Neil Jenney Biography
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Plimack Mangold Selected Biography
1 2021 SYLVIA PLIMACK MANGOLD SELECTED BIOGRAPHY 1938 Born in New York 1956-1959 Cooper Union, New York 1959-1961 BFA, Yale University, New Haven, CT The artist lives and works in Washingtonville, NY AWARDS 1974 National Endowment for the Arts Fellowship 2006 Edwin P. Palmer Memorial Prize, National Academy Museum, New York 2009 William A. Paton Prize, National Academy Museum, New York Cooper Union President's Citation for Art, New York ONE-PERSON EXHIBITIONS 2021 Sylvia Plimack Mangold: The Pin Oak, 1985-2015, Krakow Witkin Gallery, Boston 2018 Sylvia Plimack Mangold: Winter Trees, Brooke Alexander, New York 2017 Summer and Winter, Alexander and Bonin, New York 2016 Sylvia Plimack Mangold: Floors and Rulers, 1967-76, Craig F. Starr Gallery, New York 2012-2013 Sylvia Plimack Mangold: Landscape and Trees, Norton Museum of Art, West Palm Beach, FL 2012 Recent Works, Alexander and Bonin, New York 2007 Sylvia Plimack Mangold, Alexander and Bonin, New York; Annemarie Verna Galerie, Zürich 2003 Sylvia Plimack Mangold: recent paintings and watercolors, Alexander and Bonin, New York 2000 Sylvia Plimack Mangold, Alexander and Bonin, New York 1999 Sylvia Plimack Mangold: Trees, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY 1997 New Paintings and Watercolors, Annemarie Verna Galerie, Zürich 1995 Sylvia Plimack Mangold, Paintings, 1990-1995, Brooke Alexander, New York 1994-1996 The Paintings of Sylvia Plimack Mangold, Albright-Knox Art Gallery, Buffalo, NY; Wadsworth Atheneum, Hartford, CT; Blaffer Art Museum, University of Houston; -
A Finding Aid to the Lucy R. Lippard Papers, 1930S-2007, Bulk 1960-1990
A Finding Aid to the Lucy R. Lippard Papers, 1930s-2007, bulk 1960s-1990, in the Archives of American Art Stephanie L. Ashley and Catherine S. Gaines Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 May Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1960s-circa 1980s........................................ 6 Series 2: Correspondence, 1950s-2006.................................................................. 7 Series 3: Writings, 1930s-1990s........................................................................... -
In a Different Light Curated by Lawrence Rinder and Nayland Blake
In a Different Light Curated by Lawrence Rinder and Nayland Blake An Exhibition at the University of California, Berkeley Art Museum and Pacific Film Archive January 11–April 9, 1995 bampfa.berkeley.edu Curating In a Different Light by Nayland Blake In 1991, I organized an exhibition with Pam Gregg for San Francisco's New Langton Arts called "Situation." It was a gathering of works by over thirty young gay and lesbian artists. For the most part these were artists whom I regarded as my peers, and the exhibition was conceived of as the third in a series of exhibitions, the Bay Area's contribution to a discussion that had included "Against Nature" in Los Angeles and "Erotophobia" in New York (The organizers of those exhibitions discuss their experiences and conclusions on pages 45-71 in this book.). When "Situation" was installed and had had its opening, I felt a sense of disappointment, not with the selection of artists or with the individual works, but with the entire emotional tone of the event. "Situation" felt more like an ending than a beginning. The two previous exhibitions had opened people's eyes to a new type of activity. "Situation" documented the fact that that activity had established itself in the art world and had found its voice. While that was good news, it was difficult to see where to go next, both in terms of a gay and lesbian dialogue, and my own curatorial practice. Thus, when Larry Rinder approached me about this exhibition, I reacted to the idea with a low level of interest if not outright hostility. -
