Plimack Mangold Selected Biography
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Galleries, Like Their Buyers, Make Themselves at Home in Palm Beach the City Has Become an Art Hub of Its Own That Benefits from Being Near, but Not In, Miami
https://nyti.ms/39zx4u7 Galleries, Like Their Buyers, Make Themselves at Home in Palm Beach The city has become an art hub of its own that benefits from being near, but not in, Miami. By Hilarie M. Sheets Dec. 1, 2020 Updated 10:28 a.m. ET When the pandemic forced Art Basel Miami Beach to shift its raucous annual art fair to online viewing rooms and events, a cluster of top New York City galleries still made the pilgrimage to South Florida in hopes of connecting with collectors in person. Notably, they all chose to set up outposts not in Miami but some 70 miles north in Palm Beach — home (or second or third home) to a concentrated community of prominent art collectors sheltering for the winter. “What dealer wouldn’t want to be where the collectors are?” said Adam Sheffer, a vice president at Pace Gallery, who is heading up a new space in Palm Beach leased through Memorial Day. “It allows for an ongoing dialogue with some of these same people you would see in Miami once a year, but now you get to do it on their turf, in a way that’s safe where they’re comfortable.” Building on the success of galleries following their wealthy patrons to East Hampton, N.Y., this summer in the early months of the pandemic, Pace, Acquavella Galleries and Sotheby’s auction house coordinated opening spaces in Royal Poinciana Plaza adjacent to the contemporary gallery Gavlak, long based in Palm Beach. Gisela Colón’s Rectanguloid (Rubidium Spectrum), blow-molded acrylic. -
Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
5 Essential Tips for Collecting Drawings Scott Indrisek Sep
AiA news-service 5 Essential Tips for Collecting Drawings Scott Indrisek sep. 13, 2019 5:44pm Andy Warhol Kenny Burrell, 1956 Ambleside Gallery While prints are a common entry point into the art market, there may come a day when a budding collector yearns for a unique artwork, rather than an edition. Works on paper, specifically drawings, can be a fruitful place to start: a way to access an artist’s intimate process without breaking the bank. While some artists, like Robert Longo or Kara Walker , make drawing a centerpiece of their practice, for many the medium is one tool among many. Drawings can be sketches or studies pointed toward fuller paintings or sculptures; they can be whimsical diversions, quick experiments, or fully fleshed-out artworks in their own right. They “can provide a very different creative outlet to the artist’s primary practice,” said Sueyun Locks of Philadelphia’s Locks Gallery, “and thus can offer us a more complete story about an artist’s oeuvre.” Kara Walker The Root, The Demise of the Flesh, The Immortal Negress, 2018 Sikkema Jenkins & Co. They may never have the commanding wall power of a massive Abstract Expressionist canvas, but that’s part of the point. Drawings have a quieter energy, one that welcomes deep, close-up contemplation. And unlike larger works—which, in many cases, may have been completed with the aid of studio assistants—a drawing is one of the easiest ways to commune directly with the hand of the artist, hunched over her desk or drafting table. Here are a few key tips for anyone looking to start collecting this singular medium. -
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........................................................................... -
By Andy Warhol from the Leo Castelli Gallery, NY
Marilyn By Andy Warhol From the Leo Castelli Gallery, NY TITLE: Marilyn ARTIST: Andy Warhol DATE: 1964 SIZE: 40 X 40“ MEDIUM: Silkscreen & Oil on Canvas STYLE: Pop Art ELEMENT & PRINCIPLE: Color & Value to create Emphasis Andy Warhol was born on August 6, 1928, in Pittsburgh, PA, to Czechoslovak immigrant parents. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in 1949. That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. By the 1960s, Warhol began to paint comic-strip characters and images derived from advertisements; this work was characterized by repetition of culturally popular subjects such as Coca-Cola bottles and soup cans. He also painted celebrities at this time. By 1963, he had substituted a silkscreen process for hand painting, making this medium a serious fine art medium. He tried his hand at filmmaking, but soon began to paint again. Warhol died from gallbladder surgery complications February 22, 1987, in New York. Pop Art (1950’s – 1960’s) is a style of art which explores the everyday imagery which is part of contemporary consumer culture. It was a movement in which artists adopted and adapted elements of popular culture (hence, the name "pop") into their works of art. Common sources include advertisements, consumer product packaging, celebrities, and comic strips. Leading Pop artists include Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Jasper Johns, George Segal, Jim Dine, Tom Wesselmann, Robert Indiana, Wayne Thiebaud, and Robert Rauschenberg. On the next 3 slides you will see more Marilyns …pay attention to the technique of placing down areas of flat color, followed by a stamp-type photographic image. -
On the Basis of Art: 150 Years of Women at Yale Press Release
