DOCSLIB.ORG

Annual Report 2008–2009 Board of Directors the Buffalo Fine Arts Academy 2008–2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report 2008–2009 Board of Directors the Buffalo Fine Arts Academy 2008–2009 The Buffalo Fine Arts Academy ANNUAL REPORt 2008–2009 BOARD OF DIRECTORS The Buffalo Fine Arts Academy 2008–2009 Susan O’Connor Baird Charles W. Banta Steven G. Biltekoff Robert J. Bojdak Donald K. Boswell Robert T. Brady Helen Cappuccino, M.D. Brian Carter James W. Derrick MISSION Catherine B. Foley The Albright-Knox Art Gallery, one of the nation’s oldest public Scott E. Friedman arts organizations, has a clear and compelling mission to Sally Gioia Robert M. Greene acquire, exhibit, and preserve both modern and contemporary L. N. Hopkins, M.D. art. It focuses especially on contemporary art, with an active Peter F. Hunt commitment to taking a global and multidisciplinary approach Thomas R. Hyde to the presentation, interpretation, and collection of the artistic Roberta Joseph expressions of our times. In an enriching, dynamic, and vibrant Northrup R. Knox, Jr. environment that embraces diverse cultures and traditions, the Seymour H. Knox IV Jordan A. Levy Gallery seeks to serve a broad and far-reaching audience. Brian J. Lipke Gerald S. Lippes Judith C. Lipsey VISION Annmarie L. Maxwell Katherine McDonagh It is the commitment of the Albright-Knox Art Gallery to be one of Mark R. Mendell the world’s best and most dynamic modern and contemporary art Victoria Beck Newman institutions. Alphonso O’Neil-White Frederick G. Pierce II It will be recognized locally as a vital and energetic cultural Bruce D. Reinoso gathering place and as an indispensable educational resource for Deborah Ronnen the community. John R. Sanderson Robert B. Skerker Through its outstanding programs, creative collaborations, and an Elisabeth Roche Wilmers extraordinary new addition that will address pressing space issues Leslie H. Zemsky and important programming initiatives, the Gallery will attract a growing national and international audience to the Buffalo/ EX-OFFICIO Niagara region. City of Buffalo Mayor Commissioner of Public Works, Parks & Streets The Buffalo Fine Arts Academy gratefully acknowledges the legal services Comptroller provided by the law firm of Magavern Magavern Grimm LLP. County of Erie In an effort to conserve costs and preserve the environment, this is the County Executive second year that the Annual Report has been made available online. No County Comptroller copies of the Annual Report have been printed for distribution. A copy Chariman, Finance & Management Committee may be viewed at the Gallery’s Membership Desk or at the G. Robert Strauss, Jr., Memorial Library. Volunteer Organizations Patricia A. Goldwater, Chair, Members’ Council Margie Whistler, Chair, Junior Group Carole T. Sedita, Chair, Collectors Gallery ALBRIGHT-KNOX ART GALLERY 2 Director’s reporT We have once again been extremely honored by additions to the Permanent Collection in the form of significant gifts. Of special note are those by the family of Fletcher Benton; Natalie and the late Irving Forman, whose landmark gift to the Gallery was celebrated with the beautiful exhibition Works on Paper: The Natalie and Irving Forman Collection; Connie Lembark; and Dr. and Mrs. Giovanni Panza di Biumo. We were also thrilled to learn that the Gallery has been selected to receive a gift of fifty works of contemporary art from New York collectors Dorothy and Herbert Vogel, with the help of the National Gallery of Art, the National Endowment for the Arts, and the Institute of Museum and Library Services. The collection has been further enriched by acquisitions of important works by modern and contemporary artists, from Dan Flavin, Robert Irwin, Joseph Kosuth, Norman Lewis, and Anne Truitt to Vik Muniz, Jason Rhoades, and Robert Therrien. Also joining OVER THE LAST SEVEN YEARS, we have been fortunate to the collection are two new installations, at the Elmwood Desk and have Charles W. Banta as President of the Board of Directors of in muse, by Liam Gillick, whose work is now featured prominently The Buffalo Fine Arts Academy. He has been a dedicated and throughout the Gallery and on the grounds. focused leader, and his tenure has been marked by vitality, Community involvement forms the heart of many of the innovation, and a serious enhancement of the Gallery’s world- Gallery’s programs. Some of the past year’s highlights in this area renowned Permanent Collection. As we look back at his presidency, include our Artist-in-Residence Program, whose inaugural artist, we should all be proud to acknowledge that many