Barbara-Zucker-CV-1.Pdf
Barbara Zucker Born, Philadelphia, PA. Lives and works in Burlington,Vermont, and New York, New York. Studio: 444 S. Union St. Burlington, Vermont 05401 802 863 8513 Fax: 802 864 5841 email: [email protected] Education University of Michigan, BS in Design Hunter College, MA Cranbrook Academy of Art Selected One Person Exhibitions Barbara Zucker: Time Signatures, The Gershman Y, Phila., Pa. 2007 Time Signatures: Tufts University, Mass., 2005 Universal Lines: Homage to Lilian Baker Carlisle and Other Women of Distinction”; Amy Tarrant Gallery, The Flynn Center for the Performing Arts, Burlington, Vt., 2001 Robert Hull Fleming Museum, Burlington, VT, 1998, 1980 One Great Jones Gallery, NYC, 1997 Paley Gallery, Moore College of Art, Phila., PA, 1996 (catalog) “For Beauty’s Sake,” Artists’ Space, NYC, 1994 Haeneh Kent Gallery, NYC, 1990 Webb and Parsons, Burlington, VT, 1989, 1991 Benjamin Mangel Gallery, Phila., PA, 1989 The Sculpture Center, NYC, April, 1989 Pam Adler Gallery, NYC, 1983, 1885 Swarthmore College, PA, 1983 Fine Arts Center, University of Massachusetts, Amherst, 1982 Joselyn Art Museum, Omaha, Nebraska, 1981 Robert Hull Fleming Museum, Burlington, VT, 1981 Robert Miller Gallery, NYC, 1978, 1980 Pennsylvania Academy of Fine Art, 1980 Marion Deson Gallery, Chicago, 1979, 1985 112 Greene Street Gallery, NYC, 1976 A.I.R. Gallery, NYC, 1972, 1974 Rutgers University, Douglass College, New Brunswick, NJ, 1973 Selected Group Exhibitions ‘Radical Lace and Subversive Knitting”, The Museum of Arts and Design, New York, 2007 “From the Inside Out: Feminist Art Then and Now”, New York, 2007 Winter Salon , Lesley Heller Gallery, December, New York, 2006 “Selfish“, curated by Lori Waxman, 128 Rivington, New York, 2004 Reading Between the Lines”, curated by Joyce Kozloff; Wooster Arts Space, New York, 2003 “Drawing Conclusions: Work by Artists Critics”, curated by Judith Collishan, New York Arts, New York, 2003 “The Art of Aging”, Hebrew Union College Museum, New York, 2003-2004; traveling exhibition, through 2006. -
Download Artist's CV
Vija Celmins 1938 Born in Riga, Latvia 1962 Graduated from John Herron School of Art, Indianapolis, B.F.A. 1962 Graduated from University of California, Los Angeles, M.F.A. Selected One-Person Exhibitions 2020 Vija Celmins: To Fix the Image in Memory, The Met Breuer, New York, NY 2019 Ocean Prints, Matthew Marks Gallery, New York 2018 Matthew Marks Gallery, Los Angeles ARTIST ROOMS: Vija Celmins, The New Art Gallery Walsall, United Kingdom To Fix the Image in Memory, San Francisco Museum of Modern Art. Traveling to Art Gallery of Ontario, Toronto; and The Met Breuer, New York (catalogue) 2017 Matthew Marks Gallery, New York (catalogue) Selected Prints, The Drawing Room, East Hampton, NY 2015 Secession, Vienna (catalogue) Selected Prints, Gemini G.E.L. at Joni Moisant Weyl Project Space, New York National Centre for Craft and Design, Sleaford, United Kingdom 2014 Intense Realism, Saint Louis Art Museum Double Reality, Latvian National Art Museum, Riga (catalogue) 2012 Artist Rooms: Vija Celmins, Tate Britain, London. Traveled to National Centre for Craft & Design, Sleaford, United Kingdom 2011 Prints and Works on Paper, Senior and Shopmaker Gallery, New York Desert, Sea, and Stars, Ludwig Museum, Cologne. Traveled to Louisiana Museum, Humlebaek, Denmark (catalogue) 2010 New Paintings, Objects, and Prints, McKee Gallery, New York Television and Disaster, 1964–1966, Menil Collection, Houston. Traveled to Los Angeles County Museum of Art (catalogue) 2006 Drawings, Centre Pompidou, Paris. Traveled to Hammer Museum, Los Angeles (catalogue) 2003 Prints, Herron School of Art, Indianapolis The Paradise [15] , Douglas Hyde Gallery, Trinity College, Dublin 2002 Works from The Edward R. -
