Carol Wax Resume
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A Finding Aid to the Philip Pearlstein Papers, Circa 1940-2008, in the Archives of American Art
A Finding Aid to the Philip Pearlstein Papers, circa 1940-2008, in the Archives of American Art Sarah Mundy and Megan McShea 2018/02/13 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..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, 1964-2008............................................................. 6 Series 2: Correspondence, circa 1955-2008............................................................ 8 Series 3: Interview and Transcripts, 1957-2003..................................................... 38 Series 4: Writing Projects and Lectures, circa -
EMMA AMOS B. 1937 Atlanta, GA D. 2020 Bedford, NH Education 1966
EMMA AMOS b. 1937 Atlanta, GA d. 2020 Bedford, NH Education 1966 MA, New York University 1959 BA, London Central School of Art 1958 BA, Antioch University Solo Exhibitions 2021 Color Odyssey: Emma Amos, Georgia Museum of Art, Athens, traveling to the Munson-Williams-Proctor Arts Institute, NY, US and the Philadelphia Museum of Art, PA, US 2020 Falling Figures, RYAN LEE, New York, US 2017 Black Bodies, RYAN LEE, New York, US 2016 True Colors, RYAN LEE, Paintings of the 1980s, New York, US Valued, RLWindow, RYAN LEE, New York, US 2010 Emma Amos, Flomenhaft Gallery, New York, US 2009 Emma Amos, Lamont Gallery, Phillips Exeter Academy, Exeter, New Hampshire, US 2008 Head First, Flomenhaft Gallery, New York, US 2006 Paintings and Prints, Flomenhaft Gallery, New York, US 2005 Works on Paper, Middle Collegiate Church, New York, US Emma Amos: Paintings and Prints, 1983-2003, Antioche College, Yellow Springs, OH, US 2004 Print Retrospective, K. Caraccio Printmaking Studio, New York, US Emma Amos: Paintings and Works on Paper, Herndon Galleries, Antioch University, Yellow Springs, Ohio, US Works on Paper, The National Afro-American Museum and Cultural Center, Wilberforce, Ohio, US 2002 Retrospective, Art Resources Transfer (A.R.T.), New to New York, New York, US Recent work in printmaking, Brandywine Workshop, Philadelphia, US 1999 Seeing an Overview, Franklin & Marshall College, Lancaster, US Deutsch-Amerikanischen Zentrum, James F. Byrnes Institut, Stuttgart, DE A Coloring Lesson, Walter Bischoff Galleries, New York, US Emma Amos & Builder Levy, -
FALL 2015.Indd
The Print Club of New York Inc Fall 2015 As a member of the Club, I have found the frequent President’s Greeting artist talks and studio visits to be particular highlights. Kimberly Henrikson There is nothing quite like having the opportunity to hear directly from an artist what it took to make something. It’s ello and welcome to a new membership year always a labor of love and builds upon years of experi- with the Print Club of New York. Returning ence. I also really love the opening night of the IFPDA H members may notice a name change in this Print Fair. Walking into that massive drill hall jam-packed space as this is my first President’s Greeting. My with print makers, collectors, dealers, and other print term began July 1, when I succeeded Mona Rubin, who enthusiasts is such an amazing experience. It’s one of the expertly and gracefully filled the role before me. In the few places where I can be sure that any conversation past few months I have learned so much about prints will not require an explanation of about the Print Club and continue to as Mona “What exactly is a print — like, a poster?” remains committed to sharing her experience And this is the appeal of being involved with and knowledge so that I can continue steer- the Print Club of New York these past 7 years. ing our ship as she so effortlessly has done I am so encouraged to have found others in these past years. I offer my sincere apprecia- such a large and diverse city who enthusiasti- tion for her support and years of service to cally support a medium that I enjoy. -
EMMA AMOS B. 1937 Atlanta, GA D. 2020 Bedford, NH Education 1966