YA L E UNIVERSITY A R T PRESS For Immediate Release GALLERY RELEASE April 29, 2021 ON THE BASIS OF ART: 150 YEARS OF WOMEN AT YALE Yale University Art Gallery celebrates the work of Yale-educated women artists in a new exhibition from September 2021 through January 2022 April 29, 2021, New Haven, Conn.—On the Basis of Art: 150 Years of Women at Yale celebrates the vital contributions of generations of Yale-trained women artists to the national and interna- tional art scene. Through an exploration of their work, the exhibition charts the history of women at the Yale School of Art (formerly Yale School of the Fine Arts) and traces the ways in which they challenged boundaries of time and cir- cumstance and forged avenues of opportunity—attaining gallery and museum representation, developing relation- ships with dedicated collectors, and securing professorships and teaching posts in a male-dominated art world. On view at the Yale University Art Gallery from September 10, 2021, through January 9, 2022, the exhibition commemorates two recent milestones: the 50th anniversary of coeducation at Yale Irene Weir (B.F.A. 1906), The Blacksmith, College and the 150th anniversary of Yale University’s admit- Chinon, France, ca. 1923. Watercolor on paper. Yale University Art Gallery, Gift of Irene Weir, tance of its first female students who, flaunting historical B.F.A. 1906 precedent, were welcomed to study at the School of the Fine Arts upon its opening in 1869. On the Basis of Art showcases more than 75 artists working in a broad range of media, includ- ing painting, sculpture, drawing, print, photography, textile, and video. -
Screening Guides to the Sixth Season
art:21 screening guides to the sixth season © Art21 2012. All Rights Reserved. www.pbs.org/art21 | www.art21.org season six GETTING STARTED ABOUT THIS SCREENING GUIDE unique opportunity to experience first-hand the complex artistic process—from inception to finished This screening guide is designed to help you plan product—behind some of today’s most thought- an event using Season Six of Art in the Twenty-First provoking art. These artists represent the breadth Century. This guide includes an episode synopsis, of artistic practices across the country and the artist biographies, discussion questions, group world and reveal the depth of intergenerational activities, and links to additional resources online. and multicultural talent. Educators’ Guide The 32-page color manual ABOUT ART21 SCREENING EVENTS includes information on the ABOUT ART21, INC. artists, before-viewing and Public screenings of the Art in the Twenty-First after-viewing questions, and Century series illuminate the creative process of Art21 is a non-profit contemporary art organization curriculum connections. today’s visual artists by stimulating critical reflection serving students, teachers, and the general public. FREE | www.art21.org/teach as well as conversation in order to deepen Art21’s mission is to increase knowledge of contem- audience’s appreciation and understanding of porary art, ignite discussion, and empower viewers contemporary art and ideas. Organizations and to articulate their own ideas and interpretations individuals are welcome to host their own Art21 about contemporary art. Art21 seeks to achieve events year-round. Art21 invites museums, high this goal by using diverse media to present an schools, colleges, universities, community-based independent, behind-the scenes perspective on organizations, libraries, art spaces and individuals contemporary art and artists at work and in their to get involved and create unique screening own words. -
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. -
FOR IMMEDIATE RELEASE “An Exchange With
c FOR IMMEDIATE RELEASE “An Exchange with Sol LeWitt” A two-part exhibition presented by Cabinet and MASS MoCA Curated by Regine Basha Cabinet: January 21, 2011 – March 5, 2011 (opening reception Thursday, January 20, 7–9 pm) MASS MoCA: January 23, 2011 – March 31, 2011 (opening reception Saturday, January 22, 7–9 pm) Paul Ramirez Jonas, Boarding Pass, 2010. Courtesy Paul Ramirez Jonas. Although celebrated for the revolutionary role he played in the development of both Conceptualism and Minimalism, Sol LeWitt was also renowned for his exchanges of artwork with various artists throughout his lifetime. For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. In addition to encouraging the circulation of artworks through a gift economy that challenged the art world’s dominant economic model, LeWitt’s exchanges with friends and strangers have the same qualities of generosity and risk that characterized his work in general. In the spirit of continuing the artist’s lifelong philosophy of open exchange, and in conjunction with the “LeWitt Wall Drawing Retrospective” on view at MASS MoCA through 2033, MASS MoCA and Cabinet present “An Exchange with Sol LeWitt”—a curatorial project initiated by independent curator Regine 300 Nevins Street Brooklyn New York 11217 Tel: +1 718 222 8434 Fax: +1 718 222 3700 www.cabinetmagazine.org Basha. The two-part exhibition will be on view at Cabinet from January 21 through March 5, 2011 and in MASS MoCA’s Prints and Drawings Gallery from January 23 through March 31, 2011. -
Oral History Interview with Robert Mangold, 2017 November 16
Oral history interview with Robert Mangold, 2017 November 16 Funding for this interview was provided by Janice Oresman. 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 Robert Mangold, conducted by Christopher Lyon for the Archives of American Art, at the artist's studio in Washingtonville, New York on November 16, 2017. This transcript has been reviewed and edited by Robert Mangold and Christopher Lyon. Their corrections and emendations appear below in brackets with initials. The 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 CHRISTOPHER LYON: This is Christopher Lyon. I am with Robert Mangold in his studio in Washingtonville, New York. It's November 16, 2017. Good morning, and thank you for doing this. ROBERT MANGOLD: Well, good morning to you. CHRISTOPHER LYON: So, just to reiterate, I would like to keep the ball in your court as much as possible. What I find fascinating and hope we can talk about from various angles is your investigation, your exploration, whatever the best word would be, of how paintings communicate, in terms of all their parameters: color, scale, line, and so on. You've looked at a whole range of perceptual issues in relation to your work, but at the same time, you explored at great depth the many ways that the physical manifestation of a painting can be expressive. -
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. -
READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue.