March-April 1991 CAA News
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Awards in the Visual Arts 4 ^'^""'Li
Awards in the Visual Arts 4 ^'^""'li. F36 Digitized by the Internet Archive in 2015 https://archive.org/details/awardsinvisualar04sout Awards in the Visual Arts 4 Awards in the Visual Arts 4 an exhibition of works by recipients of the fourth annual Awards in the Visual Arts Bert Brouwer James Croak John Buck Sidney Goodman JoAnne Carson Jon Imber Peter Charles Luis Jimenez Don Cooper Ana Mendieta 11 May through 23 June 1985 Albright' Knox Art Gallery Buffalo, l^ew York 2 August through 29 September 1985 Southeastern Center for Contemporary Art Winston-Salem, North Carolina 12 December 1985 through 26 January 1986 Institute of Contemporary Art University of Pennsylvania Philadelphia, Pennsylvania 6 Published by the Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, on the occasion of the "Awards in the Visual Arts 4" exhibition which was organized by the Southeastern Center for Contemporary Art. Library of Congress Catalog Card Number: 84-50289 ISBN: 0-9611560-1-5 Copyright 1985 by the Southeastern Center for Contemporary Art, 750 Marguerite Drive, P.O. Box 11927, Winston-Salem, North Carolina 27116-1927. All rights reserved. Catalogue design: Lee Hansley Printing: Wooten Printing Company, Inc. Price: $10 The Awards in the Visual Arts Program is funded by The Equitable Life Assurance Society of the United States, New York, New York; The Rockefeller Foundation, New York, New York; and the National Endowment for the Arts, federal agency, Washington, D.C. The program is administered by the Southeastern Center for Contemporary -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
“Summer of '82” Curated by Dan Cameron June 5 – July 5, 2019
“Summer of ’82” Curated by Dan Cameron June 5 – July 5, 2019 Buster Cleveland Arch Connelly Jane Dickson Luis Frangella Judy Glantzman Becky Howland Stephen Lack Lee Quiñones David Sandlin Hope Sandrow Kenny Scharf Russell Sharon Tabboo! Tseng Kwong Chi Tom Warren David Wojnarowicz Martin Wong Summer of ’82 looks at the work of seventeen artists who were all active in the emergent Lower Manhattan art scene during the early 1980s, with a particular focus on work produced during the year 1982. Rather than serve as an overview of early 1980’s stylistics, the premise of the exhibition is to consider the emergence of a new bohemian generation at a moment when Fun Gallery had opened the year before on East 10th Street, followed by Gracie Mansion Gallery and Nature Morte. Looking back, the summer of ’82 was the moment that gave birth to both Details Magazine and Heresies’ Collective’s Racism issue, to Keith Haring and Jean-Michel Basquiat. The sounds of that summer were ESG, Blondie, Michael Jackson’s Thriller, Soft Cell’s Tainted Love, Laurie Anderson’s O Superman, and Grandmaster Flash’s The Message. It was the summer of ET, Rambo, and Bladerunner, not to mention the heyday of Rene Ricard, Tehching Hsieh and Art on the Beach. 1982 gave us the finest wine vintages in a generation and the greatest World Cup of living memory. We saw Rudi Fuchs’ Documenta, Valentino’s ‘retrospective’ at the Met, watched England sink Argentina’s ‘Belgrano,’ applauded as the Joyce Theater re-opened, partied at Danceteria, Studio 54, the Mudd Club, and Peppermint Lounge, and gave money to the first fundraiser for the Gay Men’s Health Crisis, hosted by Larry Kramer. -
Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso. -
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. -