EMMA AMOS b. 1937 Atlanta, GA d. 2020 Bedford, NH Education 1966 MA, New York University 1959 BA, London Central School of Art 1958 BA, Antioch University Solo Exhibitions 2021 (forthcoming retrospective) Georgia Museum of Art, Athens, US traveling to Philadelphia Museum of Art, PA, US and the Munson- Williams-Proctor Arts Institute, NY, US 2017 Black Bodies, RYAN LEE, New York, US 2016 True Colors, RYAN LEE, Paintings of the 1980s, New York, US Valued, RLWindow, RYAN LEE, New York, US 2010 Emma Amos, Flomenhaft Gallery, New York, US 2009 Emma Amos, Lamont Gallery, Phillips Exeter Academy, Exeter, New Hampshire, US 2008 Head First, Flomenhaft Gallery, New York, US 2006 Paintings and Prints, Flomenhaft Gallery, New York, US 2005 Works on Paper, Middle Collegiate Church, New York, US Emma Amos: Paintings and Prints, 1983-2003, Antioche College, Yellow Springs, OH, US 2004 Print Retrospective, K. Caraccio Printmaking Studio, New York, US Emma Amos: Paintings and Works on Paper, Herndon Galleries, Antioch University, Yellow Springs, Ohio, US Works on Paper, The National Afro-American Museum and Cultural Center, Wilberforce, Ohio, US 2002 Retrospective, Art Resources Transfer (A.R.T.), New to New York, New York, US Recent work in printmaking, Brandywine Workshop, Philadelphia, US 1999 Seeing an Overview, Franklin & Marshall College, Lancaster, US Deutsch-Amerikanischen Zentrum, James F. Byrnes Institut, Stuttgart, DE A Coloring Lesson, Walter Bischoff Galleries, New York, US Emma Amos & Builder Levy, A Conversation, A.R.T., New York, US The -
Winter 2012 PresidentS Greeting Mona Rubin
The Print Club of New York Inc Winter 2012 Presidents Greeting Mona Rubin he Board and involved memberS have worked Event laSt May at Kay DeauxS apartment waS well exceptionally well together to make thiS paSt year a received. We are alSo pleaSed to offer a more local deStina- T huge SucceSS for uS all. It iS rewarding to reflect on tion for all our NJ members. Everyone who attends is cer- our accompliShmentS and exciting to look towardS our tain to enjoy Seeing the Hyman collection. In February, future goals. we will viSit the Studio of Catherine MoSley, both an artiSt By now, the majority of memberS Should have received and important printer. In March, we will be hoSting our our outStanding print by Chakaia Booker. I have only firSt movie event: The Permanent Revolution: PrintS and heard raveS from everyone. Even memberS whoSe taStes ProteStS by documentary film maker Manny lean towardS repreSentational imagery cant help but be Kirchheimer. Watch for details. taken by the incredible energy of thiS intricate piece. The During 2011 we alSo initiated our firSt Sale of available Blackburn Studio worked intenSively to produce the print Presentation Prints. A number of members took advan- and then faced the Herculean task of packing and ship- tage of thiS. There are Still Some remaining printS by ping theSe fragile pieceS. ThankS for all your patience in Colker, Segalman, and Paul Binnie, So keep theSe in mind Sorting out the few miShapS in the proceSS. Many of you if you would like to add them to your collections or pur- have aSked me for SuggeStionS on how to frame the piece. -
Fourth Anniversary • Allan D'arcangelo • Marcus Rees Roberts
US $25 The Global Journal of Prints and Ideas May – June 2015 Volume 5, Number 1 Fourth Anniversary • Allan D’Arcangelo • Marcus Rees Roberts • Jane Hyslop • Equestrian Prints of Wenceslaus Hollar In Memory of Michael Miller • Lucy Skaer • In Print / Imprint in the Bronx • Prix de Print • Directory 2015 • News MARLONMARLONMARLON WOBST WOBSTWOBST TGIFTGIF TGIF fromfrom a series a series of fourof four new new lithographs lithographs keystonekeystone editions editionsfinefine art printmakingart printmaking from a series of four new lithographs berlin,keystoneberlin, germany germany +49 editions +49(0)30 (0)30 8561 8561 2736 2736fine art printmaking Edition:Edition: 20 20 [email protected],[email protected] germany +49 (0)30 www.keystone-editions.net 8561 www.keystone-editions.net 2736 6-run6-run lithographs, lithographs, 17.75” 17.75”Edition: x 13” x 13”20 [email protected] www.keystone-editions.net 6-run lithographs, 17.75” x 13” May – June 2015 In This Issue Volume 5, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On Random Houses Associate Publisher Linda Konheim Kramer 3 Julie Bernatz The Prints of Allan D’Arcangelo Managing Editor Ben Thomas 7 Dana Johnson The Early Prints of Marcus Rees Roberts News Editor Isabella Kendrick Ruth Pelzer-Montada 12 Knowing One’s Place: Manuscript Editor Jane Hyslop’s Entangled Gardens Prudence Crowther Simon Turner 17 Online Columnist The Equestrian Portrait Prints Sarah Kirk Hanley of Wenceslaus Hollar Design Director Lenore Metrick-Chen 23 Skip Langer The Third Way: An Interview with Michael Miller Editor-at-Large Catherine Bindman Prix de Print, No.