DOCSLIB.ORG

Prints & Multiples

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PRINTSPRINTS && MULTIPLESMULTIPLES PRINTS & MULTIPLES APRIL 25, 2016 DOYLE 175 EAST 87TH STREET NEW YORK, NY 10128 212-427-2730 DOYLE.COM Monday April 25, 2016 NEW YORK PRINTS & MULTIPLES AUCTION Monday, April 25, 2016 at 10am EXHIBITION Friday, April 22, 10am – 5pm Saturday, April 23, 10am – 5pm ?? ????????? ??????????????????????????????? Sunday, April 24, Noon – 5pm LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com www.www.Doyle.com/BidLiveDoyleNewYork.com/BidLive Catalogue: $25 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF Prints & Multiples 1-293 Natalie and Joe Bartner, New York Harriet Bashein Glossary I Louise Bookstaver Conditions of Sale II Paula Buennol, New Jersey Terms of Guarantee IV Roberta K. Cohn & Richard A. Cohn Ltd. Information on Sales & Use Tax V Edith K. Comins Buying at Doyle VI Nan Rosenthal and Henry B. Cortesi Selling at Doyle VIII John Deinhardt, Fort Lauderdale, FL Company Directory IX Nancy M. Ferguson Auction Schedule XI Hilde Grey Catalogue Subscription Form XII John Jodik, Jr., Allentown, PA Absentee Bid Form XIII Raymond Kay Carl Lesnor A New Jersey Estate A New York Lady Alma Perlis David Llewellyn Reese, New York Susanne Schnitzer Craig Hugh Smyth Alice Starr, New York Amber Lightfoot Walker Herman J. Wechsler, New York INCLUDING PROPERTY FROM A New England Collection A New York Gentleman A Private Collection Collection of Sheldon and Marcia Sacks The Stachelberg Family Collection Lot 273 4 1 2 2 Pierre Alechinsky (b. 1927) PRISMA Color etching and aquatint, 1988, signed, dated, titled and numbered 37/70 in pencil, published by 2RC Edizioni d’Arte, Rome, with full margins, framed. Sheet 71 x 35 1/2 inches; 180 x 902 mm. C 3 part $3,000-4,000 5 1 3 Ivan Le Lorraine Albright (1897-1983) Karel Appel (1921-2006) THREE LOVE BIRDS (GRAYSON 10) PAYSAGES HUMAINS 4 5 Lithograph, 1940-41, signed, titled, dated, Complete set of 8 color lithographs, 1961, signed John Taylor Arms (1887-1953) John Taylor Arms inscribed Edition 10 prints on zinc and dedicated and numbered VI/X in pencil, published by L’Oeuvre EVENING, EAST RIVER (FLETCHER 26) WEST FORTY-SECOND STREET (F. 41) in pencil, edition of approximately 12, with good Gravée, Paris and with their blindstamp, the full Etching and aquatint, 1919, on cream laid Etching, 1920, on cream wove paper, signed margins, framed. sheets, framed. paper, signed, dated, titled, numbered 14/25 and titled in pencil, edition of 75, with full 17 1/8 x 10 1/4 inches; 435 x 260 mm. Sheets 19 3/4 x 19 3/4 inches; 502 x 502 mm. and inscribed Sixth State in pencil, sixth state margins, framed. Sheet 19 7/8 x 13 5/8 inches; 505 x 346 mm. C Estate of a New York Lady of six, with full margins, framed. 13 1/8 x 10 5/8 inches; 333 x 270 mm. C $2,000-3,000 3 1/2 x 5 1/4 inches; 89 x 133 mm. Sheet 19 1/8 x 15 7/8 inches; 486 x 403 mm. $2,000-3,000 Sheet 6 1/2 x 9 5/8 inches; 165 x 244 mm. C Estate of David Llewellyn Reese C Estate of David Llewellyn Reese $3,000-4,000 $700-1,000 7 DOYLE • APRIL 25, 2016 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 8 8 John Taylor Arms (1887-1953) PALAZZO DELL’ANGELO (F. 233) Etching, 1931, on cream laid paper, signed, dated and inscribed Ed. 100 in pencil, with full margins, framed. 7 1/4 x 6 5/8 inches; 184 x 159 mm. Sheet 12 x 8 inches; 305 x 203 mm. Ex-collection: Lloyd Goodrich C Estate of David Llewellyn Reese $800-1,200 9 John Taylor Arms VENETIAN FILAGREE (F. 235) Etching, 1931, signed, dated, titled and inscribed Ed. 100 in pencil, with full margins, framed. 10 5/8 x 10 3/4 inches; 270 x 273 mm. Sheet 15 1/2 x 17 5/8 inches; 394 x 448 mm. C Estate of David Llewellyn Reese $3,000-4,000 8 7 part 7 John Taylor Arms A DOORWAY IN THIERS; WILBY CHURCH, NORTHAMPTONSHIRE, ENGLAND; PLUMED SERPENT, CHICHÉN ITZÁ; TRIANGULAR BRIDGE, CROWLAND, ENGLAND; PÁTZCUARO, MICHOACAN, MEXICO; HOTEL DE VILLE, ABBEVILLE; NORMANDY; BLACK & WHITE TREBIVAN (F. 117; 335; 344; 362; 363; 378; 385; 423) Etchings, 1921, 1940 (2), 1941 (2), 1942, 1944 and 1953, respectively, the first seven signed, six dated, four annotated, in pencil, the eighth with the ink stamp signature, with 6 full margins. (8) Largest 4 1/4 x 2 3/8 inches; 108 x 603 mm. 6 C Collection of a New York Gentleman John Taylor Arms $800-1,200 AMERICAN CATHEDRAL (THE WOOLWORTH BUILDING) (F. 107) Etching printed in dark brown, 1921, on cream laid paper, signed in pencil, edition of 75, with full margins, framed. 