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Richard-Hambleton-Catalog-1.Pdf
REFLECTIONS Now the sine qua non of mega-collectors and elite auction houses around the world, the once subversive “Street Art” that originated in New York City in the 1980s with such artists as Keith Haring and Jean Michel Basquiat has redefined where and how we look at art. Today, in the streets and in contemporary galleries, names such as Banksy, Stik and Shepard Fairey are familiar to hip, younger collectors. With fairs and festivals from New York to the Greek Islands and beyond, “Street Art” has become a global phenomenon. The wave of creativity that began to be noticed thirty-five years ago in New York’s East Village and brought renown to such ‘tags’ as “Samo,” “Crash,” “Daze” and “Lady Pink” was a fertile, drug fueled period of spray and splatter. Julian Schnabel had begun to make headlines for the upstart Mary Boone Gallery as Ronald Reagan became President and scientists raced to contain the spread of a mysterious and deadly new virus (HIV Aids). It was into this environment that Canadian artist Richard Hambleton arrived. Hambleton’s first stop in America was the west coast of the United States. He used funds from a grant to visit cities like Seattle and San Francisco, where he caused an uproar with his controversial “Mass Murder” series. The artist peppered the sidewalks with white chalk outlines of bodies – like those a police coroner sketches around the victim of a crime – the bloodier looking the better. The authorities were not amused. He was told also, that he was ineligible for future grant money by his donors. -
Profiles in Style
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Frameworks for the Downtown Arts Scene
ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post industrial capitalism in its various manifestations. -
PIER 34 Something Possible Everywhere Something Possible
NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street. -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
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. -
TSENG Kwong Chi Curiculum Vitae (Full)
TSENG Kwong Chi Curiculum Vitae (full) As of October 2020 History - Education - Awards: Page 2 Solo Exhibitions: Page 3-4 Selected Group Exhibitions: Pages 5-13 Performances: Page 14 Film & Video: Page 14 Selected Public Collections: Page 15 Selected Private/Corporate Collections: Page 16 Artists’ Monographs: Page 17 Selected Books & Catalogue: Pages 18-21 Selected Bibliography (previews, reviews, feature articles): Pages 22-27 1 Tseng Kwong Chi Born in Hong Kong, 1950. Left Hong Kong with family in 1966. Educated in Hong Kong; Vancouver, Canada; Montréal, Canada; Paris, France. Settled in New York City, New York 1978. Died in New York City, New York 1990. EDUCATION Ecole Supérieure d’Arts Graphiques, L’Académie Julian, Paris, France Sir George Williams University, Montreal, Canada University of British Columbia, Vancouver, Canada AWARDS Yale Brachman Award for Distinguished Cultural Contribution, Timothy Dwight College, Yale University, New Haven, Connecticut Award for Distinguished Work, Asian American Arts Institute, New York City 2 SOLO EXHIBITIONS 2020 TSENG KWONG CHI: East Meets West, Yancey Richardson Gallery, New York, NY Two Friends: Tseng Kwong Chi and Keith Haring, Galerie Hervé Perdriolle, Brussels, Belgium (catalogue) Tseng Kwong Chi: East Meets West 2020, Ben Brown Fine Arts, Hong Kong 2016 Tseng Kwong Chi: Ambiguous Ambassador, Carroll and Sons Gallery, Boston, MA 2015-16 Tseng Kwong Chi: Performing for the Camera, Grey Art Gallery, New York University, NY; Chrysler Museum of -
Doyle Auction House, “Richard Hambleton”
by Angelo Madrigale NEW YORK, NY -- His early years in New York brought about his To call artist Richard Hambleton famed Shadowman series, which became his best- mercurial would be a grand known work. Akin to the Image Mass Murder series, Hambleton’s Shadowmen were life-sized understatement. inky black abstract figures, placed strategically throughout downtown New York. Photographer Having passed away at age 65 just this past October, Hank O’ Neal deftly described them as “silhouettes Hambleton leaves behind a legacy of important of a nuclear blast,” the figures were imposing and work that would come to set the foundation for often frightening, lurking in alleyways, and even what we now call Street Art, though his