George Tooker David Zwirner

Total Page：16

File Type：pdf, Size：1020Kb

David Zwirner New York London Hong Kong George Tooker Artist Biography George Tooker (1920–2011) is best known for his use of the traditional, painstaking medium of egg tempera in compositions reflecting urban life in American postwar society. Born in Brooklyn, he received a degree in English from Harvard University before he began his studies at the Art Students League in 1943, where he worked under the regionalist painter Reginald Marsh. In 1944, Tooker met the artist Paul Cadmus, and they soon became lovers. Cadmus, sixteen years his senior, introduced Tooker to the artist Jared French, with whom he was romantically involved, and French’s wife, Margaret Hoening French, and the four of them traveled extensively throughout Europe and vacationed regularly together. Tooker appears in a number of the photographs taken by PaJaMa, the photographic collective formed by Cadmus and the Frenches, and he served as a model for Cadmus’s painting Inventor (1946). Cadmus and French introduced Tooker to the time-intensive medium of egg tempera, which would become his principal medium. Tooker’s career found early success, due in part to his friend Lincoln Kirstein, the co-founder of the New York City Ballet, encouraging the inclusion of his work in the Fourteen Americans (1946) and Realists and Magic-Realists (1950) exhibitions at the Museum of Modern Art. In 1950, Subway (1950) entered the Whitney Museum of American Art’s collection—the artist’s first museum acquisition—and the following year he received his first solo exhibition at the Edwin Hewitt Gallery. Near the end of the 1940s, Tooker parted ways with Cadmus because of the latter’s ongoing relationship with the Frenches. In 1957, he moved to Vermont with his partner, Bill Christopher, where they built a house near the Frenches’ summer home. Tooker and Christopher remained together until the latter’s death, in 1973. Over the course of his more than sixty-year career, Tooker was elected to the National Academy of Design in 1968, was a member of the American Academy of Arts and Letters, and received the National Medal of Arts in 2007..

Copy Link

Recommended publications

2017 Abstracts
Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales.
[Show full text]
A Daumier of the Rotogravure
FINE FEBRUARY/MARCH 2011 www.galleryandstudiomagazine.com VOL. 13 NO. 3 New York ARTS GALLERY STUDIO Announces the release of Robert Cenedella’s serigraph & “HEINZ 57” 35”x24” , 2011 A DAUMIER OF THE ROTOGRAVURE Hand screened on acid-free stock, signed and numbered by the artist Denys Wortman at the Museum of the City of New York (Certificate of authenticity is available upon request) STUDIO 57 currently represents: Calder Picasso Dali Cenedella Miro Hirschfeld Levine Grosz Gropper Cadmus Benton Pissaro Bellows Renoir Duchamp Landeck Agam Chagal Sloan Wa rh o l “HEINZ 57” by Robert Cenedella 35”x24” TO COME DOWN ON YOUR PRICES. TO COME DOWN BUY THEM, YOU’LL HAVE IF I HAVE August 30, 1948 Grease pencil, graphite and ink Courtesy of The Center For Cartoon VIII Studies and Denys Wortman plus Sleeping with my Uncle: Coming of Age on the Lower East Side in the '50s Studio 57 Fine Arts Custom Framing 211 West 57th Street New York, NY 10013 212–956–9395 from Ed McCormack’s memoir in progress HOODLUM HEART page 8 Beverly A. Smith Tip Toe Marsh - oil on canvas 24"wide X 36" high Toe Tip March 1st – 19th, 2011 Reception: Friday, March 5th 3-6 PM © Susannah Virginia Griffin - The Warrior 48” x 36” New Century Artist Gallery 530 West 25th, New York Hours: Tues - Sat 10 AM - 6 PM www.beverlyasmith.com Artist seeks gallery representation – [email protected] Wally Gilbert “Geometric Series: SINGULAR SENSATIONS Squares, Triangles, and Lines” Masoud Abedi Jorge Berlato Susannah Virginia Griffin Jenny Medved MORPHING INTO MILIEU Francisco Chediak René Foster Maria José Royuela Maricela Sanchez March 1 - March 22, 2011 Reception: Thursday, March 3, 2011 6-8 pm "Triangles # 2-10," image is 38" x 40" on 44" 36" luster paper.
[Show full text]
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
[Show full text]
In This Corner
Welcome UPCOMING Dear Friends, On behalf of my colleagues, Jerry Patch and Darko Tresnjak, and all of our staff SEA OF and artists, I welcome you to The Old TRANQUILITY Globe for this set of new plays in the Jan 12 - Feb 10, 2008 Cassius Carter Centre Stage and the Old Globe Theatre Old Globe Theatre. OOO Our Co-Artistic Director, Jerry Patch, THE has been closely connected with the development of both In This Corner , an Old Globe- AMERICAN PLAN commissioned script, and Sea of Tranquility , a recent work by our Playwright-in-Residence Feb 23 - Mar 30, 2008 Howard Korder, and we couldn’t be more proud of what you will be seeing. Both plays set Cassius Carter Centre Stage the stage for an exciting 2008, filled with new work, familiar works produced with new insight, and a grand new musical ( Dancing in the Dark ) based on a classic MGM musical OOO from the golden age of Hollywood. DANCING Our team plans to continue to pursue artistic excellence at the level expected of this IN THE DARK institution and build upon the legacy of Jack O’Brien and Craig Noel. I’ve had the joy and (Based on the classic honor of leading the Globe since 2002, and I believe we have been successful in our MGM musical “The Band Wagon”) attempt to broaden what we do, keep the level of work at the highest of standards, and make Mar 4 - April 13, 2008 certain that our finances are healthy enough to support our artistic ambitions. With our Old Globe Theatre Board, we have implemented a $75 million campaign that will not only revitalize our campus but will also provide critical funding for the long-term stability of the Globe for OOO future generations.
[Show full text]
Oral History Interview with Paul Cadmus, 1988 March 22-May 5
Oral history interview with Paul Cadmus, 1988 March 22-May 5 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 Paul Cadmus on March 22, 1988. The interview took place in Weston, Connecticut, and was conducted by Judd Tully for the Archives of American Art, Smithsonian Institution. Interview JUDD TULLY: Tell me something about your childhood. You were born in Manhattan? PAUL CADMUS: I was born in Manhattan. I think born at home. I don't think I was born in a hospital. I think that the doctor who delivered me was my uncle by marriage. He was Dr. Brown Morgan. JUDD TULLY: Were you the youngest child? PAUL CADMUS: No. I'm the oldest. I's just myself and my sister. I was born on December 17, 1904. My sister was born two years later. We were the only ones. We were very, very poor. My father earned a living by being a commercial lithographer. He wanted to be an artist, a painter, but he was foiled. As I say, he had to make a living to support his family. We were so poor that I suffered from malnutrition. Maybe that was the diet, too. I don't know. I had rickets as a child, which is hardly ever heard of nowadays.
[Show full text]
1999-02-Art in America
Art in America Feb, 1999 Four Close-Ups - and One Nude - Chuck Close paintings by Linda Nochlin, Richard Kalina, Lynne Tillman, Jerry Saltz Four authors (Linda Nochlin, Richard Kalina, Lynne Tillman and Jerry Saltz) each focus on a single painting by Chuck Close, whose traveling retrospective is on view this month at the Seattle Art Museum. LINDA NOCHLIN on Nancy (1968) It looks just like Nancy, but Nancy didn't look like this. What I mean is, the photo, and even more, the painting after it, have frozen certain atypical, momentary aspects of the sitter--the turned-in eye, the lifted lip, the crooked tooth, the straggling strands of hair--into prominent, permanent features. The painting is a memorial to what was contingent to Nancy Graves, but of course, being photo-based, it purports to tell the truth, the way a mug shot claims to give us the truth, the whole truth and nothing but the truth about the criminal. This is a realist image in that it testifies at once to the existence of the subject in the "real" world beyond the painting and, at the same time, to the concrete, material presence of the acrylic on canvas: a testament to the labor that created this nonvirtuoso display of the artist's patient handwork. The austerity of the production--its lack of color, its stark presentation of image, its refusal of painterly self-indulgence or "personal sensibility"--is also part of the realist ethic. And its exactitude, the unflinching depiction of hairs, wrinkles, askew glance, the gleam on a random tooth, reminds us of the origin of portraiture in magic and memorial.