important goals Ingrid Calame, worked at sites in the region to create artwork outlined in the Gallery’s 2001 Strategic Plan have been reached. that commemorates Buffalo’s great industrial past; Art’scool, A review of the past year’s exhibitions, programs, activities, and presented by BlueCross BlueShield of Western New York, which events provides many fine examples of the ways in which our gives thousands of local schoolchildren the formative experience of amazing Board of Directors and our incredibly hard-working appreciating art firsthand; Gusto at the Gallery, which celebrated staff strive every day to realize the commitment outlined in the its fifth year; At worK, an innovative new business partnership Strategic Plan: to be the one of the world’s best and most dynamic program that allows the Gallery to continue building strong ties modern and contemporary art institutions. to the Buffalo/Niagara business community; and our Matter at A key part of this commitment is our goal to organize and Hand program, offering museum tours to visitors who are blind or present exhibitions that make a significant contribution to the visually impaired, which was featured in 2008 in an award-winning field, and once again this year we enjoyed an ambitious program. documentary short film, Art in Darkness. A major highlight was the critically acclaimed and award-winning Collaborative enterprises also abound at the Gallery, and this Action/Abstraction: Pollock, de Kooning, and American Art, year’s highlights include the exhibition From Tusk to Tail: Animals in 1940–1976, organized by the Gallery in association with The Art, organized in partnership with the Buffalo Museum of Science; Jewish Museum, New York, and the Saint Louis Art Museum, and the film programs Aurora at the Albright-Knox, presented with which explored the history and critical reception of Abstract the Aurora Theatre, and 3 x 3 @ AKAG, organized in collaboration Expressionism and included some of the most well-known works with film scholars Bruce Jackson and Diane Christian. We are always from the Albright-Knox’s Permanent Collection. The concurrent pleased to collaborate with our international colleagues, and in exhibition The Brave Buffalo: Abstract Expressionism and the June, we were very happy to have the opportunity to host two City, exclusively drawn from materials housed in the Gallery’s large groups, from the Institute of Museum and Library Services and rich archives, further highlighted the Albright-Knox’s history with the Association of Art Museum Directors. As always, the entire staff this important movement and reminded us of the importance worked tirelessly to show all of these guests exactly what makes the of our archival collections. Action/Abstraction also gave us the Albright-Knox and the Buffalo/Niagara region so incredibly special. opportunity to host two memorable events: a lively symposium on This year we began work on a new Master Plan for the Gallery abstract art organized by Chief Curator Douglas Dreishpoon—a and continued to prepare for reaccreditation by the American consulting curator for the exhibition—which included the scholars Association of Museums. Both of these processes will take place Michael Brenson, Robert Hobbs, Richard Shiff, and Katy Siegel; over the next fiscal year and will involve every aspect of Gallery and Converge at the Albright-Knox, a gala event that raised operations. much-needed funds and further celebrated the Gallery’s historical As we welcome a new President of the Board of Directors relationship with the vanguard. This year we also prepared for the of The Buffalo Fine Arts Academy, once again I would like to major exhibition ROBERT MANGOLD Beyond the Line I Paintings extend appreciation to Charles W. Banta for his hard work and his and Project 2000–2008, which—along with its stunning catalogue— continuing dedication to the Albright-Knox Art Gallery. celebrates the career of one of the world’s most esteemed abstract artists, who happens to be from North Tonawanda, New York. We are thrilled to be able to present Mangold’s recent work and celebrate his commission for the stained glass windows in Buffalo’s new United States Courthouse, which is scheduled for completion LOUIS GRACHOS in 2010. Director, Albright-Knox Art Gallery ANNUAL REPORt 2008–2009 3 LETTER FROM THE PRESIDENT WHEN I BECAME PRESIDENT OF THE BOARD in October B. Filling Lacunae: No Director has the prescience to acquire 2002, and when Louis Grachos became Director shortly thereafter, works by all of the key contemporary artists of each decade. we inherited an intelligent, ambitious, and comprehensive At the