personal confusing cabbies on the Bowery, mistakenly life was sadly marred with addiction and disease. thinking their splattered outstretched arms might Hailing from Vancouver, Hambleton made a stop be hailing a ride. Many coming out of CBGBs and in San Francisco before finally settling into the other late-night haunts found themselves victims of Lower East Side in 1979. What he brought with him the jump-scares Richard’s foreboding Shadowmen to New York was the beginning of a monumental caused. Hambleton’s need to create these figures body of work that was confrontational, challenging, en masse shared a compulsion with the growing and for many, overwhelmingly fascinating, with a graffiti scene coming out of the Bronx and other practice that encompassed illegal public art as well boroughs, which led to friendships with pioneering as a more traditional studio output. graffiti artists such as Chris “Daze” Ellis, who rented a studio space from Richard from 1983- Richard Hambleton’s early public work included 1988. -
In the 1980S, a Group of Artists, Musicians and Free Thinkers Formed
Words Andy Thomas In 1986, if you walked east along discussions. They overlooked Rivington Street, in New York’s Lower everything that was not strictly for East Side, you would be confronted profit and tried to pretend it didn’t by a hulk of metal that twisted into exist,” says Kantor. “While highbrow the air like a giant spider hauling museum scholars wrote their essays itself from the earth. It was welded on auction winners, bestsellers and together, over many dope-fuelled gallery favourites, we had parties in nights, by a collection of artists, abandoned buildings and empty lots.” musicians and outsiders known Although critics and cultural as the Rivington School, who had historians overlooked the Rivington salvaged the abandoned cars and School, it was an important strand scrap metal that littered their to 1980s New York art. “It might neighbourhood. They christened sound contradictory, but the it the Rivington Sculpture Garden. Rivington School was not part A year later it was bulldozed by the of the downtown art scene,” says city, eager to capitalise on the area’s Kantor. “The downtown art scene property boom – which in turn was mostly meant the East Village driven by the art scene at the end of wannabe galleries and nightclubs, the street, where artists such as Keith seeking recognition and money, Haring and Jean-Michel Basquiat dominated by fashion and cheap were gaining international glamour. The Rivington School recognition. Visit the corner of was a guerrilla-style art community Rivington and Forsyth today and camping in the ruins of a remote you’ll find luxury condos, built in area in the Lower East Side.” 1988, worth millions of dollars. -
Recognized Stature: Protecting Street Art As Cultural Property
Chicago-Kent Journal of Intellectual Property Volume 12 Issue 2 Article 2 7-1-2013 Recognized Stature: Protecting Street Art as Cultural Property Griffin M. Barnett Follow this and additional works at: https://scholarship.kentlaw.iit.edu/ckjip Part of the Intellectual Property Law Commons Recommended Citation Griffin M. Barnett, Recognized Stature: Protecting Street Art as Cultural Property, 12 Chi. -Kent J. Intell. Prop. 204 (2013). Available at: https://scholarship.kentlaw.iit.edu/ckjip/vol12/iss2/2 This Article is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Journal of Intellectual Property by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. RECOGNIZED STATURE: PROTECTING STREET ART AS CULTURAL PROPERTY Griffin M. Barnett INTRODUCTION I was very embarrassed when my canvases began to fetch high prices, I saw myself condemned to a future of painting nothing but masterpieces. —Henri Matisse1 Copyright © 2013, Griffin Barnett; Chicago-Kent College of Law. Associate, Silverberg, Goldman & Bikoff, LLP, Washington, DC. The author holds a JD, cum laude, from American University Washington College of Law and a BA in International Studies from Johns Hopkins University. The author would like to thank his family and friends for their unwavering love and support, and Professor Joshua J. Kaufman for providing the impetus for writing this Article. ** Photograph provided by Fine Art Auctions Miami. 1 Frequently asked questions, BANKSY, http://web.archive.org/web/2013062716574 1/http://www.banksy.co.uk/QA/qaa.html (accessed by searching http://www.banksy.co.