized his first solo show of works by Louise Bourgeois in his recently opened Paris exhibition space in 1990. On the occasion of the opening of his gallery in St. Moritz in 1999, Karsten Greve dedicated a comprehensive show to the artist, followed by presentations in Paris and Cologne. Born in Paris in 1911, Louise Bourgeois grew up in a bourgeois family in Choisy-le-Roi near Paris, where her parents ran a workshop for restoring tapestries; at an early age, she made the drawings for missing sections in tapestry designs. After dropping out of mathematics at the Sorbonne, she completed her art studies, between 1932 and 1938, at the École des Beaux-Arts and selected studios and academies in Paris, taking lessons with Fernand Léger, among others. In 1938, she was married to Robert Goldwater, the American art historian, and went with him to New York. -
Galerie Karsten Greve
GALERIE KARSTEN GREVE Georgia Russell in her studio, Méru, 2021 photo: Nicolas Brasseur, Courtesy Galerie Karsten Greve, Cologne Paris St. Moritz GEORGIA RUSSELL Ajouré September, 3 – October 30, 2021 Opening on Friday, September 3, 2021, 11 am – 10 pm a DC OPEN GALLERIES 2021 event The artist will be present. Galerie Karsten Greve is delighted to show a solo exhibition featuring new work by Scottish artist Georgia Russell, who has been represented by the gallery since 2010. The show, which will be Georgia Russell's sixth solo exhibition with Galerie Karsten Greve, is a DC OPEN GALLERIES 2021 event. New works on canvas will be presented, created at her Méru studio between 2020 and 2021 during a worldwide state of crisis that was characterised by confinement and social distancing measures. By contrast, Georgia Russell has created her most recent works by breaking through matter. Her pieces epitomise the idea of the permeability of matter and breaking through the surface – ajouré – to bring this materiality to life by deliberately incorporating daylight and air into space. Born in Elgin, Scotland, in 1974, Georgia Russell, studied fine art at the Robert Gordons University of Aberdeen (until 1997) and the Royal College of Art, graduating with an MA in printmaking in 2000. Thanks to a scholarship from the Royal College of Art, the artist set up a studio in Paris. Her work has regularly been presented internationally in solo and group exhibitions. Works by Georgia Russell are also held in notable private and public collections, such as the Victoria & Albert Museum, London, the Centre Georges Pompidou, Paris, the E.On Art Collection, Düsseldorf, and the Museum Pfalzgalerie Kaiserslautern. -
Louise Bourgeois Brochure
LOUISE BOURGEOIS American, French born (1911 - 2010) The Blind Leading The Blind 1947 - 49, painted wood 70⅜ × 96⅞ × 17⅜ in. Regents Collections Acquisition Program with Match- ing Funds from the Jerome L. Greene, Agnes Gund, Sydney and Frances Lewis, and Leonard C. Yaseen Purchase Fund, 1989 Living in New York during the mid 1940s, when World War II cut her off from friends and family in France, Louise Bourgeois created vertical wood sculptures that she exhibited as loosely grouped, solitary figures. These objects represented sorely missed people and her own loneliness and isolation in America. In 1948, Bourgeois made the first of five variations of The Blind Leading The Blind as pairs of legs which, unable to stand alone, were bound together for strength by lintel like boards. The figures appear to walk tentatively on tiptoe under the boards, the weight of which presses down on the individual pairs even as it holds them togeth- er as an uneasy collective. One of the artist’s most abstract works, this sculpture takes on an anthropomorphic presence by resting directly on the floor and sharing the viewer’s space. In 1949, after being called before the House Un-American Activities Commit- tee, Bourgeois named the series The Blind Leading the Blind. The title paraphras- es Jesus’s description of the hypocritical Pharisees and scribes (Matthew 15:14): “Let them alone, they are blind guides. And if a blind man leads a blind man, both will fall into a pit.” Exposing the folly of untested belief, unscrutinized ritual, and regimented thinking, the parable has been used as a subject by other artists. -
Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
Photographs New York | March 30, 2020
