FRED SANDBACK Born 1943 in Bronxville, New York
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Galerie Thomas Spring 2021
SPRING 20 21 GALERIE THOMAS All works are for sale. Prices upon requesT. We refer To our sales and delivery condiTions. Dimensions: heighT by widTh by depTh. © Galerie Thomas 20 21 © VG Bild-KunsT, Bonn 20 21: Josef Albers, Hans Arp, STephan Balkenhol, Marc Chagall, Serge Charchoune, Tony Cragg, Jim Dine, OTTo Dix, Max ErnsT, HelmuT Federle, GünTher Förg, Sam Francis, RupprechT Geiger, GünTer Haese, Paul Jenkins, Yves Klein, Wifredo Lam, Fernand Léger, Roy LichTensTein, Markus LüperTz, Adolf LuTher, Marino Marini, François MorelleT, Gabriele MünTer, Louise Nevelson, Hermann NiTsch, Georg Karl Pfahler, Jaume Plensa, Serge Poliakoff, RoberT Rauschenberg, George Rickey, MarTin Spengler, GünTher Uecker, VicTor Vasarely, Bernd Zimmer © Fernando BoTero, 20 21 © Lucio FonTana by SIAE / VG Bild-KunsT, Bonn 20 21 © PeTer Halley, 20 21 © Nachlass Erich Heckel, Hemmenhofen 20 21 © Rebecca Horn / VG Bild-KunsT, Bonn 20 21 © Nachlass Jörg Immendorff 20 21 © Anselm Kiefer 20 21 © Successió Miró / VG Bild-KunsT, Bonn 20 21 © Nay – ElisabeTh Nay-Scheibler, Cologne / VG Bild-KunsT, Bonn 20 21 © STifTung Seebüll Ada und Emil Nolde 20 21 © Nam June Paik EsTaTe 20 21 © PechsTein – Hamburg/Tökendorf / VG Bild-KunsT, Bonn 20 21 © The EsTaTe of Sigmar Polke, Cologne / VG Bild-KunsT, Bonn 20 21 © Marc Quinn 20 21 © Ulrich Rückriem 20 21 © Succession Picasso / VG Bild-KunsT, Bonn 20 21 © Simon SchuberT 20 21 © The George and Helen Segal FoundaTion / VG Bild-KunsT, Bonn 20 21 © KaTja STrunz 2021 © The Andy Warhol FoundaTion for The Visual ArTs, Inc. / ArTisTs RighTs SocieTy (ARS), New York 20 21 © The EsTaTe of Tom Wesselmann / VG Bild-KunsT, Bonn 20 21 All oTher works: The arTisTs, Their esTaTes or foundaTions cover: ALEXEJ VON JAWLENSKY PorTraiT of a Girl KEES VAN DONGEN oil on cardboard, painTed on boTh sides – Farmhouse Garden, p. -
Kunstmuseum Liechtenstein
Job Advertisement The Kunstmuseum Liechtenstein (Liechtenstein Museum of Fine Arts), which is organised as a foundation under public law, is the internationally-renowned museum of the Principality of Liechtenstein for the art of the 20th and 21st centuries. Along with several other museums in the heart of the Alps, it is characterised by the specialist profile of its content and its representative function. Since 2015, its offering has been enriched by the collection of the Hilti Art Foundation in an extension building. Starting from 1st July 2021, we are seeking a new Director at the Kunstmuseum Liechtenstein to succeed the current post holder, who is retiring. Director (m/f) We offer a committed and innovative individual a challenging remit with many creative possibilities. The profile of the role includes, in particular: ▪ Responsibility for the artistic and commercial management of the museum ▪ Maintenance, expansion and research of the collection ▪ Planning, conceptualisation and implementation of an imaginative and high-quality exhibition and publication programme at the international level ▪ Responsibility for the operation of the museum and its staff What we expect: ▪ A degree in history of art or an advanced level of expertise in modern and contemporary art with proven curatorial experience ▪ Experience and networking in the international museum environment ▪ Strong conceptual, communicative and organisational skills with team-based management experience in the museums sector ▪ Willingness to take up residence in Liechtenstein and to maintain contacts in the Rhine Valley region Please send your application byMarch 9, 2020 to www.jobs.leadershipservices.at Our consultant from Deloitte, Flora Kuras (+43 1 537 00 2536), will be pleased to respond to your questions. -
Berger ENG Einseitig Künstlerisch