beginning of my term as President of the Board, one of Strategic Plan published in 2001 under the leadership of Board the first things Louis, the curatorial staff, the Chair of the Art President Charles E. Balbach and Director Douglas G. Schultz. Committee Steven Biltekoff, and I did was to look at the collection Along with succeeding Boards and staff, we earnestly pursued and identify important holes to fill. We then pursued a long list of every major objective in that Strategic Plan. critical artworks through purchases, shared acquisitions, and gifts, including: REAFFIRMING THE MISSION • Matthew Barney Consequently, the last seven years have been a period of dynamic • Burgoyne Diller (Gift of Natalie and Irving Forman) change . change driven by a conscious effort to reaffirm our • Robert Gober historic mission to be, as stated in the 2001 Strategic Plan,“one • Jim Hodges of the world’s best and most dynamic modern and contemporary • Robert Irwin (disc) (Gift of Count Giuseppe Panza art institutions.” As I have mentioned many times, this has in di Biumo) fact been The Buffalo Fine Arts Academy’s mission since its • Joseph Kosuth (Gift of Count Giuseppe Panza incorporation in 1862.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Lynda Benglis
    ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Lynda Benglis Columbia Center for Oral History Research Columbia University 2016 PREFACE The following oral history is the result of a recorded interview with Lynda Benglis conducted by Cameron Vanderscoff on November 13, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Transcription: Audio Transcription Center Session #1 Interviewee: Lynda Benglis Location: New York, New York Interviewer: Cameron Vanderscoff Date: November 13, 2015 Q: Okay, just a brief tag. We’re at 222 on the Bowery [in New York City] to finish with Lynda Benglis. Cameron Vanderscoff here for the Robert Rauschenberg Oral History Project and it’s noon. [INTERRUPTION] [Note: Recording resumes as Benglis overviews the events that led her to meeting Rauschenberg. Topics discussed before recording include 222 Bowery, where her neighbors have included William S. Burroughs and John Giorno; her initial move to New York in 1964 to pursue art; her subsequent studies at the Brooklyn Museum Art School; and, via this point of entry to the New York art scene, meeting the individuals discussed next in the transcript.] Benglis: —the Lower East Side, [my then husband] Gordon Hart being a Scotsman. Some Canadians were there and they knew Barnett [“Barney”] Newman. That’s what happened— Robert [“Bob”] Murray and Terry Stevenson. So Stevenson and Murray and there was one other Canadian. But Robert Murray is still around teaching at [School of] Visual Arts [New York] and flies his own plane and lives out in Pennsylvania.
    [Show full text]
  • The Guggenheim Gets $750,000 to Help Answer Knotty, Existential Questions About the Nature of Conceptual Art
    Art World The Guggenheim Gets $750,000 to Help Answer Knotty, Existential Questions About the Nature of Conceptual Art The Mellon Foundation grant will fund the third stage of the museum's Panza Collection Initiative. Eileen Kinsella, August 29, 2018 Conservator Francesca Esmay (second from right) discusses Lawrence Weiner’s work, which was installed for study during the Panza Collection Initiative Advisory Committee meeting, July 2013. Photo: David Heald © The Solomon R. Guggenheim Foundation After years spent carefully studying and researching a prized blue-chip collection of postwar art acquired from a private collector, the Solomon R. Guggenheim Museum is getting ready to share its findings with the rest of the world. The museum has embarked on the third and final phase of a years-long collaboration with the Andrew W. Mellon Foundation that the New York Times has described as “one of the most ambitious conservation projects ever to address the deep uncertainties raised by Minimalism and Conceptualism.” The endeavor marks the first time the field has sought to reach consensus on how to display and preserve artwork that might otherwise exist only as a diagram or an idea. ADVERTISING inRead invented by Teads Now, the Mellon Foundation is awarding the project a hefty grant of $750,000 (following the first two phases, which were funded by awards of $1.25 million and $1.23 million, respectively). The so- called Panza Collection Initiative has been quietly chugging along since 2010 and centers on the study of the most perplexing, fragile, and intellectually confounding works the museum purchased in the early ’90s from controversial Italian collector Count Giuseppe Panza di Biumo.