Photographs New York | March 30, 2020 Photographs New York I Monday March 30, 2020, at 2pm EST BONHAMS BIDS INQUIRIES 580 Madison Avenue +1 (212) 644 9001 Laura Paterson New York, New York 10022 +1 (212) 644 9009 fax Head of Photographs bonhams.com [email protected] +1 (917) 206 1653 [email protected] PREVIEW To bid via the internet please visit New York www.bonhams.com/25760 Amelia Wilson Photographs Cataloguer Thursday March 26, 10am to 5pm Please note that bids should be +1 (917) 206 1635 Friday March 27, 10am to 5pm summitted no later than 24 hours [email protected] Saturday March 28, 12pm to 5pm prior to the sale. New Bidders must Sunday March 29, 12pm to 5pm also provide proof of identity when Monday March 30, 10am to 12pm SALE INCLUDING submitting bids. Failure to do this COLLECTIONS OF may result in your bid not being 25760 • The Pritzker Organization, SALE NUMBER: processed. Lots 1 - 176 Chicago • The Collection of James (Jimmy) LIVE ONLINE BIDDING IS Fox CATALOG: $35 AVAILABLE FOR THIS SALE Please email bids.us@bonhams. REGISTRATION ILLUSTRATIONS com with “Live bidding” in the IMPORTANT NOTICE Front cover: lot 37 subject line 48 hours before the Please note that all customers, Inside front cover: lot 23 auction to register for this service. irrespective of any previous activity Session page: lot 24 with Bonhams, are required to Inside back cover: lot 45 Bidding by telephone will only be complete the Bidder Registration Back cover: lot 124 accepted on a lot with a lower Form in advance of the sale. -
Robert Rauschenberg Selected One-Artist
ROBERT RAUSCHENBERG SELECTED ONE-ARTIST EXHIBITIONS DATES Born 1925, Port Arthur, Texas Died 2008, Captiva, Florida EDUCATION 1947–1948, Kansas City Art Institute 1947, Academie Julien, Paris 1948–1949, Black Mountain College, North Carolina (with Josef Albers) 1949–1952, Art Students League, New York (with Vaclav Vytlacil and Morris Kantor) 2018 Robert Rauschenberg: Spreads, Galerie Thaddaeus Ropac, Ely House, London, November 28, 2018– January 26, 2019. Rauschenberg: The 1/4 Mile, Los Angeles County Museum of Art, October 28, 2018–June 9, 2019. Robert Rauschenberg: Vydocks, Pace Gallery, 12/F, H Queen’s, 80 Queen’s Road Central, Hong Kong, September 19–November 2, 2018. (Catalogue) Robert Rauschenberg: In and About L.A, Los Angeles County Museum of Art, August 11, 2018–February 10, 2019. Robert Rauschenberg: Features, Krakow Witkin Gallery, Boston, May 12–June 23, 2018. Robert Rauschenberg: Selected One–Artist Exhibitions 2 Robert Rauschenberg: Paintings Objects Sculptures, Galerie Bastian, Berlin, April 28–July 28, 2018. 2017 Robert Rauschenberg: A Quake in Paradise (Labyrinth), Massachusetts Museum of Contemporary Art, North Adams, May 28, 2017–Fall 2018. Robert Rauschenberg: Late Series, Faurschou Foundation Venice, May 12–August 27, 2017. (Catalogue) 2016 Robert Rauschenberg, Transfer Drawings from the 1950s and 1960s, Offer Waterman, London, December 2, 2016–January 13, 2017. (Catalogue) Robert Rauschenberg, Tate Modern, London, December 1, 2016–April 2, 2017. Traveled to: as Robert Rauschenberg: Among Friends, The Museum of Modern Art, New York, May 21, 2017–September 17, 2017; as Robert Rauschenberg: Erasing the Rules, San Francisco Museum of Modern Art, November 18, 2017– March 25, 2018. (Catalogue) Robert Rauschenberg: Salvage, Galerie Thaddaeus Ropac, Paris, October 20, 2016–January 14, 2017. -
Die Science-Fiction-Literatur Der DDR
Die Science-Fiction-Literatur der DDR Dissertation zur Erlangung des Grades eines Doktors der Philosophie am Fachbereich Philosophie und Geisteswissenschaften der Freien Universität Berlin vorgelegt von Karsten Greve Berlin 2015 Die Science-Fiction-Literatur der DDR 1. Gutacher: Professor Doktor Hans Richard Brittnacher 2. Gutacher: Professor Doktor Linus Hauser Tag der Disputation: 01.09.2016 2 Die Science-Fiction-Literatur der DDR Danksagung Die vorliegende Dissertation ist im Herbst 2015 an der Freien Universität Berlin eingereicht worden. Dafür, dass ich sie fertigstellen konnte, bin ich vielen Menschen zu Dank verpflichtet. Zu allererst und besonders meinem Doktorvater Herrn Professor Doktor Hans Richard Brittnacher. Ich danke ihm für seine Betreuung und seine wertvollen Ratschläge, mehr aber noch für seine Schriften, die mir ein Vorbild dafür geworden sind, was es heißt, Literaturwissenschaft couragiert und klar zu betreiben. Mein Dank gilt außerdem Herrn Professor Doktor Linus Hauser, der sich bereit erklärte, meine Arbeit als Zweitgutachter zu begleiten. Endlich danke ich den Teilnehmerinnen und Teilnehmern des Kolloquiums, das ich über viele Jahre besuchte, für ihren Zuspruch, ihre Hinweise und ihre Kritik. 3 Die Science-Fiction-Literatur der DDR Because it is there George Mallory 4 Die Science-Fiction-Literatur der DDR Inhalt Einleitung ..........................................................................................................8 1. Methodische Vorüberlegungen ...................................................................15 -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
