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Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Caitlin Keogh: Feminine Feminism
The Kennesaw Journal of Undergraduate Research Volume 5 Issue 2 College of the Arts Special Issue Article 4 October 2017 Caitlin Keogh: Feminine Feminism Madeline Beck Kennesaw State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/kjur Part of the Contemporary Art Commons, Theory and Criticism Commons, and the Women's Studies Commons Recommended Citation Beck, Madeline (2017) "Caitlin Keogh: Feminine Feminism," The Kennesaw Journal of Undergraduate Research: Vol. 5 : Iss. 2 , Article 4. DOI: 10.32727/25.2019.20 Available at: https://digitalcommons.kennesaw.edu/kjur/vol5/iss2/4 This Article is brought to you for free and open access by the Office of Undergraduate Research at DigitalCommons@Kennesaw State University. It has been accepted for inclusion in The Kennesaw Journal of Undergraduate Research by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Caitlin Keogh: Feminine Feminism Cover Page Footnote I would like to thank Dr. Diana McClintock, Dr. Jessica Stephenson, Sarah Higgins, Dr. Amy Buddie and the Office of Undergraduate Research, the anonymous reviewers of this paper, and KSU College of the Arts. This article is available in The Kennesaw Journal of Undergraduate Research: https://digitalcommons.kennesaw.edu/ kjur/vol5/iss2/4 Beck: Caitlin Keogh: Feminine Feminism Caitlin Keogh: Feminine Feminism Madeline Beck and Dr. Diana McClintock (Faculty Advisor) Kennesaw State University ABSTRACT The painter Caitlin Keogh (b. 1982) is a rising star in the Contemporary Art scene in the United States. Currently living and working in Brooklyn, New York, Keogh is one of countless emerging painters in the trendy arts hub, but her work is already receiving international attention and critical acclaim. -
About Henry Street Settlement
TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement. -
Ellsworth Kelly : a Retrospective
Digitized by the Internet Archive in 2013 http://archive.org/details/ellswoOOkell ELLSWORTH KELLY ELLSWORTH KELLY: A RETROSPECTIVE Edited by Diane Waldman GUGGENHEIM MUSEUM Guggenheim Foundation, ELLSWORTH KELLY: A RETROSPECTIVE ©1996 The Solomon R. New York. All rights reserved. Organized by Diane Waldman Kelly. All Ellsworth Kell) works ©1996 Ellsworth Solomon R. Guggenheim Museum, New York Used by permission. All rights reserved. October 18, 1996-January 15, 1997 ISBN 0-8 HN hS c>~-5 (hardcover) The Museum of ( ontemporary Vrt, I os Angeles ISBN 0-8920- 177-x (softcover) February 16-May is. 1997 Guggenheim Museum Publications rallery, L ondon 1D"1 Fifth Avenue |une 12-September 7, 1997 New York, New York 10 1 2* Haus der Kunst, Munich Hardeover edition distributed In November 1997-Januarj 1998 Harry N. Abr.ims, Inc. 100 Fifth Avenue Nev. York. Nev. York 10011 Design In Matsumoto Incorporated, New York Cover by Ellsworth Kelly Printed m Germany by C antz 10 Ellsworth Kelly Contents Diane Waldman 40 Ellsworth Kelly's Multipanel Paintings Roberta Bernstein 56 Ellsworth Kelly's Curves Carter Ratcliff 62 Experiencing Presence Mark Rosenthal oloi Kelly's "1 ine, Form and ( 66 At Play with Vision: Ellsworth Clare Bell 81 Painting and Sculpture 2 5 3 Works on Paper 3 1 3 Chronology 320 Exhibition History and Bibliography Josette Lamoureux 333 Index of Reproductions This exhibition is sponsored by HUGO BOSS provided by Significant additional support lias been The Riggio Family and Stephen and Nan Swid. part by grants from the 1 his project is supported in National Endowment tor the Arts and The Owen Cheatham Foundation. -
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. -
Pat Lipsky's Color Field Paintings from 1969-75
abstract expressionism..." Lipsky was invited to participate in the influential 1970-71 exhibition “Lyrical PAT LIPSKY’S Abstraction” which travelled the country and culminated at New York’s Whitney Museum. The art critic Noel Frackman highlighted Lipsky’s COLOR FIELD PAINTINGS freshness, and exuberance, finding her style “sustained a mood which celebrates the sheer splendor of color. The edges of these shapes lick out like flames and there is an incendiary by Audrey Diamond FROM 1969 - 75 vividness in the impetuous yet directed forms… at Lipsky identifies with the quote, These are mouth-watering paintings.” “Color and I are one, I am a painter.” By the eighties, Lipsky had expanded her P (Paul Klee, 1914 diaries.) Klee was palette to include a wider range of colors— ahead of his time in both his use of color close-value as well as contrasting, now in more and technique and influenced Lipsky’s color delineated forms. “She had begun to explore,” 3. 4th paragraph. 2nd sentence. (She left the little choices in her stain paintings, and later grid as art critic Katherine Crum later wrote, “a boxes in the essay! They are just used for editing when pictures. Gestural abstraction was Lipsky’s pictorial vocabulary in direct challenge to her there is a choice. The sentence should be: prevailing mode in the late sixties when she roots in Lyrical Abstraction.” Lipsky’s paintings were hung and sold in other galleries first arrived on the scene. In the 2000s Lipsky continued redefining around the United States, often exhibited next to Using the stain technique she sponged her image and color, by reincorporating a bold diametrically opposed painters like Helen Frankenthaler acrylic paint onto raw canvas creating a central focalpoint. -
Minimalism 1 Minimalism
Minimalism 1 Minimalism Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the late 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, John McLaughlin, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It is rooted in the reductive aspects of Modernism, and is often interpreted as a reaction against Abstract expressionism and a bridge to Postmodern art practices. The terms have expanded to encompass a movement in music which features repetition and iteration, as in the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist compositions are sometimes known as systems music. (See also Postminimalism). The term "minimalist" is often applied colloquially to designate anything which is spare or stripped to its essentials. It has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe the Mensheviks.[1] Minimalist design The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work. -
In the Tower: Anne Truitt, Panorama: Journal of the Association of Historians of American Art 4, No
ISSN: 2471-6839 Cite this article: Mark L. Hanin, review of In the Tower: Anne Truitt, Panorama: Journal of the Association of Historians of American Art 4, no. 2 (Fall 2018), https:// doi.org/10.24926/24716839.1680. In the Tower: Anne Truitt Curated by: James Meyer Exhibition schedule: National Gallery of Art, Washington, DC, November 19, 2017– July 8, 2018 Reviewed by: Mark L. Hanin, Art Writer and Law Clerk, Court of Appeals for the District of Columbia Circuit, Washington, DC Imagine fusing the paintings of Barnett Newman and Ad Reinhardt and transfiguring them into three-dimensional space in varying shapes and heights. The resulting human-size figures—boldly colored, intricately designed, intense— convey something of Anne Truitt’s (1921– 2004) art to a first approximation. The invocation of Newman and Reinhardt is hardly accidental, since Truitt was inspired by their work in the early 1960s. This tells us something about her style of Minimalism, which held onto supposedly “outdated” ideas about the aims of art that Minimalism is often said to have left behind. This modestly sized but excellent exhibition brings these complexities to light. It conveys Truitt’s uneasy relationship with Minimalism, challenges overly simplistic readings of the movement, and cements Truitt’s reputation as a leading American sculptor. Fig. 1. Installation view, main gallery of In the Tower: Anne The exhibition is the third in the Tower Truitt, National Gallery of Art, Washington, DC; photograph Project series at the National Gallery of courtesy of National Gallery of Art, Washington, DC Art (NGA) devoted to contemporary art in the East Building Tower 3, previously featuring artists Theaster Gates and Barbara Kruger in 2016 and 2017. -
Shine Bright LLCE Cycle Terminal