[Show full text]
Jared French David Zwirner
David Zwirner New York London Hong Kong Jared French Artist Biography Jared French (1905–1988) is known for his psychologically charged compositions, painted in the time-intensive medium of egg tempera. Born in New Jersey, French graduated from Amherst College in 1925, where he studied with the poet Robert Frost. After his relocation to New York, he began working as a clerk at a Wall Street firm while taking classes at the Art Students League, where he met the young artist Paul Cadmus, who would become his lover. In 1931, French and Cadmus embarked on a two-year trip through Europe in search of artistic and sexual freedom, settling in Mallorca, where they began to develop their signature artistic styles. Returning from Europe, French and Cadmus shared an apartment and a studio in Greenwich Village. French found employment in the Mural and Easel Painting Section of the Public Works of Art Project creating works that demonstrated his interest in the idealized human form—a preoccupation he shared with Cadmus. In 1937, French married artist Margaret Hoening, fifteen years his senior, but maintained his relationship with Cadmus (unlike many of the artists in his circle, French identified as bisexual). That same year, the Frenches rented a summer cottage in Saltaire, Fire Island, where the three of them formed the photography collective PaJaMa (an mash-up of their first names). Using Hoening’s Leica, they captured themselves, their friends, and members of the gay community artfully posing in the landscape on the beaches of Fire Island, Nantucket, and Provincetown. These images capture their expanding social circle, which included the British author E.M.
[Show full text]
In the Art World Intheartworld .Com Summer 2011
M Clifford Ross Harmonium VIII, 2008 © Clifford Ross. Courtesy: Sonnabend Gallery, New York and Clifford Ross Studio. in the art world intheArtworld .com Summer 2011 2011.09.08-10 SHANGHAI EXHIBITION CENTER ฉ࡛ቛબዐ႐ www.shcontemporary.info ALL THAT IS NEW IN SHANGHAI Organizers: 上海国际文化传播协会 ዷӸݛǖ THROCKMORTON FINE ART GEORGE PLATT LYNES June 9th - September 10th, 2011 Book available: GEORGE PLATT LYNES: THE MALE NUDES: $60.00 Image: George Platt Lynes, Orpheus and Eros, 1939, Gelatin silver print, Vintage 145 EAST 57TH ST, 3RD FL, NY, NY, 10022 tel 212. 223. 1059 fax 212. 223. 1937 www.throckmorton-nyc.com [email protected] tarting this season, you have probably noticed the Subiquious M art maps appearing everywhere in M New York — Downtown, Uptown, Chelsea . Totalling 45,000 bi-monthly copies and distributed to the city’s major art districts and top hotels, they’re hard to miss. REVIEWS As the original M magazine has evolved over the years, from a local art guide into a highly regarded art journal with increasing international content, 12 Clifford Ross gallery owners and art patrons have expressed the at Sonnabend Gallery need for a simple guide that visitors can pick up in By Camille Hong Xin galleries and hotels and walk around with, take notes 20 Qin Feng on, stick in their pocket. at Ethan Cohen Fine Arts By Chiara Di Lello Indeed, this was the premise of M from its inception in 1998, when we were the first art publication to 26 Wrong Place for the Right People herald the importance of what was then an emerging at Bullet Space, New York art district called Chelsea.
[Show full text]
Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By DENISE NEIL-BINION Norman, Oklahoma 2017 REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. Mary Jo Watson, Chair ______________________________ Dr. W. Jackson Rushing III ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Daniel Swan © Copyright by DENISE NEIL-BINION 2017 All Rights Reserved. For the many people who instilled in me a thirst for knowledge. Acknowledgements I wish to extend my sincerest appreciation to my dissertation committee; I am grateful for the guidance, support, and mentorship that you have provided me throughout this process. Dr. Mary Jo Watson, thanks for being a mentor and a friend. I also must thank Thomas Lera, National Postal Museum (retired) and RoseMaria Estevez of the National Museum of the American Indian. The bulk of my inspiration and research developed from working with them on the Indians at the Post Office online exhibition. I am also grateful to the Smithsonian Office of Fellowships and Internships for their financial support of this endeavor. To my friends and colleagues at the University of Oklahoma, your friendship and support are truly appreciated. Tammi Hanawalt, heather ahtone, and America Meredith thank you for your encouragement, advice, and most of all your friendship. To the 99s Museum of Women Pilots, thanks for allowing me so much flexibility while I balanced work, school, and life.
[Show full text]
George Tooker: Painting and Working Drawings 1947-1988 University of Richmond Museums
University of Richmond UR Scholarship Repository Exhibition Brochures University Museums 1989 George Tooker: Painting and Working Drawings 1947-1988 University of Richmond Museums Follow this and additional works at: http://scholarship.richmond.edu/exhibition-brochures Part of the Fine Arts Commons, and the Painting Commons Recommended Citation University of Richmond Museums. George Tooker: Painting and Working Drawings 1947-1988, September 6 to September 27, 1989, Marsh Art Gallery, University of Richmond Museums. Richmond, Virginia: University of Richmond Museums, 1989. Exhibition Brochure. This Book is brought to you for free and open access by the University Museums at UR Scholarship Repository. It has been accepted for inclusion in Exhibition Brochures by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. GEORGE TOOKER ACKNOWLEDGMENTS LENDERS TO THE First, I would like to thank George Tooker for his EXHIBITION cooperation, time and hospitality, which have enabled this exhibition and made its organization George Tooker a pleasure. Second, without the consistent su pport Marisa del Re Gallery, New York and interest of Joel and Lila Harnett, this exhibi Museum of Modern Art, New York tion would not have come to fruition . I owe them a debt of gratitude. Whitney Muse um of American Art, ew York Many people have been generous in their a sist Sid Deutsch Gallery, New York ance: Julia May of the Marisa del Re Gallery; Joel and Lila Harnett lldiko Heffernan and Mary Ann Ricketso n of the Robert Hull Fleming Museum of the University of Kitty and Herbert Glantz Vermont; and Arnold Skolnick of Chameleon Books, New York.