„One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945. -
Michael Heizer Selected Bibliography
G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. -
Robert Longo
ROBERT LONGO Born in 1953 in Brooklyn, New York Lives in New York, New York EDUCATION 1975 BFA State University College, Buffalo, New York SELECTED ONE-PERSON EXHIBITIONS 2021 A House Divided, Guild Hall, East Hampton, New York 2020 Storm of Hope, Jeffrey Deitch, Los Angeles 2019 Amerika, Metro Pictures, New York Fugitive Images, Metro Pictures, New York When Heaven and Hell Change Places, Hall Art Foundation | Schloss Derneburg Museum, Germany 2018 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Deichtorhallen Hamburg Them and Us, Metro Pictures, New York Everything Falls Apart, Capitan Petzel, Berlin 2017 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Brooklyn Museum (cat.) Sara Hilden Art Museum, Tampere, Finland (cat.) The Destroyer Cycle, Metro Pictures, New York Let the Frame of Things Disjoint, Thaddaeus Ropac, London (cat.) 2016 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Garage Museum of Contemporary Art, Moscow (cat.) Luminous Discontent, Galerie Thaddaeus Ropac, Paris (cat.) 2015 ‘The Intervention of Zero (After Malevich),’ 1991, Galerie Hans Mayer, Düsseldorf 2014 Gang of Cosmos, Metro Pictures, New York (cat.) Strike the Sun, Petzel Gallery, New York 2013 The Capitol Project, Aldrich Contemporary Art Museum, Ridgefield, Connecticut Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg, Austria 2012 Stand, Capitain Petzel, Berlin (cat.) Men in the Cities: Fifteen Photographs 1980/2012, Schirmer/Mosel Showroom, Munich 2011 God Machines, Galerie Thaddaeus Ropac, Paris (cat.) Mysterious Heart Galería -
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Devotion Woodcut, 1912 Schmidt-Rotluff was one of the founding members ofDie Brücke (The Bridge) in Dresden in 1905, along with Erich Heckel, Ernst Ludwig Kirchner, and Fritz Bleyl, and joined by Emil Nolde and Max Pechstein. The group disbanded in 1913, largely due to their varying styles and independent moves to Berlin, but each remained true to their rejection of European academic painting and conventions in favor of exploring the vitality and directness of non-Western art forms, particularly West African masks and Oceanic art, as well as revitalization of the pre-Renaissance tradition of German woodcuts. Devoción Xilografía, 1912 Schmidt-Rottluff fue uno de los miembros fundadores de Die Brücke (El puente) en Dresde en 1905, junto con Erich Heckel, Ernst Ludwig Kirchner y Fritz Bleyl, grupo al que se unieron luego Emil Nolde y Max Pechstein. El grupo se disolvió en 1913, en gran parte debido a la evolución de sus estilos y a los traslados individuales de los artistas a Berlín, pero cada uno de ellos permaneció fiel al rechazo de la pintura y las convenciones academicistas europeas, en favor de la exploración de la vitalidad y la franqueza de formas artísticas no occidentales, especialmente las máscaras de África occidental y el arte de Oceanía, así como de la revitalización de la xilografía alemana de tradición prerrenacentista. Museum purchase through the Earle W. Grant Acquisition Fund, 1975.37 KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Head of a Woman Woodcut, 1909 “I know that I have no program, only the unaccountable longing to grasp what I see and feel, and to find the purest means of expressing it.” Studying Japanese techniques of woodcuts, as well as the techniques of Albrecht Dürer, Paul Gauguin, and Edvard Munch, Schmidt-Rottluff produced powerful images, evoking intense psychological states through the flattening of form and retention of traces of roughly hewn wood blocks. -
Newsletter/Fall 2016 the DAS DAS the Decorative Arts Society, Inc
