MAIL ART Cbmpebltlc9ns & EXHIBITIONS
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Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. 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 recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett. -
John Miller, Untitled (March 20, 2020), Ink-Jet Print, 61⁄2 × 9"
John Miller, Untitled (March 20, 2020), ink-jet print, 61⁄2 × 9". Tony Rosenthal, 5 in 1, 1973–74. ON SITE CROSSED PATHS Alex Kitnick on the public art of Lower Manhattan August 2020 print issue THE MUSEUEMS ARE CLOSED but the sculptures are still there. Memorials and monuments, too. If you’re in Lower Manhattan, you can ramble along the Irish Hunger Memorial’s serpentine path, a rugged simulacrum of peat and stone. I’ve never been to Ireland, but I take it that parts of it look like this. The strangeness of the work is its location in Battery Park City, where since 2002 it has sat like a souvenir between corporate towers, with the Hudson River stretching out to the west. Robert Smithson called certain of his sculptures “nonsites” to denote their difference from the sites whence they came: A pile of shale in a steel trough in the middle of a gallery stood as a nonsite to a quarry somewhere off in New Jersey. The Irish Hunger Memorial has always struck me as a massive nonsite, a memory displaced and brought over from elsewhere, now made even stranger since the host site is no longer what it was. An eastward walk takes you to Federal Plaza, where Richard Serra’s Tilted Arc once stood. For most of the 1980s (I never saw it in person), the sculpture cut a steely line across the cobbled space, casting stark shadows, collecting graffiti and pee. Many office workers didn’t like it because it obstructed the building’s entrance, but certain judges looked out the window and saw a threat—a cover for bomb throwers or a simple sign of menace. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Nancy Spero: Paper Mirror
Paseo de la Reforma #51 +52(55) 4122-8200 Bosque de Chapultepec, 11580 México, D.F. Nancy Spero: Paper Mirror • The Museo Tamayo is presenting the first solo exhibition of Nancy Spero in Mexico. • The exhibition will comprise nearly 100 works, spanning the whole of Spero’s career. • Nancy Spero: Paper Mirror will be open to the public from October 6, 2018—February 17, 2019. • Considered as one of the firs feminist and activist artist, her work deals with the representation of women and their inequality in the art world. A celebrated figure of the feminist art movement in the United States, Nancy Spero (1926–2009) consistently addressed oppression, inequality, and women’s social roles through both her art practice and activism. Born in Cleveland, Ohio, Spero graduated from the School of the Art Institute of Chicago in 1949. Before settling with their three sons in New York in 1964, she and her husband, the painter Leon Golub (1922–2004), lived in Paris, where she created her first mature works, the Black Paintings (1959–65). For Spero, choices of material, form, mode, and subject were always political. After many years of working in oil on canvas, in 1966, she concluded that the language of painting was “too conventional, too establishment,” and decided that from then on she would work exclusively on paper. Her first cycle of work on paper, the War Series (1966–1969), was motivated by her outrage over American atrocities in Vietnam—gouache-and-ink paintings that express “the museotamayo.org Paseo de la Reforma #51 +52(55) 4122-8200 Bosque de Chapultepec, 11580 México, D.F. -
August 4, 2017
June 17 – August 4, 2017 FOR IMMEDIATE RELEASE (New York—June 20, 2017) Michael Rosenfeld Gallery proudly presents The Time Is N♀w, a group exhibition fea- turing thirty-two artists whose work the gallery has con- sistently championed for three decades through the- matic group exhibitions as well as multiple solo shows. The exhibition, which takes its title from a protest sign captured by Bettmann on Fifth Avenue in Manhattan during the Women’s Libera- tion Parade in August 1971, is curated to complement and expand on Making Space: Women Artists & Postwar Abstractioncurrently on view at the Museum of Modern Art (MoMA, New York). The Time Is N♀w features artists who represent a variety of positions on the spec- trum from figural representation to abstraction, including: Magdale- na Abakanowicz, Ruth Asawa, Hannelore Baron, Mary Bauermeister, Lee Bontecou, Deborah Butterfield, Barbara Chase-Riboud, Elaine Photo by Bettmann - Getty Images - Getty Bettmann by Photo de Kooning, Jay DeFeo, Claire Falkenstein, Gertrude Greene, Nancy Women’s Liberation Parade on Fifth Avenue in Manhattan, August 1971. Grossman, Grace Hartigan, Lee Krasner, Yayoi Kusama, Lee Lozano, Al- ice Trumbull Mason, Joan Mitchell, Alice Neel, Louise Nevelson, Agnes Pelton, Florence Miller Pierce, Irene Rice Pereira, Anne Ryan, Betye Converge/Black. Treated as two different sculptures by the art histo- Saar, Kaye Sage, Janet Sobel, Nancy Spero, Dorothea Tanning, Lenore rian Peter Selz, The Albino (aka All That Rises Must Converge/Black) Tawney, Alma Thomas, Charmion von Wiegand, and Claire Zeisler. resists a singular reading and instead, opens itself up, quite literally, to multiple readings. -