17 x 6 5/8 inches; 432 x 168 mm. Sheet 21 1/2 x 9 1/8 inches; 546 x 232 mm. 9 C Estate of David Llewellyn Reese $3,000-4,000 9 DOYLE • APRIL 25, 2016 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 10 12 10 part 11 13 14 10 11 12 13 14 John Taylor Arms Francis Bacon (1909-1992) Peggy Bacon (1895-1987) Peggy Bacon Peggy Bacon IN MEMORIAM, THE NORTH PORTAL MAN’S HEAD (PORTRAIT OF GEORGE DYER TALKING) DANCE AT THE LEAGUE (FLINT 25) THE PATRONESS (F. 73) AESTHETIC PLEASURE (F. 126) OF CHARTRES CATHEDRAL; MEMENTO VIVERE, Color lithograph, 1966, on cream wove paper, signed in Drypoint, 1918, signed, titled and dated in Drypoint, 1927, signed, titled and dated in Drypoint, 1936, signed, dated and titled in NOTRE DAME, ÉVREUX (F. 317; 407) black crayon, with full margins, framed. pencil, with (full?) margins, framed. pencil, with good margins, framed. pencil, from the hedition of 174, published Etchings, 1939 and 1947, respectively, signed, dated, 13 7/8 x 11 1/8 inches; 352 x 283 mm. 7 x 9 7/8 inches; 178 x 251 mm. 9 7/8 x 7 7/8 inches; 251 x 200 mm. by Associated American Artists, New York, inscribed II, the first titled and dedicated To Cornelia Sheet 22 1/2 x 15 3/4 inches; 572 x 400 mm. Sheet 9 1/2 x 12 7/8 inches; 241 x 327 mm. Sheet 12 7/8 x 11 inches; 327 x 279 mm. with good margins. Hildrebrandt/from John Taylor Arms, 1941 in pencil, C C A New England Collection C A New England Collection 6 x 8 1/2 inches; 152 x 216 mm. second state of two, with full margins, framed. (2) $4,000-6,000 $1,000-1,500 $700-1,000 Sheet 8 3/8 x 11 1/2 inches; 213 x 292 mm. Largest 14 5/8 x 12 inches; 371 x 305 mm. C A New England Collection C Estate of David Llewellyn Reese $800-1,200 $1,000-1,500 11 DOYLE • APRIL 25, 2016 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 12 19 15 16 20 19 Fred Becker (1913-2004) DANCING WAITERS Wood engraving, 1935, on tissue-thin Japan paper, signed, dated and titled in pencil, with full margins, framed. 5 1/8 x 5 1/8 inches; 130 x 130 mm. Sheet 7 3/4 x 11 inches; 197 x 279 mm. C A New England Collection $700-1,000 18 20 Fred Becker NEW YORK LANDSCAPE 17 Wood engraving, 1936, signed and titled in 15 16 18 pencil, edition of approximately 25, Lou Barlow (Louis Breslow) (b. 1908) Lou Barlow (Louis Breslow) Romare Bearden (1911-1988) published by the Federal Art Project, WPA, ON THE BEACH JITTERBUGS THE FAMILY (GELBURD/ROSENBERG 8) New York and with their inkstamp verso, with Wood engraving, 1939, signed and titled Wood engraving, circa 1940, signed, titled Color aquatint and photoengraving, 1975, full margins, framed. in pencil, edition of approximately 25, and numbered 38/50 in pencil, with full signed and numbered AP 2/25 in pencil, 7 3/4 x 5 inches; 197 x 127 mm. published by the Federal Art Project, WPA, margins, framed. published by Transworld Art, Inc., New York, Sheet 9 3/8 x 6 1/2 inches; 238 x 165 mm. New York and with their inkstamp, with full 13 5/8 x 11 1/4 inches; 346 x 286 mm. the full sheet, framed. C A New England Collection margins, framed. Sheet 16 7/8 x 13 3/4 inches; 429 x 349 mm. Sheet 19 1/2 x 26 inches; 495 x 660 mm. $1,000-1,500 11 x 8 inches; 279 x 203 mm. C A New England Collection C A New England Collection Sheet 16 x 11 3/8 inches; 406 x 289 mm. $1,000-1,500 $2,000-3,000 21 C A New England Collection Fred Becker $1,000-1,500 17 DRUMMER Georg Baselitz (b. 1938) Wood engraving, signed and titled in pencil, STEINE published by the Federal Art Project, WPA, Etching and drypoint, 1988-89, signed, New York and with their inkstamp verso, with dated and numbered 11/12 in pencil, with full margins, framed. full margins, framed. 8 x 6 inches; 203 x 152 mm. 17 1/2 x 13 1/4 inches; 445 x 335 mm. Sheet 11 1/4 x 8 3/4 inches; 286 x 222 mm. C C A New England Collection $800-1,200 $800-1,000 21 13 DOYLE • APRIL 25, 2016 • NEW YORK VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 14 22 Max Beckmann (1884-1950) CAFEMUSIK (HOFFMAIER 130 Ba) Drypoint, 1918, on laid Japan paper, signed, dated and inscribed Concertkaffee in pencil, from the edition of 40 printed on Japan before the edition of 60 on laid paper after steel-facing, published by the Marées Gesellschaft, R.
Recommended publications
  • Urban Change Cultural Makers and Spaces in the Ruhr Region