newsletter/fall 2016 Volume 24, Number 2 Decorative Arts Society The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Editor President Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Susan P. Schoelwer Senior Consulting Curator Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and George Washington’s Mount Vernon American Decorative Arts and Sculpture Emeritus Mount Vernon, VA Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Treasurer Stewart G. Rosenblum, Esq. Robert C. Smith Award Committee Coordinator Jeannine Falino, Chair Ruth E. Thaler-Carter Secretary Independent Curator Freelance Writer/Editor Moira Gallagher New York, NY Rochester, NY Research Assistant Metropolitan Museum of Art Lynne Bassett New York, NY Costume and Textile Historian Program Chairperson Dennis Carr Emily Orr Carolyn and Peter Lynch Curator of The DAS Newsletter is a publication Assistant Curator of Modern and American Decorative Arts and of the Decorative Arts Society, Inc. The Contemporary American Design Sculpture purpose of the DAS Newsletter is to serve as Cooper Hewitt, Smithsonian Design Museum of Fine Arts, Boston, MA a forum for communication about research, Museum Boston, MA exhibitions, publications, conferences and New York, NY other activities pertinent to the serious Emily Orr study of international and American deco- Margaret Caldwell Assistant Curator of Modern and rative arts. -
Danh Vō Bà Rja, Vietnam, 1975 Lives and Works in Berlin, Germany
kurimanzutto danh vō Bà Rja, Vietnam, 1975 lives and works in Berlin, Germany education & residencies 2013 Villa Medici Artist Residency, Rome. 2009 Kadist Art Foundation Residency, Paris. 2006 Villa Aurora Artist Residency, Los Angeles. 2002–2004 Städelschule, Frankfurt. 2000–2001 Royal Academy of Fine Arts, Copenhagen. grants & awards 2015 Arken Art Prize, Denmark. 2012 Hugo Boss Prize awarded by the Solomon R. Guggenheim Foundation, United States. 2009 Nominee for the Nationalgalerie Prize for Young Art, Germany. 2007 BlauOrange Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Germany. solo exhibitions 2020 Danh Vo. Wising Art Place Atelier, Taipei, Taiwan. Danh Vo oV hnaD. The National Museum of Art, Osaka, Japan. Danh Vo Presents. The Nivaagaard Collection, Denmark. Chicxulub. White Cube Bermondsey, London. 2019 The Mudam Collection and Pinault Collection in dialogue. Mudam, Luxemburg. Dahn Vo: Untitled. South London Gallery. kurimanzutto To Each his Due. Take Ninagawa, Tokyo. We The People. Media Gallery, New York. Danh Vo. kurimanzutto, Mexico. Danh Vo. Cathedral Block Prayer Stage Gun Stock. Marian Goodman, London. 2018 Garden with Pigeons at Flight. Estancia FEMSA – Casa Luis Barragán, Mexico City. Take My Breath Away. Guggenheim Museum, New York. Noguchi for Danh Vo: counterpoint. M+ Pavilion, West Kowloon, Hong Kong. Take My Breath Away, SMK, Copenhagen. Danh Vo. Musée d’art contemporain de Bordeaux, France. 2017 Ng Teng Fong Roof Garden Commission, National Gallery, Singapore. 2016 We the People. Aspen Art Museum, United States. Ng Teng Fong Roof Garden Commission: Danh Vo. National Gallery Singapore. Danh Vo. White Cube, Hong Kong. 2015 Destierra a los sin rostro / Premia tu gracia (Banish the Faceless / Reward your Grace). -
CURRICULUM VITAE: LESLIE EPSTEIN Married
CURRICULUM VITAE: LESLIE EPSTEIN Married: Ilene Epstein Three children: Anya, Paul, Theo Born: Los Angeles, l938 EDUCATION: BA: Yale College, summa cum laude, 1960 Dip. Anthro. Oxon: Oxford, 1962 MA: Theater Arts, UCLA, 1963 DFA: Yale University (Yale Drama School), 1967 ACADEMIC POSITIONS: Queens College, CUNY, 1965-1978, starting as lecturer, ending as Professor of English Boston University, Director, Graduate Creative Writing Program (and Professor of English), 1978-present Visiting Positions: Lane College, summer, 1964 (a civil rights project) Yale University, creative writing, and honorary fellow, Silliman College, spring, 