Book of Tongues
BOOK OF TONGUES Mignon Nixon An extensive piece of writing of serious philosophical intent The Museum of Contemporary Art in Barce- lona, I am told, intends to present an exhibi- tion of Nancy Spero’s work as a kind of book. Contemplating this prospect in London, I pay a visit to the British Museum to study its display of papyri from the Egyptian Book of the Dead. It is a pilgrimage I often make when reflecting on Spero’s art, which, through frequent allusions to literary artefacts, from Egyptian scrolls to medieval manuscripts, dramatizes the vanishing of cultural memory, pointing insistently, through the invocation of past cultures, to art’s “lost resources in myth.”1 Today, however, my thoughts are con- centrated on the word book. The Egyptian Book of the Dead, to which Spero’s art has often referred, does not resemble a book in the modern sense of the term, being neither a bound volume nor a definitive edition of a text, but a compendium of diverse writings, often conjoined with graphic motifs, copied onto papyrus, linen, leather, even onto the walls of tombs. As Barry Kemp, Professor of Egyptology at the University of Cambridge, writes in his helpful primer, How to Read the Egyptian Book of the Dead: “‘Book’ is an English translation of a word in ancient Egyp- tian that in fact refers to an extensive piece of writing of serious philosophical intent.”2 This, I consider, might be an apt description of Nancy Spero’s art. By this definition, her 1. Benjamin H.D. Buchloh: “Spero’s Other Traditions”, work is indeed a book. -
ALLEGORIES of MODERNISM: CONTEMPORARY DRAWING February 16 - May 5, 1992
The Museum of Modern Art For Immediate Release January 1992 ALLEGORIES OF MODERNISM: CONTEMPORARY DRAWING February 16 - May 5, 1992 ALLEGORIES OF MODERNISM: CONTEMPORARY DRAWING, opening at The Museum of Modern Art on February 16, 1992, provocatively explores developments in drawing since the mid-1970s. Following DRAWING NOW, the Museum's pioneering exhibition of 1976 that documented the emergence of drawing as a major and independent means of expression, ALLEGORIES OF MODERNISM records the important and multifaceted role of drawing in art today. Organized by Bernice Rose, senior curator in the Museum's Department of Drawings, the exhibition includes some 200 works by more than forty artists from the United States and Europe. It is installed in the Rene d'Harnoncourt Galleries on the Museum's lower level, the third-floor Drawings Galleries, the Garden Hall and Projects Gallery, and throughout several of the Museum's "public" spaces. The exhibition is made possible by a generous grant from Mr. and Mrs. Ronald S. Lauder. Additional support has been provided by The International Council of The Museum of Modern Art, The Bohen Foundation, The Tobin Foundation, and The Solow Foundation. Many artists today are engaged in questioning the nature and the limits of drawing. Using a wide and often adventurous array of materials and techniques, they ask not only what drawing is, but what differentiates drawing from other activities. Indeed, as Bernice Rose writes in the publication -more- 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable; MODERNART Telex: 62370 MODART 2 accompanying the exhibition, "the formal purity of drawing is not an issue, nor is it of much concern to artists Although increasingly an independent mode, [drawing] has also become inextricably mixed with other mediums, with painting and painterly devices, with color, and with paint itself. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
Nancy Spero Sky Goddess