    [Show full text]
  • Cubism in America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop­ most important revolution in the history of ment of what came to be called Cubism­ art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
    [Show full text]
  • Body As Matter and Process Press Release
    Garth Greenan Gallery 529 West 20th Street 10th floor New York NY 10011 212 929 1351 www.garthgreenan.com FOR IMMEDIATE RELEASE Contact: Garth Greenan (212) 929-1351 [email protected] www.garthgreenan.com Skins: Body as Matter and Process Garth Greenan Gallery is pleased to announce Skins: Body as Matter and Process, a group exhibition curated by Alison Dillulio at 529 West 20th Street. Opening on Thursday, June 23, 2016, the exhibition features a selection of works, mostly from the 1970s, that evoke the human body–both literally and metaphorically. The artists included are: Lynda Benglis, Mary Beth Edelson, Harmony Hammond, Ralph Humphrey, Kiki Kogelnik, Howardena Pindell, Zilia Sánchez, Joan Semmel, Richard Van Buren, and Hannah Wilke. During the 1970s, second-wave feminism fostered a climate of unparalleled artistic innovation. As Lucy Lippard wrote, “the goal of feminism is to change the character of art.” The artists included in this exhibition furthered this mission by abandoning traditional art-making practices in favor of new modes of representation. They resisted preexisting patriarchal constructs by challenging the definition of painting and sculpture and reintegrating a palpable sense of self into their work. Howardena Pindell, Autobiography: Japan (Shisen-dö, Kyoto), 1982 (more) According to art historian Lynda Nead, art of this period “broke open the boundaries of representation….to reveal the body as matter and process, as opposed to form and stasis.” The featured artists cut, tear, stretch, throw, break apart, and reconstruct materials in their deeply personal and physically charged works. They reference the body in their exploration of processes, materials, and subject matter—an endeavor that offers viewers new perspectives on all forms, human and otherwise.
    [Show full text]
  • Lynda Benglis Defining Post-Minimalism, 1968–1990 Frieze Masters, Regent’S Park, London
    PRESS RELEASE Lynda Benglis Defining Post-Minimalism, 1968–1990 Frieze Masters, Regent’s Park, London October 5–8, 2017 Cheim & Read and Thomas Dane Gallery are pleased to announce a survey of important works by Lynda Benglis to be presented at Frieze Masters, Regent’s Park, London, October 5–8, 2017. In the late 1960s, Benglis rejected the formalist precepts of Clement Greenberg and Donald Judd to produce a form of Post-minimalism paralleling Eva Hesse’s investigations into the emotional resonances of materials, but with an explicit sense of sexuality and Feminist revolt coupled with a freewheeling manipulation of media, from painting and sculpture to photography, film, and video. Her works in polyurethane foam, lead, aluminum, plaster, enamel, and glitter congealed in lumps on the floor or curled off the wall, while her sometimes tender, sometimes savage videos pushed the boundaries of what was acceptable as art. As Catherine J. Morris, the Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, writes in Feminist Avant-Garde of the 1970s (Prestel, Flounce 1978 chicken wire, cotton, plaster, gesso 2016), Benglis created these works “to undermine — or and gold leaf 48 x 16 x 8 in 121.9 x 40.6 x 20.3 cm at least thumb her nose at — what she saw as the reigning orthodoxies ruling both the artworld and the emergent second-wave feminist movement.” By breaking the boundaries of Minimalist “good taste,” Benglis opened up the floodgates of color, sex, politics, and humor, influencing a wide field of aesthetic endeavors, from the cool analysis of identity politics and appropriation art to the uninhibited exuberance of performance, Pattern and Decoration, and Neo- Expressionism.