Fringe Natalie Baxter, Cynthia Carlson, Max Colby, Pamela Council, Amir H
Fringe Natalie Baxter, Cynthia Carlson, Max Colby, Pamela Council, Amir H. Fallah, Valerie Jaudon, Future Retrieval, Justine Hill, Judy Ledgerwood, Ree Morton, Josie Love Roebuck, Amanda Valdez July 8 - August 20, 2021 Denny Dimin Gallery is pleased to announce Fringe, a group exhibition featuring twelve artists at the gallery’s New York location, on view from July 8th to August 20th, 2021. Fringe was inspired by recent exhibitions of the Pattern and Decoration (P & D) art movement from the 1970s and its resonance and resurgence with many contemporary artists. The movement’s privileging of materials such as textiles and ceramics, its promotion of female artists and its interest in domestic space as a place for creativity, all connect it strongly to the concerns of contemporary artists half a century later. P & D exalted the artists, mediums, cultures, and aesthetics the then current artworld snubbed. It sought out what was on the periphery, on the fringe of mainstream and turned it on its head. The references to fabric design, quilting, stained glass, manuscripts, textiles, pottery, mosaics, embroidery and most non-Western Art, continue to proliferate in the works of contemporary artists and upend traditional art historical narratives. In her essay introducing a seminal exhibition on P & D, Anna Katz points out that it is not wholly satisfying to declare it an anti-minimalist movement, as there were many formal connections, such as an interest in architecture and in repetition and the grid. What was significantly challenged was instead the hierarchies of importance assigned to fine art over decorative art, and the significant codification of this in institutional and academic settings. -
Let Us Celebrate While Youth Lingers and Ideas Flow a R C H I V E S 1915–2015
EXHIBIT LET US CELEBRATE WHILE YOUTH LINGERS AND IDEAS FLOW A R C H I V E S 1915–2015 NOVEMBER 14 TO DECEMBER 20 2015 THE RENAISSANCE SOCIETY AT THE UNIVERSITY OF CHICAGO 1 Gray Center Lab, Midway Studios 929 East 60th Street —Archival materials, 1915–2015. E 57th St e e ve ve —Auder, Michel. Endless Column, 2011. Av Av A y s —Fish, Julia. Key, 1981. wn A rove ersit S Elli iv odla —Gerber, Gaylen. Backdrop/Let Us Celebrate While Youth e G ag Wo S Un S Lingers and Ideas Flow: Archives 1915–2015, 2015. Cott S —Graham, Rodney. School of Velocity and Parsifal University of Chicago notebook sketches, 1995. 4 Main Quad —Ito, Miyoko. Island in the Sun, 1978. 3 —Pope.L, William. Well, 2015. E 59th St 2 —Sone, Yutaka. Untitled (Snowballs), 2006. —Grid section, 1967–2014. Midway Plaisance 2 Wieboldt Hall, Room 205 Midway Plaisance 1050 East 59th Street E 60th St —Archival materials, 1930–1938. —Gonzalez-Torres, Felix. “Untitled” (Revenge), 1991. 1 Logan Center —Mirra, Helen. Schlafbau, 1995. for the Arts 3 Goodspeed Hall, Room 106 1010 East 59th Street —Archival materials, 1938–1979. —Gonzalez-Torres, Felix. “Untitled” (Revenge), 1991. 4 The Renaissance Society Cobb Hall, Fourth Floor Open hours 5811 South Ellis Avenue Tuesday–Friday, 10am–5pm —Detail of Raymond Pettibon wall mural, 1998. Saturday–Sunday, 12–5pm —Gonzalez-Torres, Felix. “Untitled” (Revenge), 1991. Closed November 26–27, 2015 Introduction I want to extend a warm thanks to curator Jordan Stein who organized this project with thoughtfulness and care. In June of 1915, eleven University of Chicago faculty We are greatly appreciative to the participating artists members invited their colleagues to join them for a and lenders for their generosity; to the Richard and Mary L. -