    Urban Change Cultural Makers and Spaces in the Ruhr Region

    PART 2 URBAN CHANGE CULTURAL MAKERS AND SPACES IN THE RUHR REGION 3 | CONTENT URBAN CHANGE CULTURAL MAKERS AND SPACES IN THE RUHR REGION CONTENT 5 | PREFACE 6 | INTRODUCTION 9 | CULTURAL MAKERS IN THE RUHR REGION 38 | CREATIVE.QUARTERS Ruhr – THE PROGRAMME 39 | CULTURAL PLACEMAKING IN THE RUHR REGION 72 | IMPRINT 4 | PREFACE 5 | PREFACE PREFACE Dear Sir or Madam, Dear readers of this brochure, Individuals and institutions from Cultural and Creative Sectors are driving urban, Much has happened since the project started in 2012: The Creative.Quarters cultural and economic change – in the Ruhr region as well as in Europe. This is Ruhr are well on their way to become a strong regional cultural, urban and eco- proven not only by the investment of 6 billion Euros from the European Regional nomic brand. Additionally, the programme is gaining more and more attention on Development Fund (ERDF) that went into culture projects between 2007 and a European level. The Creative.Quarters Ruhr have become a model for a new, 2013. The Ruhr region, too, exhibits experience and visible proof of structural culturally carried and integrative urban development in Europe. In 2015, one of change brought about through culture and creativity. the projects supported by the Creative.Quarters Ruhr was even invited to make a presentation at the European Parliament in Brussels. The second volume of this brochure depicts the Creative.Quarters Ruhr as a building block within the overall strategy for cultural and economic change in the Therefore, this second volume of the brochure “Urban Change – Cultural makers Ruhr region as deployed by the european centre for creative economy (ecce).
  • CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=

    CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=

    Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr.
  • 2013 | College of Fine Arts MUSE MAGAZINE 2013 | Contents

    2013 | College of Fine Arts MUSE MAGAZINE 2013 | Contents

    muse2013 | College of Fine Arts MUSE MAGAZINE 2013 | Contents 2. 3. 6. 7. 8. 1. 5. 12. 11. 1 UF CenTER FOR ARTS IN MEDicine (formerly the Center for Arts in Healthcare 7 JAMES JENKINS adjunct School of Music faculty of tuba and euphonium, was Research and Education) continues healthcare initiatives abroad and regionally, a featured soloist with the UF Symphonic Band in fall 2012 at the University including rural Florida programs. The picture above is of a Twa dancer performing Auditorium. (Photo by Eric Zamora) in Rwanda. The center aided in founding the dance company. Read more on page 19. (Photo by Teresa Yeh) 8 URINETOWN staged by UF School of Theatre + Dance under the direction of Charlie Mitchell, offered an opportunity to discuss regional municipal water issues. 2 “SELecTIVE IDENTITY” by MFA Ceramics candidate Nathan Murray A panel discussion was held after a matinee performance. Read more on page 18. (Photo by Stan Kaye) 3 ”MOM PLZ HELP ME” choreography by BFA Dance student Kate Pope, was awarded the Dean’s Award for Dance at the 2013 College of Fine Arts Juried 9 PicTURED WITH FIRST LaDY MicheLLE Obama the ‘Pride of the Sunshine’ Student Show, organized by the Fine Arts College Council. (Photo by Jordan Fightin’ Gator Marching Band made history in 2012 as the only collegiate band Albright) invited to participate in the London Olympics. Read more on page 16. (Photo by Steven Johnson) 4 BFA MusicaL TheaTRE candidates participate in a recital each December, organized by voice teacher and adjunct School of Music faculty Deborah Sperlich, 10 ART BASH annually welcomes hundreds of visitors to the UF School of Art + Art with support and direction from Associate Professor Tony Mata, UF School of History for a wonderfully weird open house celebration.
  • Minimal Art and Body Politics in New York City, 1961-1975 By

    Minimal Art and Body Politics in New York City, 1961-1975 By

    Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work.
  • Stanford Auctioneers Pop Art, Fine Art, Photographs: 3 Day Sale Friday – October 14Th, 2016

    Stanford Auctioneers Pop Art, Fine Art, Photographs: 3 Day Sale Friday – October 14Th, 2016

    Stanford Auctioneers Pop Art, Fine Art, Photographs: 3 Day Sale Friday – October 14th, 2016 www.stanfordauctioneers.com | [email protected] 1: ANDY WARHOL - 100 Cans USD 600 - 800 Andy Warhol (American, 1928 - 1987). "100 Cans [museum card]". Color offset lithograph. Printed 1984. Signed in black marker, center right. Edition unknown. Very light cream wove paper. The full sheet. Fine impression. Fine condition. No auction records located. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. Overall size: 6 x 4 in. (152 x 102 mm). [28785] |400| {R100} (TL1) nzz~rzz 2: ANDY WARHOL - 16 Jackies USD 800 - 900 Andy Warhol (American, 1928 - 1987). "16 Jackies [museum card]". Color offset lithograph. c1980. Signed in black marker, lower center. Edition unknown, presumed small. Light cream wove paper. Full margins. Very good impression. Very good condition. The original acrylic and silkscreen enamel on canvas was composed by Warhol in 1964 and is in the collection of the Walker Art Center, Minneapolis. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. Overall size: 7 x 5 in. (178 x 127 mm). [28347] |600| {R100} (TL1) rzz~izz 3: ANDY WARHOL & KEITH HARING - 20th Montreux Jazz Festival USD 1,500 - 1,800 Andy Warhol & Keith Haring (Americans, 20th Century). "20th Montreux Jazz Festival". Original color silkscreen. 1986. Signed in black marker by both Haring and Warhol, center left and right; signed in the plate by both Haring and Warhol. Edition unknown. White wove paper. Full margins. Fine impression with vibrant colors. Overall very good to fine condition.
  • José/Before JOHN5