    [Show full text]
  • Sito STORIA2 RS INGLESE REVISED
    You may download and print this text by Roberta Serpolli, solely for personal use THE PANZA COLLECTION STORY “The Panza Collection is entirely a couple’s affair. When my wife Giovanna and I discover works by a new artist, I look at her and she looks at me. I can see in her eyes if she wants to buy or not. So even between my wife and me, ‘looking’ is an issue.” Giuseppe Panza, 20091 Giuseppe Panza di Biumo, along with his wife Giovanna, is recognized as one of the world’s foremost collectors of contemporary art. The collection, originally composed of around 2,500 works of art, is mainly representative of the most significant developments in American art from post- World War II to the 21st century. Along with a need to fulfill spiritual and inner quests, both intuition and reflection have inspired the collectors’ choice that would demonstrate, retrospectively, their far- sightedness. By devoting themselves to an in-depth focus on emerging artists and specific creative periods, the Panzas contributed to acknowledging the new art forms among both the general public and the art market. The Beginnings of the Collection: On the Road to America The collection ideally began in 1954 when Giuseppe, at the age of thirty years, traveled to South America and the United States, from New York to Los Angeles, where he discovered the continents’ captivating vitality of economy and culture. Upon his return to Milan, he felt the need to take part in the international cultural milieu. In 1955, shortly after his marriage with Giovanna Magnifico, Giuseppe purchased his first work of art by Italian abstract painter Atanasio Soldati.
    [Show full text]
  • FOR IMMEDIATE RELEASE Through September 30 Contact: Sandra Q
    FOR IMMEDIATE RELEASE through September 30 Contact: Sandra Q. Firmin Curator, UB Art Galleries 716.645.0570 [email protected] UB Anderson Gallery is pleased to present Fifty at Fifty: Select Artists from the Gerald Mead Collection Opening Public Reception: Saturday, August 18, 6-8 pm The exhibition is free and open to the public and will be on view through September 30, 2012. Fifty at Fifty: Select Artists from the Gerald Mead Collection is a survey exhibition featuring 86 works in all media by 50 of the most significant historical and contemporary artists associated with Western New York. The selection by the collector was guided by the artists’ art historical imprint as measured by the inclusion of their artwork in several major museum collections worldwide such as the Whitney Museum of American Art, the Museum of Modern Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the J. Paul Getty Museum, the Tate Gallery, and the Centre Georges Pompidiou, among others. The exhibition has been organized on the occasion of noted collector and UB alumnus Gerald Mead’s 50th birthday. Since he began collecting in 1987, Mead has researched and assembled an art collection of more than 670 works by over 600 artists who were born or have lived in the Western New York region. His intent is to form an encyclopedic collection of noteworthy artists affiliated with organizations such as the Buffalo Society of Artists, Patteran Society, Hallwalls Contemporary Arts Center, CEPA, and Big Orbit Gallery. He also collects the work of educators and alumni of the Art Institute of Buffalo, University at Buffalo, and Buffalo State College.
    [Show full text]
  • On Collecting Panza Collection Archives
    HAUSER & WIRTH Press Release On Collecting Panza Collection Archives Hauser & Wirth London, North Gallery 4 September – 15 September 2018 Opening screening: Tuesday 4 September, 6.30 – 8 pm Hauser & Wirth is proud to present, ‘On Collecting. Panza Collection Archives’. This project space and series of events explores the archives and practices of Giuseppe and Giovanna Panza, the internationally renowned collectors who, over more than five decades, built an extraordinary contemporary art collection including works by minimal and conceptual artists from both America and Europe. The presentation features archival material displayed for the first time and a series of plywood paintings by Ford Beckman. Sol LeWitt’s ‘Wall Drawing No. 150’ (1972) will be realised during the project as a performative action in the gallery space. A screening and series of public talks over the course of the exhibition expands on the topic of collecting as a concept. From the 1950s, Giuseppe Panza played a fundamental role in introducing American art movements to the museums of Europe. Dr. Panza was known for the pioneering and rigorous approach taken to all aspects of the collecting process. These fascinating archives bring to life the methods of selecting the artworks, their meticulous documentation in the space, the correspondence with the artists, the precision of his curatorial approach and the modes of display in both the domestic environment and institutional spaces. HAUSER & WIRTH The archival material has been organised in rows reminiscent of the reading room of a library to reflect that for Giuseppe Panza, art was a philosophical pursuit for truth and exhibiting art was a vehicle for communicating knowledge.