[Show full text]
American Realists and Magic Realists Edited by Dorothy C
American realists and magic realists Edited by Dorothy C. Miller and Alfred H. Barr, jr., with statements by the artists and an introduction by Lincoln Kirstein Author Museum of Modern Art (New York, N.Y.) Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2854 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE MUSEUM OF MODERN LIBRARY Museumof ModernArt ARCHIVE PLO.SEBETURH TOO FFICEOF lONROfc Retrospective Alexander, p. 19 Audubon, p. 11 Bingham, p. 14 Cole, p. 12 Eakins, p. 17 Field, p. 18 Goodwin, p. 62 AMERICAN Harnett, p. 20 Hicks, p. 13 Homer, p. 16 Kensett, p. 16 Mount, p. 15 Peale, p. 9 Real ists Watrous, p. 21 C ontemporary HOPPER, p. 22 and SHEELER, p. 23 ALBRIGHT, p. 24 Magic Real ists ATHERTON, p. 26 BLUME, p. 28 BULLER, p. 34 CADMUS, p. 30 CARTER, p. 32 CARTIER, p. 35 FRENCH, p. 36 GUGLIELMI, p. 38 HARARI, p. 40 Edited by Dorothy C. Miller and Alfred H. HELDER, p. 42 Barr Jr., with statements by the artists HURD, p. 41 and an introduction by Lincoln Kirstein KUPFERMAN, p. 43 LEWANDOWSKI, p. 44 LOZOWICK, p. 47 LUX, p. 46 PAPSDORF, p. 48 RAIN, p. 49 ROTHSCHILD, p. 50 SANTO, p. 51 SHAHN, p. 52 SUBA, p. 56 SULLIVAN, p. 54 WENGENROTH, p. 57 THE MUSEUM OF MODERN ART WYETH, p.
[Show full text]
ROBERT THOMAS COZZOLINO [email protected] | 612-870-3130
ROBERT THOMAS COZZOLINO [email protected] | 612-870-3130 EDUCATION 2006 Ph.D University of Wisconsin-Madison Dissertation: “Every picture should be a prayer: the art of Ivan Albright.” 2000 MA Art History, University of Wisconsin-Madison 1994 BA History of Art and Architecture, University of Illinois at Chicago CURRENT PROJECTS Supernatural America: The Paranormal in American Art (curator, catalogue author, 2021) Projects in development on Milton Avery, Gregory Gillespie and Roger Brown. EMPLOYMENT 2016-present Patrick and Aimee Butler Curator of Paintings, Minneapolis Institute of Art 2004-2016 Senior Curator and Evelyn and Will Kaplan Curator of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia (PAFA). Hired as Assistant Curator in September 2004; Associate Curator, March 2006; Curator of Modern Art, December 2007; Senior Curator, July 2011; Evelyn and Will Kaplan Curator of Modern Art, November 2014. Left February 2016. Oversaw department and exhibition budgets ranging from $1.5 million to $50,000; supervise 4-6 staff members. EXHIBITIONS CURATED AT MIA 2018-19: New to Mia: Art from Chicago; Without Boundaries: Fiber Sculpture and Paintings by Women with Nicole LaBouff); Kunin Collection Focus: Philadelphia Modernism; Kunin Collection Focus: Bob Thompson; New to Mia: Paintings of all shapes and sizes 2017-18: George Morrison in Focus (with Jill Ahlberg Yohe) 2016-17: American Modernism: Selections from the Kunin Collection (ongoing multi-part series); gradual rehang of modern and American paintings galleries. EXHIBITIONS CURATED AT PAFA 2017: Surrealism and Subversion: The Art of Honoré Sharrer (with Melissa Wolfe). 2016-17: World War I and American Art (with Anne Knutson and David Lubin).
[Show full text]