In the Studio
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Pat Adams Selected Solo Exhibitions
PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia, -
Portraiture: People & Places in Time Teaching Resource
Portraiture: People & Places in Time Teaching Resource Ages: 8+ (Grades 3–12) Essential Questions: • What is a portrait? What is a self-portrait? Materials needed: • What are some traditional portraiture • Paper techniques? What are some of the • Pencil, marker, crayon, or pen different artistic mediums that can be • Access to a mirror used to create portraits? • Ruler (optional) • How does an artist use colors and shapes • Materials for adding color to portrait when building a portrait? scenes (optional) • How does an artist use stance and expression to communicate a specific Duration: 1 hour (includes one 15-minute emotion or emotions in a work of activity and two 20-minute activities) portraiture? • What can a portrait of a person or group of people tell us about a specific time and place? Image: John White Alexander (American, 1856–1915). Azalea (Portrait of Helen Abbe Howson), 1885. Oil on canvas. Gift of Mrs. Gertrude Farnham Howson, 1974 (74.19.6). hrm.org/museum-from-home 1 Part 1: Introducing Portraiture Portrait painting, or figural painting, is a fine art genre in which the intent is to depict the visual appearance of the subject, typically a person (sometimes multiple people or even an animal). Portraits in different mediums and contexts help us understand the social history of different times. In addition to painting, portraits can also be made in other mediums such as woodcut, engraving, etching, lithography, sculpture, photography, video and digital media. Historically, portrait paintings were made primarily as memorials to and for the rich and powerful. Over time, portrait-making has become much easier for people to do on their own, and portrait commissions are much more accessible than they once were. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING
SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING 2018 TR 2:20-5:15PM , Room # 101 Associate Professor Xenia Fedorchenko Office hours by appointment and: TR 10AM-11AM Office Room # 101A; Ext. 8914 e-mail: [email protected] COURSE DESCRIPTION This course is a continuation of Printmaking II with a focus in combining new and previously learnt techniques with individually selected content. COURSE CONTENT Students will continue to learn about Printmaking through assigned readings, demonstrations of techniques, hands-on experience, and self-directed research. Students will work on plates or stones incorporating both hand-drawn and basic photographic imagery. This course is designed to encourage experimentation with the processes covered. Understanding of presenting ones work to a group, writing a statement, safe studio practices, press characteristics and operation, various ink traits (water-based, intaglio and lithographic inks), comparative qualities of diverse papers and studio equipment (rollers, brayers, etc) as they relate to ones oeuvre will be gained. Further study will occur through a series of incrementally challenging projects outside of class. Students should allow for customization of the semester’s assignments to their own artistic inquiries. Further study will also occur in the form of time spent in the library or through gallery visits. At the end of the semester, students will have the skills and visual vocabulary necessary to create unique and editioned prints that coherently combine technique and content. STUDENT LEARNING OUTCOMES At the end of this course students should be able to: −Understand and utilize various intaglio, monoprinting and planographic matrix-producing techniques. −Gain an in-depth understanding of a chosen process within printmaking −Understand color mixing and color interactions in printmaking and apply these to various printing processes. -
Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-28-2005 Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College Sarah Rachel Burger Dickinson College Blair Hetherington Douglas Dickinson College Michelle Erika Garman Dickinson College Danielle Marie Gower Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the Contemporary Art Commons Recommended Citation Hirsh, Sharon, et al. Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2005. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Alison Buinicky, Sarah Rachel Burger, Blair Hetherington Douglas, Michelle Erika Garman, Danielle Marie Gower, Blair Lesley Harris, Laura Delong Heffelfinger, Saman Mohammad Khan, Ryan McNally, Erin Elizabeth Mounts, Nora Marisa Mueller, Alexandra Thayer, Heather Jean Tilton, Sharon L. Hirsh, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/9 WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints January 28 – March 5, 2005 Curated by: Alison Buinicky Sarah Burger Blair H. Douglas Michelle E. Garman Danielle M. Gower Blair L. Harris Laura D. Heffelfinger Saman Khan Ryan McNally Erin E. Mounts Nora M. -
John Richard Fudge B
John Richard Fudge b. 1940, Des Moines, IA d. 1999, Lakewood, CO Education 1966 MFA, University of Colorado, Boulder 1963 BFA, University of Colorado, Boulder Solo Exhibitions 2012 John Fudge Paintings and other Allegories, RULE Pop-up at the Pattern Shop Studio 1988 John Fudge: From Hell to Breakfast, Arvada Center for the Arts, Arvada, CO 1983 Twenty-Year Retrospective, Boulder Center for the Visual Arts, Boulder, CO 1978 Regis College, Denver, CO 1977 J. Magnin Gallery, Denver, CO 1974 Walker Street Gallery, New York 1974 Paintings, Wilamaro Gallery, Denver, CO 1972 Wilamaro Gallery, Denver, CO! 1970 Henderson Museum, University of Colorado, Boulder 1968 University of Arizona, Tucson! 1968 University of Colorado, Boulder Select Group Exhibitions 2017 Audacious, Denver Art Museum, Denver, CO 2016 Looking Back: 40 Years/40 Artists, Arvada Center for the Arts, Arvada, CO 2006 The Armory Group: 40 Years, Mizel Center for Arts and Culture, Denver, CO 1999 Using Your Faculties, University of Colorado, Denver, CO 1996 20/20 Vision, Arvada Center for the Arts and Humanities, Arvada, CO! 1995 The 32-Year Show, Emmanuel Gallery, University of Colorado, Denver, CO 1995 John Fudge: Recent Work, Rocky Mountain College of Art and Design, Denver,! CO 1994 Nature Morte, Rule Modern and Contemporary Art, Denver ! 1993 Preternatural Worlds, Center for Visual Arts, Metropolitan State College, Denver, CO 1992 John Fudge and Jim Hayes, Boulder Center for the Visual Arts, Boulder, CO 1990 Fat-Free Surrealism, Michael Leonard Gallery (curator, Red Grooms), -
Artist Bios Alex Katz Is the Author of Invented Symbols
Artist Bios Alex Katz is the author of Invented Symbols: An Art Autobiography. Current exhibitions include “Alex Katz: Selections from the Whitney Museum of American Art” at the Nassau County Museum of Art and “Alex Katz: Beneath the Surface” at the Middlesbrough Institute of Modern Art. Jan Henle grew up in St. Croix and now works in Puerto Rico. His film drawings are in the collections of The Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, and The Modern Art Museum of Fort Worth. His collaborative film with Vivien Bittencourt, Con El Mismo Amor, was shown at the Gwang Ju Biennale in 2008 and is currently in the ikono On Air Festival. Juan Eduardo Gómez is an American painter born in Colombia in 1970. He came to New York to study art and graduated from the School of Visual Arts in 1998. His paintings are in the collections of the High Museum of Art, Atlanta, Museum of Fine Arts, Boston, and Bowdoin College Museum of Art, Brunswick. He was awarded The Richard and Hilda Rosenthal Foundation Award from American Academy of Arts and Letters in 2007. Rudy Burckhardt was born in Basel in 1914 and moved to New York in 1935. From then on he was at or near the center of New York’s intellectual life, counting among his collaborators Edwin Denby, Paul Bowles, John Ashbery, Frank O’Hara, Kenneth Koch, Alex Katz, Red Grooms, Mimi Gross, and many others. His work has been the subject of exhibitions at the Instituto Valenciano de Arte Moderno, the Museum of the City of New York, and, in 2013, at Museum der Moderne Salzburg. -