    José/Before JOHN5

    23 Season 2012-2013 Sunday, April 14, at 3:00 28th Season of Chamber The Philadelphia Orchestra Music Concerts—Perelman Theater Holló José/beFORe John5, for percussion quartet Christopher Deviney Percussion Víctor Pablo García-Gaetán Percussion (Guest) Bradley Loudis Percussion (Guest) Phillip O’Banion Percussion (Guest) Reich from Drumming: Part I Part II Christopher Deviney Percussion Víctor Pablo García-Gaetán Percussion (Guest) Bradley Loudis Percussion (Guest) Phillip O’Banion Percussion (Guest) Temple University Percussion Ensemble (Guests) Spivack Scherzo for Percussion Septet and Forty Instruments Christopher Deviney Percussion Víctor Pablo García-Gaetán Percussion (Guest) Bradley Loudis Percussion (Guest) Phillip O’Banion Percussion (Guest) Temple University Percussion Ensemble (Guests) Intermission Bartók String Quartet No. 3 (In one movement) Marc Rovetti Violin William Polk Violin Kerri Ryan Viola Yumi Kendall Cello Beethoven String Quartet No. 2 in G major, Op. 18, No. 2 I. Allegro II. Adagio cantabile III. Scherzo: Allegro IV. Allegro molto quasi presto Marc Rovetti Violin William Polk Violin Kerri Ryan Viola Yumi Kendall Cello This program runs approximately 1 hour, 55 minutes. 224 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world.
  • Stadtchronik 1995 – Zusammengestellt Vom Stadtarchiv Koblenz

    Stadtchronik 1995 – Zusammengestellt Vom Stadtarchiv Koblenz

    Stadtchronik 1995 – zusammengestellt vom Stadtarchiv Koblenz Stadtchronik 1995 1. Januar Beim Neujahrskonzert in der Rhein-Mosel-Halle wird die 9. Sinfonie von Ludwig van Beethoven geboten. Ausführende sind das Staatsorchester Rheinische Philharmonie, der Chor und Solisten des Stadttheaters Koblenz unter der Leitung von Generalmusikdirektor Kluttig. In der ambulanten Pflege wird das Koblenzer Stadtgebiet entsprechend dem Wohnort der Pflegebedürftigen neu aufgeteilt. Unabhängig von der Konfession betreut nun die Sozialstation des Evangelischen Gemeindeverbandes die Stadtteile Neuendorf, Lützel, Rauental, Stadtmitte und Altstadt. Die Sozialstation der Caritas ist künftig für Güls, Metternich, Rübenach, Bubenheim, Kesselheim, das Industriegebiet und Wallersheim zuständig. Die Ökumenische Sozialstation deckt die rechtsrheinischen Stadtteile ab, und die Sozialstation der de Hayeschen Stiftung betreut die Karthause, Stolzenfels, Oberwerth, die Vorstadt, die Goldgrube, Lay und Moselweiß. RZ 13.1.1995, S. 16. Nach 25 Jahren Tätigkeit bei der Energieversorgung Mittelrhein (EVM) übernimmt deren kaufmännischer Direktor, Siegbert Strecker, den Posten eines Geschäftsführers der Ruhrgas- Beteiligungs-AG in Essen. Sein Nachfolger ist Bernhard Witschen, bisheriger Geschäftsführer der Gasgesellschaft Aggertal mbH in Gummersbach und der Wasserversorgung GmbH in Wipperfürth. RZ/B 11.8.1994 - RZ/B 22.8.1994, S. 4 - Schä 14.12.1994 - RZ 23.12.1994, S. 5, 16. Hans-Jürgen Gutenberger, seit 1. Oktober 1990 im Vorstand der Sparkasse Koblenz, des größten kommunalen Kreditinstituts in Rheinland-Pfalz, tritt als neuer Vorstandsvorsitzender die Nachfolge von Ulrich Hoppenheit an, der in den Ruhestand geht. RZ 24.6.1994, S. 5 - Schä 29.6.1994, S. 1 - RZ 11.1.1995, S. 5 . Manfred Kaiser ist neuer Leiter des städtischen Hochbauamts. Seit 1990 hatte er im Hochbauamt die Funktion des stellvertretenden Amtsleiters inne.
  • Tina Rivers Ryan