Normal Editions Workshop Newsletter, 2009 School of Art Illinois State University, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ISU ReD: Research and eData Illinois State University ISU ReD: Research and eData Normal Editions Workshop Newsletter Art 2009 Normal Editions Workshop Newsletter, 2009 School of Art Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/new Part of the Art and Design Commons Recommended Citation School of Art, "Normal Editions Workshop Newsletter, 2009" (2009). Normal Editions Workshop Newsletter. 19. https://ir.library.illinoisstate.edu/new/19 This Book is brought to you for free and open access by the Art at ISU ReD: Research and eData. It has been accepted for inclusion in Normal Editions Workshop Newsletter by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. NORMAL EDITIONS WORKSHOP Richard Finch, Director and Professor of Art Veda Rives, Associate Director SCHOOL OF ART COLLEGE OF FINE ARTS ILLINOIS STATE UNIVERSITY celebrating over years 30 Center for the Visual Arts Box 5620 Normal, IL 61790-5620 PHONE: 309-438-7530 FAX: 309-438-2215 WEB: http://www.cfa.ilstu.edu/normal_editions/ E-MAIL: [email protected] [email protected] [email protected] FALL 2009 NUMBER 18 Nemean Lion by Rudy Pozzatti The Great Boar by Rudy Pozzatti one-color lithograph, 23 ⅝" x 34 ½ ", 2009 Stymphalian Birds by Rudy Pozzatti one-color lithograph, 25 ⅝" x 33 ¾", 2009 MOMA Library Adds NEW Book one-color lithograph, 25 ⅝" x 33 ¾", 2009 2009 Contract Printi ng Milan Hughston, Chief of Library and grant to NEW for the fi scal year 2010. -
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. -
Sidney Goodman
SIDNEY GOODMAN EDUCATION Philadelphia College of Art (now University of the Arts), 1954-58 TEACHING Philadelphia College of Art, 1960-78 Pennsylvania Academy of the Fine Arts, 1979 – Present AWARDS AND APPOINTMENTS 1999 Vermont Studio School, Visiting Professor 1998 National Academy of Design, New York, New York, Member East Carolina University, Greenville, Visiting Professor 1996 Art Institute of Boston, Honorary Degree 1991 University of Georgia, Athens, Lamar Dodd Professorial Chair 1987 University of California, Davis, Distinguished Visiting Professor East Carolina University, Greenville, Visiting Professor 1986 Hazlett Memorial Award for Excellence in the Arts: Painting 1985 Southeastern Center for Contemporary Art, Winston-Salem North Carolina, Award in the Visual Arts 1985 Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1979 University of Houston, Visting Artist 1975 The Butler Institute of American Art, Youngstown, Ohio, 39th Annual Midyear Exhibition, First Prize 1974 National Endowment for the Arts Fellowship 1974 The Fellowship of the Pennsylvania Academy of the Fine Arts, Percy M. Owens Memorial for a Distinguished Pennsylvania Artist 1971 Philadelphia College of Art, The Alumni Award 1971 National Academy of Design, New York, First Prize in Painting 1964 John Simon Guggenheim Memorial Foundation Fellowship 1962 Ford Foundation Purchase 1961 Whitney Museum of American Art, New York, Neysa McMein Purchase Award 1961 The Print Club, Philadelphia, Margret Boericke Prize 1958 Philadelphia College of Art, Gimbel Prize in Painting 1957 Yale-Norfolk Fellowship PERMANENT COLLECTIONS Museum of Modern Art, New York, NY Metropolitan Museum of Art, New York, NY Whitney Museum of American Art, New York, NY Hirshhorn Museum and Sculpture Garden, Washington, D.C. -
DAVID WOJNAROWICZ (1954–1992) B
DAVID WOJNAROWICZ (1954–1992) b. 1954, Red Bank, NJ d. 1992, New York, NY SOLO EXHIBITIONS 2020 I is Someone Else, Morán Morán, Los Angeles CA David Wojnarowicz, Photography & Film, Morris and Helen Belkin Art Gallery, Vancouver, BC 2019 History Keeps Me Awake at Night, Museum Reina Sofia, Madrid David Wojnarowicz, Photography & Film, Kunst-Werke Institute for Contemporary Art, Berlin 2018 History Keeps Me Awake at Night, The Whitney Museum of American Art, New York, NY Soon All This Will be Picturesque Ruins: The Installations of David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Video and Photography, KW Institute for Contemporary Art, Berlin, Germany. David