1972 Groningen University (Holland), Visiting Professor of English and American Literature, 1972/73 (A Fulbright teaching fellowship) John Hopkins University, Department of Writing Seminars, spring, 1977 Various writing workshops and seminars, most notably teaching at The Writers' Community, New York City, 1976; a residency at Yaddho in 1982; three weeks in India, helping to initiate writers' workshops in New Delhi (1992); and a six-week residence at the Rockefeller Institute, Villa Serbelloni, Bellagio, 1994; numerous summer writing conferences. FELLOWSHIPS AND AWARDS: Rhodes Scholarship, Merton College, Oxford, 1960-1962 Samuel Goldwyn Creative Writing Award ($2000) (UCLA), 1963 Lemist Esler Fellowship, Yale Drama School, 1963-65 National Endowment for the Arts Award ($1000 and publication of story), 1969 Playboy Editors Award (non-fiction), 1971 National Endowment for the Arts Fellowship Grant ($5000), 1972 -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M. -
L I B R a I R I E M a R I a N G O O D M
L I B R A I R I E M A R I A N G O O D M A N MULTIPLES INC. Artists & Photographs March 20 – May 22, 2021 Robert Rauschenberg Ger Van Elk Two Reasons Birds Sing, 1979, Conversation Piece from "Missing Persons", 1976 Screenprint on paper, on fabric, on Arches roll A set of two chromogenic prints, mounted on board stock paper Sheet: 23 1/4 x 33 in. (59.1 x 83.8 cm) (each); Image: 30 3/4 x 19 1/2 in. (78.1 x 49.5 cm); Sheet: Frame: 24 1/2 x 31 x 1 1/2 in. (62.2 x 78.7 x 3.8 cm) (each) 30 3/4 x 23 1/8 in. (78.1 x 58.7 cm); Frame: 33 1/2 x Edition of 45 plus 10 artist's proofs 25 3/4 x 1 7/8 in. (85.1 x 65.4 x 4.8 cm) (0158) Edition of 100 (2069) Jan Dibbets Andy Warhol Sea / Land, 1974 Merce Cunningham II, 1979 Set of 2; 5 color photographs, mounted on rag Screenprint on Japanese deacidified imported Florentine paper gift paper Sheet: 29 x 39 in. (73.7 x 99.1 cm) (each); Frame: 31 Plate: 27 1/8 x 18 7/8 in. (68.9 x 47.9 cm); Sheet: 30 x 20 1/2 x 41 5/8 x 1 3/4 in. (80 x 105.7 x in. (76.2 x 50.8 cm) ; Frame: 32 5/8 x 22 3/4 x 1 1/2 in. -
Fred Sandback: Sculpture and Related Work
Fred Sandback: Sculpture and Related Work University of Wyoming Art Museum, 2006 Educational Packet developed for grades K-12 Introduction In this museum visit students will view the work of the artist Fred Sandback (1943 – 2003). These seemingly simplistic works of art created from yarn are, in actuality, based on complex ideas rooted in the thinking of the group of artists know as the minimalists. Using an everyday, mundane material, Sandback set out to create art work that was sculptural, site specific and integrated into the architectural space in which it was located. The placement of his geometric forms, his use of repetition, and his consideration of color all contribute to an art form that challenges the way we think about sculpture and space. Today his wife Amy travels to galleries and museums and, using Sandback’s drawings and notes, continues to construct work based upon the shape of an architectural space. This is the work currently on display in the UW Art Museum. History Beginning in the 1960’s, the Minimalists made and exhibited three-dimensional art that explored Fred Sandback, installation view, University of Wyoming Art geometric theories and mathematical systems, such Museum, courtesy of the University of Wyoming Art Museum as proportion, symmetry, and progression. Their artwork was usually constructed from industrial materials like brick, Plexiglas, plywood and steel. They used these machine made and finished materials so that viewers couldn’t see the artist’s hand in the completed work. They did this in reaction to a group of artists from the 1950’s known as Abstract Expressionists whose works were known for incorporating and conveying intense personal emotion and expression.