kaufmann repetto Nancy Spero Sky Goddess kaufmann repetto is honored to present Sky Goddess, an exhibition of works by American artist and activist, Nancy Spero (1926-2009). Through the use of historical text and imagery, Nancy Spero created a lexicon in which women are the protagonists in the origin and development of human race and culture. Her work counters the patriarchal lens through which our understanding of civilization has been constructed and positions itself, instead, in a world where female reality is human reality. While the universal has been projected as male oriented and dominated, Nancy Spero’s works address a remembrance of history that contradicts this singularized scope through which human beings have been represented in society. In the mid-1960’s - 70’s, Spero began to work with painting and later collage and printing techniques on paper, as in her politically charged bodies of work, The War Series (1966-70), Artaud Paintings (1969-72) and Codex Artaud (1971-73), in lieu of the more conventionally accepted and affirmative stretched and framed canvas. Her decision to utilize paper, often presented in a scroll-like manner, mimicking the formal capacities of the friezes and frescos she experienced while living in Italy from 1956-1957, destabilized the value assignations dedicated to these traditional means of presentation. Spero simultaneously considered the use of paper as an anti- establishment act of defiance and also embraced it for its fragility and disposable nature which transformed the works into ephemeral monuments. The orientation of the paper scrolls allowed for Spero to selectively activate and vacate ground as a means to create rhythms that directed viewers’ attention to the blank spaces or blind spots in the retelling of history. -
Masters Thesis
WHERE IS THE PUBLIC IN PUBLIC ART? A CASE STUDY OF MILLENNIUM PARK A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Corrinn Conard, B.A. ***** The Ohio State University 2008 Masters Examination Committee: Approved by Dr. James Sanders III, Advisor Advisor Professor Malcolm Cochran Graduate Program in Art Education ABSTRACT For centuries, public art has been a popular tool used to celebrate heroes, commemorate historical events, decorate public spaces, inspire citizens, and attract tourists. Public art has been created by the most renowned artists and commissioned by powerful political leaders. But, where is the public in public art? What is the role of that group believed to be the primary client of such public endeavors? How much power does the public have? Should they have? Do they want? In this thesis, I address these and other related questions through a case study of Millennium Park in Chicago. In contrast to other studies on this topic, this thesis focuses on the perspectives and opinions of the public; a group which I have found to be scarcely represented in the literature about public participation in public art. To reveal public opinion, I have conducted a total of 165 surveys at Millennium Park with both Chicago residents and tourists. I have also collected the voices of Chicagoans as I found them in Chicago’s major media source, The Chicago Tribune . The collection of data from my research reveal a glimpse of the Chicago public’s opinion on public art, its value to them, and their rights and roles in the creation of such endeavors. -
New York Has Solved the Problem of Public Art. but at What Cost?
REASONS TO LOVE NEW YORK New York Has Solved the Problem of Public Art. But at What Cost? By Jerry Saltz Follow @jerrysaltz December 17, 2015 8:05 a.m. OY/YO sculpture by Deborah Kass. Photo: Etienne Frossard/Courtesy of Two Trees Management Co. There in the little park between and in the shadows of the Brooklyn and Manhattan bridges, Deborah Kass's large, Lik-M-Aid–yellow sculpture OY/YO lands right in that magnificent sweet spot — endlessly majestic, riddled with Whitman, Hart Crane, and the American Dream. The sculpture speaks in wonderfully multicultural tongues — a cuter new combination of Robert Indiana’s iconic LOVE and I ♥ NY. You can feel the frisson triggered in the mind when reading the word YO from Manhattan; and maybe you realize, instantaneously, that the word flips into OY when seen from Brooklyn — a simple two-liner joining east and west and spinning like a cosmic compass. And just like that, you're in New York, hearing America singing in all its argots and colloquialisms. Just as you think,How'd I never notice that before? the mind supplies the sculpture's invisible exclamation point. It is such a simple joy to feel the real rhythms of the city and see this perfect public sculpture, especially in an age when public space seems more and more turned by developers into private arcades for the privileged. ** I hate this historical turn, which for me is contained most neatly in the High Line, that stretch of elevated rail lines strung through the Meatpacking District, West Chelsea, and the Hudson Yards, refurbished with private money a dozen years ago as the spine of the massive luxury redevelopment of each High Line Public Park, New York City.