Wojnarowicz: Flesh of My Flesh, Iceberg Projects, Chicago, IL 2016 Raging Through: The Art of David Wojnarowicz, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2011 Spirituality, P·P·O·W, New York, NY 2009 David Wojnarowicz, Supportico Lopez, Berlin, Germany 2006 Rimbaud in New York, CABINET, London, England David Wojnarowicz, Between Bridges, London, England 2004 Out of Silence: Artworks with Original Text by David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Rimbaud in New York, Roth Horowitz Gallery, New York, NY Close Up sur David Wojnarowicz, Forum des Halles Espace Rencontres, Paris, France 2001 Featured Works VI: David Wojnarowicz: The Elements, Fire and Water, Earth and Wind, Krannert Art Museum, University of Illinois, Urbana-Champaign, IL 1999 Fever: The Art of David Wojnarowicz, New Museum, New York, NY David Wojnarowicz: The Boys Go Off -
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. -
Luis Frangella / David Wojnarowicz
HAL BROMM GALLERY contact: Priya Parthasarathy 90 West Broadway at Chambers Street 212-732-6196 Tribeca New York 10007 [email protected] For Immediate Release: September 5, 2018 DESDE NEW YORK: LUIS FRANGELLA / DAVID WOJNAROWICZ 5 September - 21 December 2018 EXHIBITION FEATURING WORKS OF FRANGELLA AND WOJNAROWICZ, GAY ARTISTS AND LEADING FIGURES IN THE 1980s EAST VILLAGE ART SCENE, TO OPEN WEDNESDAY, 5 SEPTEMBER AT HAL BROMM GALLERY TRIBECA Luis Frangella and David Wojnarowicz, two artists with long histories at Hal Bromm Gallery, will be the subjects of a joint exhibition, DESDE NEW YORK: LUIS FRANGELLA / DAVID WOJNAROWICZ. The exhibition explains how the synergy of these two artists and their circle of friends influenced the 1980s contemporary art world. As artistic collaborators and close friends, Frangella and Wojnarowicz shared a unique relationship as mentor and protégé. Both artists died tragically of AIDS in the early nineties, but left rich bodies of work as a testament to their lives. Today the dialogue between their works transcends geographical, political and cultural boundaries and allows us to revisit the creative forces whose lives were extinguished by the still ongoing AIDS crisis. DESDE NEW YORK: LUIS FRANGELLA / DAVID WOJNAROWICZ is presented in collaboration with HIV Arts Network, a NYC-based non-profit providing free support services to individuals in the arts community living with and affected by HIV/AIDS. During the exhibition, HIV Arts Network will host a series of panel discussions at the gallery exploring the intersections of the HIV/AIDS epidemic, the 1980s contemporary art scene and the gay political landscape through the lives of Frangella and Wojnarowicz. -
From the Church of Disco to Waterfront Ruins: an Analysis of Gay Space
Bard College Bard Digital Commons Senior Projects Spring 2019 Bard Undergraduate Senior Projects Spring 2019 From the Church of Disco to Waterfront Ruins: An Analysis of Gay Space Liam Nolan Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2019 Part of the Architectural History and Criticism Commons, Historic Preservation and Conservation Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other American Studies Commons, Other Architecture Commons, Other History of Art, Architecture, and Archaeology Commons, and the Urban, Community and Regional Planning Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Nolan, Liam, "From the Church of Disco to Waterfront Ruins: An Analysis of Gay Space" (2019). Senior Projects Spring 2019. 1. https://digitalcommons.bard.edu/senproj_s2019/1 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. From the Church of Disco to Waterfront Ruins: An Analysis of Gay Space Senior Project Submitted to The Division of the Arts of Bard College by Liam Nolan Annandale-on-Hudson, New York May 2019 Acknowledgments Laurie, I couldn't do this without you.