Cydney M. Payton 1 Selected Exhibitions
CYDNEY M. PAYTON 2009–present Independent Curator & Writer San Francisco, California 2001–2008 Director & Chief Curator Museum of Contemporary Art Denver, Colorado 1992–2000 Director & Chief Curator Boulder Museum of Contemporary Art, Colorado 1984–1992 Founder & Director Cydney Payton Gallery, Denver, Colorado Payton Rule Gallery, Denver, Colorado SELECTED EXHIBITIONS 2013 Unbuilt San Francisco: The View from Futures Past (co-curator Benjamin Grant) featuring architects: John Bolles, Ernest Born, Mario Ciampi, Vernon DeMars, Lawrence Halprin, Legorreta & Legorreta, Daniel Libeskind, William Merchant, Willis Polk, Kenzo Tange, and Cathy Simon. California Historical Society and SPUR, San Francisco 2012 Temporary Structures (co-curator Glen Helfand) featuring Pawel Althamer, Roberto Behar & Rosario Marquardt, David Gissen, Amy H. Ho, David Ireland, Paul Kos, Roy McMakin, Christian Nagler & Azin Seraj, Ben Peterson, Michael Robinson, Jonathan Runico, Mungo Thomson, Together We Can Defeat Capitalism. San Francisco Institute of Arts (SFAI), San Francisco 2011 On Apology (co-curator) featuring Erick Beltran, Mark Boulos, Keren Cytter, Omer Fast, Shaun Gladwell, Ragnar Kjartansson, Amalia Pica, Slavs and Tatars, Dawn Weleski, Artur Zmijewski. Wattis Institute for Contemporary Arts, California College of the Arts (CCA), San Francisco The Thing Is To See: Selected Photo-Souvenirs of Daniel Buren 1968-1975, online at thethingistosee.com, Steven Leiber Archives, San Francisco Piggly Wiggly: Self-Serving Stores All Over the World, Wattis Institute for Contemporary Arts, California College of the Arts, San Francisco 2010 Yu-Cheng Chou: Because 64 Crayons Made in the USA. Superfrog Gallery, New People, San Francisco 1 CYDNEY M. PAYTON 2009 Heather & Eric Chan Schatz. The Family of Natasha Congdon Large Works Gallery, MCA DENVER Rex Ray. -
Oral History Interview with Red Grooms, 1974 Mar. 4-18
Oral history interview with Red Grooms, 1974 Mar. 4-18 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Red Grooms on 1974 March 4-18. The interview was conducted at Grooms' studio by Paul Cummings for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. This is a rough transcription that may include typographical errors. Interview PC: March 4, 1974, Paul Cummings talking to Red Grooms in his studio at 85 Walker Street. You were born in Nashville, Tennessee on June first, 1937. RG: No, on June second. This is getting to be ridiculous. Somebody has got to get this straight. PC: So it is June second? RG: Yes. But now the date is beginning to wander all over the place. I've seen it given as the seventeenth. You see, what happened is that the damn birth certificate—I finally had to get a passport and looked up my birth certificate and it had June first on there. Which I guess is a mistake unless my parents are goofy. So the birth certificate actually showed June first and they really make you put that on the passport even if it's wrong. -
Karin Broker
KARIN BROKER 1950 Born in Penn, Pennsylvania EDUCATION 1972 BFA, University of Iowa 1973 Atelier 17, Paris, France (Fall) 1980 MFA, University of Wisconsin-Madison 1980 Professor at Rice University 2003 Chair of Department of Visual Arts HONORS, AWARDS AND GRANTS 2010 Brown Teaching Grant. Rice University 2008 Brown Teaching Grant. Rice University 2003 Who’s Who in American Art. 25th. Edition 2002 Brown Teaching Grant. Rice University Jerome J. Segal Grant. Rice University 1997 Brown Teaching Grant. Rice University 1996 Julia Mile Chance Teaching Prize. Rice University 1994 Texas Artist of the Year. Art League of Houston 1993 Cultural Arts Council of Houston Grant 1992 Best Local Artist. Houston Press. 