Collected Writings
THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) . -
Annual Report 5 4 Our Year in Review
ANNUAL REPORT 5 4 OUR YEAR IN REVIEW 16 NEW ACQUISITIONS 72 OPERATING REVENUE & EXPENSES 73 STATEMENT OF FINANCIAL POSITION 74 INDIVIDUAL DONORS 78 THE JAMES SACHS PLAUT SOCIETY 82 CORPORATE DONORS 84 GOVERNMENT AND FOUNDATIONS 85 BOARDS OF TRUSTEES & OVERSEERS 87 STAFF 91 EXHIBITIONS 92 PERFORMANCE 94 PROGRAMS Front COVER: Sheila Hicks, Banisteriopsis II (detail), 1965–66/2010. Wool and linen, dimensions variable. The Institute of Contemporary Art/Boston, gift of the artist in honor of Jenelle Porter. Photo by Charles Mayer. © Sheila Hicks ABOVE: Elsi Giauque, Élément spatial (Spatial Element), 1979. Linen, silk, wool, and metal, twenty frames, each 35 3⁄8 x 37 3⁄8 x 1⁄4 inches. Mudac–Musée de design et d’arts appliqués contemporains, Lausanne, Switzerland. Photo by John Kennard. 2 3 OUR YEAR IN REVIEW We open our 2015 Annual Report with the programs, the ICA connected audiences of all ICA’s mission: “to share the pleasures of ages with art and artists all year round. Our reflection, inspiration, provocation, and imagi- award-winning Teen Programs are at capacity nation that contemporary art offers through and now award school credit to Boston Public public access to art, artists, and the creative School students who participate in many of our process.” This language of exchange and Teen New Media courses. Our family programs reciprocity is common rhetoric in today’s shar- offer Play Dates, Books and Looks storytell- ing economy, and these themes resonated ing, Gallery Games, and Vacation Week throughout our year, permeating the museum programs for parents and children to experi- and our community. -
Press Release
Press Release For Immediate Release Bruce Museum honors Art World Visionaries at Seventh Annual Icon Awards in the Arts Wednesday, April 20, 2016 Icon Awards. Photo by Elaine Ubiña GREENWICH, CT. March 31, 2016 – The Bruce Museum will recognize the accomplishments and contributions of nine distinguished figures in the art world at the Museum’s seventh annual Icon Awards in the Arts benefit on Wednesday, April 20. The honorees include accomplished individuals in six categories: Artists, Museum Professionals, Art Historians, Patrons of the Arts, Art Collectors, and Leaders of the Art Trade. This year’s honorees include internationally acclaimed artist Neil Jenney. Represented by Gagosian Galleries, his work can be found in collections and major museum exhibitions around the world. The renowned museum professional Richard Armstrong, who has led the Guggenheim to new levels of excellence, is also amongst the honorees. Lucy Freeman Sandler, a medievalist and Irving Sandler, an art critic and historian, both professors whose numerous publications are seen as references in their fields, will be honored as art historians. In addition, awards will go to Bruce Museum patron Alice Pack Melly of Greenwich, passionate collectors Sherry and Joel Mallin, as well as highly regarded art dealers Lucy Mitchell-Innes and David Nash. “We are delighted to recognize these thought-leaders from the art world who help to enrich all of our cultural lives,” says Peter C. Sutton, The Susan E.Lynch Executive Director of the Bruce Museum. Page 1 of 5 Press Release Proceeds from the Bruce Museum Icon Awards 2016 benefit exhibitions and educational programs at the Bruce Museum of Greenwich, Connecticut. -