    Tina Rivers Ryan

    McLuhan’s Bulbs: Light Art and the Dawn of New Media Tina Rivers Ryan Submitted in partial fulfillment of the requirements for the degree of Doctor in Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Tina Rivers Ryan All rights reserved ABSTRACT McLuhan’s Bulbs: Light Art and the Dawn of New Media Tina Rivers Ryan “McLuhan’s Bulbs” argues that the 1960s movement of “light art” is the primary site of negotiation between the discourses of “medium” and “media” in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur- example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan’s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of “medium” into “media” on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural “light ballets,” “intermedia” environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene’s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds.
  • PCMS News & Notes March-April 2018

    PCMS News & Notes March-April 2018

    PLYMOUTH-CANTON MONTESSORI SCHOOL News & Notes MARCH–APRIL 2018 Golden opportunities e-enrollment is now underway, and we children, and we wrap up this busy month Rthank parents for their continued sup- with a Spring Celebration leading into port of a Montessori education for their Spring Break (Friday, March 30 through children. You have chosen a method of Friday, April 6). education that profoundly respects and is In April, preschool students will be par- tailored to each individual child. A trained ticipating in the Ann Arbor Symphony scientist, Maria Montessori understood, Orchestra’s Instrument Petting Zoo. Several through observation, exactly how and why orchestra members will share their instru- children learn. Montessori education ments with the children during this in-house teaches children how to learn instead of presentation on Wednesday, April 18. just what to learn. Mrs. Ewasek and Mrs. Shekar’s preschool To learn more about our full-day pre- classrooms will invite grandparents to visit school class and full-day Extended Day kin- on Friday, April 20. The children always look dergarten, we invite parents of both 3- and forward to showing their classroom to their 4-year-old students to an informational grandparents (or other special guests, if meeting on Thursday, April 12 at 6 p.m. grandparents are not available) and sharing Teachers will present information about their favorite activities. the options for both 4-year-olds and kin- Extended Day kindergarten children will dergarten children. We’ll also have several be traveling to the Creature Conservancy in current kindergarten parents and their stu- Ann Arbor on Thursday, April 26.
  • Flint Institute of Arts ANNUAL REPORT 2017–2018 About the Flint Institute of Arts

    Flint Institute of Arts ANNUAL REPORT 2017–2018 About the Flint Institute of Arts

    Flint Institute of Arts ANNUAL REPORT 2017–2018 About the Flint Institute of Arts Incorporated in 1928, the FIA is a privately supported, non-profit organization. It is one of Michigan’s most significant cultural and educational resources, serving people of all ages and interests. The Institute is supported entirely through memberships, sales, rentals, admission, and tuition, contributions from individuals and businesses, earned income from endowments, and grants from trusts, government, and foundations. The Institute’s collections and temporary exhibitions are open cover image daily (except national holidays). Art classes for adults and children, Ntombephi “Induna” Ntobela lectures, films, tours, and other special events are also offered as South African, born 1966 an integral part of the Institute’s educational mission. My Father’s Spirit, 2017 Glass beads sewn onto fabric 17 × 18 1/2 inches Museum purchase with funds The Flint Institute of Arts is an Equal Opportunity Employer and donated in honor of Barbara J. White, provides programs and services without regard to race, color, lifelong artist, avid traveler, devoted wife and mother, 2018.20 religion, national origin, age, sex, or physical ability. The Flint Institute of Arts is tax-exempt under Section 501 (c) (3). Mission To advance the understanding and appreciation of art for all through collections, exhibitions, and educational programs. 1120 E. Kearsley St. Flint, MI 48503 810.234.1695 phone 810.234.1692 fax www.flintarts.org Contents president’s & executive director’s report 3–4 exhibitions 5–6 films 7–8 videos 9 acquisitions 10–20 loans 21 Operating support for FIA exhibitions and programs are made the Flint Institute of possible in part with the support of the publications 22 Arts is provided in part Michigan Council for Arts and Cultural by the Charles Stewart Affairs, a partner agency of the National grand opening 23 Mott Foundation.
  • B U L L E T I N