Shine Bright LLCE Cycle Terminal File 11 Minimal arts Minimal poetry p. 127 But a poem doesn't need to rhyme, or contain multiple words. A poem is simply a type of literary art that uses aesthetic or rhythmic properties of a language to mean more than it normally would. With that definition in mind, take a look at my favorite one-word poem, by Aram Saroyan: the word "light", with an extra "gh". The poem became controversial because the NEA paid him $500 for the poem. Critics berated it for its simplicity, but that only made it more famous and popular. "Lighght". It's fun to type and it's fun to say; because what sound does the "gh" in the word "light" really make? Is this a lighter, fluffier, extended version of "light", or is it a gurgled, choky one? Minimal art vs abstract expressionism p. 128 So you see a few cubes sitting in an art gallery, and you think to yourself, “This is the greatest hoax that anyone has ever pulled off.” You immediately walk away, discouraged by the wide gulf between what you hope for when you walk into a museum, and what they've presented to you. How did we get here? How could these cubes that the artists didn't even make with their own hands be important? This is the case for minimalism. First off, we're not talking about minimalism as a general sensibility, or the life- changing magic of tidying up. We're talking about the art of a particular moment in time, namely the 1960s, when all of a sudden there was a lot of geometric, abstract art. -
List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced. -
Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected]
Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected] MOYRA DAVEY Born 1958 in Canada Lives and works in New York Education 1989 Whitney Independent Study Program, New York, NY 1988 University Of California, San Diego, CA 1982 Concordia University, Montréal, Quebec Solo Exhibitions 2012 Murray Guy, New York 2011 Les Goddesses, greengrassi, London 2010 Speaker Receiver, Kunsthalle Basel, Basel, Switzerland My Necropolis, Goodwater, Toronto, Canada My Necropolis, lllingworth Kerr Gallery, Alberta College of Art + Design, Calgary, Canada 2009 My Necropolis, Murray Guy, New York, NY My Necropolis, Arch II Gallery, University of Manitoba, Winnipeg 2008 Long Life Cool White, The Fogg Art Museum, Harvard University, Cambridge, MA 2007 Fifty Minutes, Goodwater, Toronto, Ontario, Canada My Place, TART, San Francisco, CA 2006 Monologues (with Julia Scher), Wexner Center for the Arts, Columbus, OH 2003 American Fine Arts, Co., New York, NY 2002 Goodwater, Toronto, Ontario, Canada 1999 American Fine Arts, Co., New York, NY 1998 Rena Bransten Gallery, San Francisco, CA 1996 American Fine Arts, Co., New York, NY 1994 American Fine Arts Co., New York, NY 1994 Moyra Davey, Peter Doig, Gavin Brown's Enterprise, New York, NY mc 1989 Optica, Montréal, Québec 1985 Agnes Etherington Arts Center, Kingston, Ontario 1984 The Photography Gallery, Toronto, Ontario Saw Gallery, Ottawa, Ontario Group Exhibitions 2012 Whitney Biennial 2012, The Whitney Museum of American Art, New York, NY STATUS – 24 documents of today, -
1 Ken Gonzales-Day Professor of Art Fletcher Jones Chair in Art Scripps
Ken Gonzales-Day Professor of Art Fletcher Jones Chair in Art Scripps College www.kengonzalesday.com Curriculum Vitae EDUCATION: 1995 M.F.A., Studio Art, University of California, Irvine. 1991 M.A., Another Colonial American: Mission Architecture in New Mexico, Art History, City University of New York, NY. 1987 B.F.A., Painting (Art History minor), Pratt Institute, Brooklyn, NY. 1983 Certificate, painting, St. Luc: L’Ecole Des Arts Plastique, Liége, Belgium. ACADEMIC APPOINTMENTS: 2019- present Professor of Art, Fletcher Jones Chair in Art, Scripps College Affiliated programs: Intercollegiate Media Studies Feminist, Gender, and Sexuality Studies Core Curriculum in Interdisciplinary Humanities Extended Faculty - Claremont Graduate University, 2017-22 2008 Professor of Art, Scripps College 2001 Associate Professor, Scripps College 1995 Assistant Professor, Scripps College Chair: Art Department, 2006-2008, 2009-2014 Chair, Art and Art History, 2003- 2006 1993-1995 Graduate Teaching Assistant, Gallery Assistant, UCI, Irvine RESIDENCIES: 2022 Anderson Ranch, Snowmass Village, CO 2014 Smithsonian Artist Research Fellowship (SARF), National Portrait Gallery, Smithsonian Institution, Washington, D.C. 2013 American Senior Artist, Terra Summer Residency Program, Giverny, France. Chercheur Accueilli, Institut National d’Histoire de l’Art (INHA), Paris France. 1 2011 Chercheur Accueilli, Institut National d’Histoire de l’Art (INHA), Paris France. 2008-9 Visiting Scholar, Getty Research Institute, J. Paul Getty Museum, Los Angeles. 2003 Senior Fellow, Latino Initiatives Program, Smithsonian Institution, American Art Museum and National Portrait Gallery, Washington D.C. 2002 Creative Arts Residency, Rockefeller Foundation, Bellagio Study and Conference Center, Bellagio, Italy. 1995 The American Photography Institute, National Graduate Seminar, Tisch School of the Arts, New York University, New York, New York.