Immaterial Objects
Immaterial Objects Digitized by the Internet Archive in 2013 http://archive.org/details/innnnaterialobject11rich Immaterial Objects Immaterial Objects Works from the Permanent Collection of the Whitney Museum of American Art New York Richard Marshall This exhibition and catalogue are supported by the Whitney Museum of American Art, Downtown at Federal Reserve Plaza, funded by a partnership of Park Tower Realty and IBM, the developers of Federal Reserve Plaza; the Whitney Museum of American Art at Equitable Center, funded by The Equitable; the Whitney Museum of American Art at Philip Morris, funded by Philip Morris Companies Inc.; and the Whitney Museum of American Art at Champion, funded by Champion International Corporation. Exhibition Schedule Whitney Museum of American Art Downtown at Federal Reserve Plaza, New York September 1 1-November 22, 1991 Whitney Museum of American Art at Equitable Center, New York September 10-December 28, 1991 Whitney Museum of American Art at Philip Morris, New York September 14-November 16, 1991 Whitney Museum of American Art at Champion, Stamford, Connecticut February 7-April 8, 1992 © 1991 Whitney Museum of American Art Contents Foreword David A. Ross 6 Introduction Richard Marshall 1 l//foAcconci 12 Car/ Andre 18 Larry BeW 24 /We/Bochner 30 Jonathan Borofsky 36 Dan Flavin 42 Eva Hesse 48 Robe^t\r^N\n 54 Barry Ley 3i 60 So/LeWitt 66 /Wa/yLucier 72 Ree Morton 78 Bruce Nauman 84 Dennis Oppenheim 90 Juc/K Waff 96 /1/anSaret 102 Richard Serra 108 /Ce/Y/i Sonnier 114 George Sugarman 120 James Turrell 126 /?/c/jard Tuttle 132 Works in the Exhibition 138 Foreword David A. -
EXHIBITIONS at 583 BROADWAY Linda Burgess Helen Oji Bruce Charlesworth James Poag Michael Cook Katherine Porter Languag�
The New Museum of Contemporary Art New York TenthAnniversary 1977-1987 Library of Congress Calalogue Card Number: 87-42690 Copyright© 1987 The New Museum of Contemporary Art, New York. All Rights Reserved ISBN 0-915557-57-6 Plato's Cave, Remo Campopiano DESIGN: Victor Weaver, Ron Puhalsk.i'&? Associates, Inc. PRINTING: Prevton Offset Printing, Inc. INK: Harvey Brice, Superior Ink. PAPER: Sam Jablow, Marquardt and Co. 3 2 FROM THE PRESIDENT FROM THE DIRECTOR When Marcia Tu cker,our director,founded The New Museum of Contemporary Art, what were Perhaps the most important question The New Museum posed for itself at the beginning, ten the gambler's odds that it would live to celebrate its decennial? I think your average horse player would years ago, was "how can this museum be different?" In the ten years since, the answer to that question have made it a thirty-to-one shot. Marcia herself will, no doubt, dispute that statement, saying that it has changed, although the question has not. In 1977, contemporary art was altogether out of favor, and was the right idea at the right time in the right place, destined to succe�d. In any case, it did. And here it most of the major museums in the country had all but ceased innovative programming in that area. It is having its Te nth Anniversary. was a time when alternative spaces and institutes of contemporary art flourished: without them, the art And what are the odds that by now it would have its own premises, including capacious, of our own time might have.remained invisible in the not-for-profitcultural arena.