    B U L L E T I N

    THE SMART MUSEUM OF ART BULLETIN 1990-1991 1991-1992 THE DAVID AND ALFRED SMART MUSEUM OF ART THE UNIVERSITY OF CHICAGO THE SMART MUSEUM OF ART B U L L E T I N 1990-1991 1991-1992 THE DAVID AND ALFRED SMART MUSEUM OF ART THE UNIVERSITY OF CHICAGO CONTENTS Volume 3, 1990-1991, 1991-1992. STUDIES IN THE PERMANENT COLLECTION Copyright © 1992 by The David and Alfred Smart Museum of Art, The University of Chicago, Sectionalism at Work: Construction and Decoration Systems in Ancient Chinese 5550 South Greenwood Avenue, Ritual Vessels 2 Chicago, Illinois, 60637. All rights reserved. ISSN: 1041-6005 Robert J. Poor Three Rare Poetic Images from Japan 18 Louise E. Virgin Photography Credits: Pages 3-14, figs. 1, 2, 3, 4, 5, Jerry Kobyleky Museum Photography; figs, la, 2a, 3a, 5a-f, courtesy of Jon Poor / Poor Design, ©1992 Robert Poor. Pages 19-23, figs. 1-3, Jerry Brush and Ink Paintings by Modern Chinese Women Artists in the Kobyleky Museum Photography. Pages 35-46, 51, Jerry Kobyleky Smart Museum Collection 26 Museum Photography. Page 53, Lloyd De Grane. Page 55, Mark Harrie A. Vanderstappen Steinmetz. Page 56, Rachel Lerner. Page 57, John Booz, ©1991. Pages 58, 60, Matthew Gilson, ©1992. Page 61, Lloyd De Grane. Editor: Stephanie D'Alessandro ACTIVITIES AND SUPPORT Design: Joan Sommers Printing: The University of Chicago Printing Department Collections 34 Acquisitions Loans from the Collection Exhibitions and Programs 30 Exhibitions Events Education Publications Sources of Support 63 Grants Contributions Donors to the Collection Lenders to the Collection This issue of the Bulletin, with three articles on and Japanese works of art given in honor of East Asian works of art in the collection of the Professor Vanderstappen by various donors.
  • Rainbow City: a Study in Color of Cities

    Rainbow City: a Study in Color of Cities

    ARCHCAIRO 2007 Dr. Germin Farouk El Gohary Ain Shams University TITLE OF PAPER RAINBOW CITY: A STUDY IN COLOR OF CITIES. ABSTRACT rban Design defines the city by giving it a form, while architecture defines it by giving it a structure. But Less U obviously, and fundamentally, color has a significant impact on the over all perception of an urban environment. Color of cities is formed by complex interactions that informed and shape this perception. The color contributions to a city’s unique character and appearance. Academic studies don’t give this component as much as it deserves. For any city color can be seen in many urban features as; facades, streets, boundaries, plazas, market places and even people’s clothes. This paper looks at a perceptual view to some cities in the world, not for comparative analysis between the colorful images of the cities. Nor comparing different times in all cities and how these times change the urban perception of the city. This topic had been discussed in academic researches and books before and well known that intensity of light between different cities changes the city colors and shades. But the research is trying to explain the complex pivotal role of color in urban design and form, a specific classical and traditional color palette for cities corresponding to culture characters. Then reviewing the new color technologies in architecture specially glass and some of the recent colored façade trials that have changed the urban color palette of cities. Hoping to reach the aim of striking the realty by discovering the contemporary palette, this is created by matter technological improvement and fashion.