1989 Mellon Fellowship Dewar's Texas Doers (50 Texans) 1985 National Endowment for the Arts Grant 1987 National Endowment for the Arts Grant SOLO EXHIBITIONS 2018 love me, love me not, McClain Gallery, Houston, Texas 2014 more damn girls, UT Tyler Meadows Gallery, Tyler, Texas Karin Broker: wired, drawn and nailed, Art Museum of Southeast Texas, Beaumont, Texas damn girls, McClain Gallery, Houston, Texas 2013 Trouble in Paradise, Kirk Hopper Fine Arts Gallery, Dallas, Texas 2012 Karin Broker: Wired, Nailed, Drawn and Printed, Galveston Arts Center, Galveston, Texas 2010 Oddities and Other Opinions, McClain Gallery, Houston, Texas 2006 Mad Girl. McClain Gallery. Houston, Texas 2005 A Mad Girl’s Small Notes. McClain Gallery. Houston, Texas 2003 Dark Talk. McClain Gallery. Houston, Texas 2000 Domestic Melancholia. Merwin and Wakeley Galleries. Illinois Wesleyan University. Bloomington, Illinois Karin Broker….Drawing in sanguine. Gerhard Wurzer Gallery. Houston, Texas 1997 Etchings. Augen Gallery. Portland, Oregon 1996 Notes of a mad girl. -
Mimi Gross Charm of the Many
Mimi Gross Charm of the Many Preface by Dominique Fourcade Text by Charles Bernstein Salander-O’Reilly Galleries New York This catalogue accompanies an exhibition from September 5–28, 2002 at Salander-O'Reilly Galleries, LLC 20 East 79 Street New York, NY 10021 Tel (212) 879-6606 Fax (212) 744-0655 www.salander.com Monday–Saturday 9:30 to 5:30 © 2002 Salander-O’Reilly Galleries, LLC ISBN: 0 -158821-110-X Photography: Paul Waldman Design: Lawrence Sunden, Inc. Printing: The Studley Press TABLE OF CONTENTS Preface 7 Dominique Fourcade Mimi Gross 9 Charles Bernstein Plates 21 Chronology 42 The artist in her studio. Photo: Henry Jesionka. >#< PREFACE Dominique Fourcade Charm of the Many, such a derangement, does not mean that many were charming, nor does it mean that many have a charm. It alludes to a surprise: in the act of painting many a dif- ferent one lies a charm, single, inborn, and the painter is exposed. Is acted. It has to do with unexpectable sameness, it is serendipitous as well as recalcitrant and alarming. It lurks, very real, not behind but in front of the surfaces. It amounts to a lonesome surface, the surface of portraiture, and deals with an absence, because one does not portray life, death is the subject. Death is the component and the span, the deeper one portrays the more it dawns on us. A sameness, not opaque, with a great variety of reso- nances, a repeated syncope. Charm of the Many is to be sensed, obviously, under the light of Mimi’s own Coptic ways, Fayoumesque, on the arduous path of appearance. -
FOR the PAST Four Decades, Mimi Gross Has Lived and Worked in a Broad, Art-Filled Loft Just Below Canal Street in Manhattan
Critical Eye: Mimi Gross in Her World By Dan Nadel, January 27, 2017 FOR THE PAST four decades, Mimi Gross has lived and worked in a broad, art-filled loft just below Canal Street in Manhattan. Visitors are greeted by an enormous and exuberant painted sculpture—Gross calls it a “2½-D” work—in which the artist portrays her friends from the heyday of New York’s downtown bohemia in the poses and setting of Delacroix’s Women of Algiers in their Apartment (1834). It is, like so many things Gross does, a deft blending of history, observational por- traiture, and ingenious craft. The walls of her studio are covered with artwork by old comrades and family friends, a cast that includes both giants of American art and under-recognized figures: Rudy Burckhardt, Yvonne Jacquette, Saul Steinberg, Karl Wirsum, Sarah Canright. Mixed in are pieces by her ex-husband, Red Grooms, and her father, Chaim Gross. In her bright white workspace on the day I visited in late summer were several works in progress, including sets and costumes for Antipodes, Mimi Gross, At the Five Spot, 1958-1959, oil on the latest in more than a dozen collaborations she has undertaken crayon on paper, 13 3/4 x 10 3/4 in. with choreographer Douglas Dunn, and a 170-foot-long painting of clouds commissioned by the University of Ken- tucky Medical Center. Less spectacular but perhaps more enticing were flat files stacked to the ceiling along one wall of the studio. Each drawer holds its own delights. Some feature preparatory drawings from Gross’s pioneering films, such as Tap- py Toes (1969–70), a hilarious and surreal homage to Busby Berkeley.