The Brooklyn Museum Announces Upcoming 2020 Exhibitions
The Brooklyn Museum Announces Upcoming 2020 Exhibitions The Brooklyn Museum is pleased to announce a selection of upcoming 2020 exhibitions. This winter, we welcome back our iconic Kehinde Wiley painting Napoleon Leading the Army over the Alps (2005), which for the first time at the Brooklyn Museum will be presented in dialogue with its early nineteenth-century source painting, Jacques-Louis David’s Bonaparte Crossing the Alps (1800–1). We also look at our collection from new perspectives with focused exhibitions that present historical works through a contemporary, multifaceted lens. Out of Place: A Feminist Look at the Collection examines nearly 50 collection works using an intersectional feminist framework. Climate in Crisis: Environmental Change in the Indigenous Americas is an installation of the Museum’s Arts of the Americas collection which reconsiders indigenous art from the perspective of the prolonged and ongoing impact of climate change and colonization. Contemporary artist and MacArthur Fellowship recipient Jeffrey Gibson mines our collection and archives to examine collecting practices and reinterpret historical representations of indigenous communities. We also present African Arts—Global Conversations, a cross-cultural exhibition pairing diverse African works with collection objects made around the world, and Striking Power: Iconoclasm in Ancient Egypt, which examines the damage to sculptures and reliefs in ancient Egypt as a way of also exploring twenty-first-century concerns and struggles over public monuments and the destruction of antiquities. In March, we celebrate the iconic history and trailblazing aesthetics of Studio 54 in a special exhibition featuring never-before-seen archival materials, video, photography, fashion, and more. -
Galerie Karsten Greve
GALERIE KARSTEN GREVE GALERIE KARSTEN GREVE Drawing Now 2019 PIERRETTE BLOCH Dossier de Presse 5, RUE DEBELLEYME F-75003 PARIS TEL +33-(0)1-42 77 19 37 FAX +33-(0)1-42 77 05 58 [email protected] GALERIE KARSTEN GREVE GALERIE KARSTEN GREVE Stand A4 Solo show Pierrette Bloch L’Exposition Depuis bientôt dix ans, Karsten Greve soutient avec engagement le travail de Pierrette Bloch et défend avec passion sa démarche artistique pionnière, fondée sur la réitération d’un geste jamais égal à lui-même. Pour la troisième fois la galerie participera à la foire du dessin contemporain Drawing Now, au Carreau du Temple du 28 au 31 mars, avec une exposition monographique en hommage à Pierrette Bloch, dont l’œuvre avait déjà été choisie pour la section Masters Now de la foire en 2017. Nous présentons une sélection d’œuvres dont une partie issue de l’exposition « Ce n’est que moi », hommage de la ville de Bages à Pierrette Bloch. A travers Pierrette Bloch et ses amis artistes cette exposition de 2018 à la Maison des Arts mettait à l’honneur l’œuvre pionnière de l’artiste et surtout l’admiration que ses pairs ont toujours eu pour son travail. Notre accrochage sera donc en dialogue avec celui de la Galerie Ceysson et Bénétière (stand B2), qui montrera quant à elle une sélection d’œuvres de Pierre Buraglio, Philippe Favier, Alain Lambilliotte, Jean- Michel Meurice et Claude Viallat également issues de l’exposition à la Maison des Arts de Bages et réalisées sur de papiers déjà appartenus à Pierrette. -
A Finding Aid to the Vaclav Vytlacil Papers, 1885-1990,In the Archives of American Art
A Finding Aid to the Vaclav Vytlacil Papers, 1885-1990,in the Archives of American Art Jean Fitzgerald June 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..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1885, 1933-1981................................................... 5 Series 2: Correspondence, 1911-1985.................................................................... 6 Series 3: Business Records, 1912-1982.................................................................. 9 Series 4: Notes and Writings, 1928-1978.............................................................