    [Show full text]
  • Rainer Ganahl Biography
    RAINER GANAHL Born in Austria. Lives and works in New York 1990/91 Whitney Museum Independent Study Program, New York 1986-91 HAK, Vienna (P. Weibel), Akademie Düsseldorf (N. J. Paik) Master of Philosophy and History at the University of Innsbruck SELECTED SOLO EXHIBITIONS 2010 Alex Zachary, New York Hospitalhof, Stuttgart Elaine Levy Projects, Art Brussels Tea Party, Werkstatt Graz, Graz 2009 MAK, Vienna, October 2009/2010 Toxic Assets, Galerie NŠchst St. Stephan, Rosemarie Schwarzwaelder, Login Elaine Levy Projects, Brussels 2008 Fruit and Flower Deli, New York DADALENIN, Tensta Konsthall, Stockholm Paul Petro Gallery, Toronto Les Laboratoires, Aubervilliers, Paris (a theater production, a film) Kunstverrein SchwŠbisch Hall, SchwŠbisch Hall G126, Galway, Ireland Ce qui roule - That Which Rolls, Early Form's of Rollin' Rock, Les Laboratoire, Aubervilliers, Paris 2007 Rainer Ganahl, The Apprentice in the Sun, Kunstmuseum Stuttgart, Stuttgart, catalog Rainer Ganahl, Reading, Riding and other Recent Works, Duncan of Jordanstone Colege of Art and Design, Dandee 2006 From Vatican to Piazza della Repubblica with no return, RAM, radioartemobile, Rome 2005 The Wallach Art Gallery, Columbia University Museum, New York , catalog Museum of Modern Art, MUMOK, Vienna, catalog Gregoire Maisonneuve, Paris Roellinduerr, St. Gallen Artist Commune, Hong Kong Baumgartner Gallery, New York 2004 le consortium, Dijon bicycle, Paul Petro Contemporary Art, Toronto 2003 Gesellschaft für Aktuelle Kunst, GAG, Bremen, cataog Kunstbüro, Vienna Casco, Utrecht Maisonneuve, Paris vertretung des landes niedersachsen beim bund , Berlin Das Zählen der letzten Tage der Sigmund Freud Banknote, project wall, Kunsthalle Wien, Vienna 2002 Base, Florence, Italy Baumgartner Gallery, New York 2001 Baumgartner Gallery, New York Galerie Nächst St.
    [Show full text]
  • Edward Hopper's Adaptation of the American Sublime
    Rhetoric and Redress: Edward Hopper‘s Adaptation of the American Sublime A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Fine Arts Rachael M. Crouch August 2007 This thesis titled Rhetoric and Redress: Edward Hopper’s Adaptation of the American Sublime by RACHAEL M. CROUCH has been approved for the School of Art and the College of Fine Arts by Jeannette Klein Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts Abstract CROUCH, RACHAEL M., M.F.A., August 2007, Art History Rhetoric and Redress: Hopper’s Adaptation of the American Sublime (80 pp.) Director of Thesis: Jeannette Klein The primary objective of this thesis is to introduce a new form of visual rhetoric called the “urban sublime.” The author identifies certain elements in the work of Edward Hopper that suggest a connection to earlier American landscape paintings, the pictorial conventions of which locate them within the discursive formation of the American Sublime. Further, the widespread and persistent recognition of Hopper’s images as unmistakably American, links them to the earlier landscapes on the basis of national identity construction. The thesis is comprised of four parts: First, the definitional and methodological assumptions of visual rhetoric will be addressed; part two includes an extensive discussion of the sublime and its discursive appropriation. Part three focuses on the American Sublime and its formative role in the construction of
    [Show full text]
  • Biography [PDF]
    B A R B A R A G R O S S G A L E R I E LOUISE BOURGEOIS 1911 Geboren in Paris, Frankreich (25. Dezember 1911) Born in Paris, France (December 25th, 1911) 2010 Gestorben in New York, USA (31. Mai 2010) Died in New York, USA (May 31, 2010) 1932 Sorbonne, University of Paris (Baccalauréate in Philosophy) 1934 Paul Colin 1936-1937 Atelier Roger Bissière dell'Académie Ranson Académie of D'Espagnat École du Louvre 1936-1938 École Nationale Supérieure des Beaux-Arts (studying with André Devambez) Académie de la Grande-Chaumière, as an assistant or massière to Yves Brayer 1937-1938 École Municipale de Dessin & d'Art Académie de la Grande-Chaumière, studying painting with Othon Friesz and sculpture with Robert Wlérick Docent at the Musée du Louvre 1938 Moved to New York, USA Académie Scandinavie with Charles Despiau Studied with Fernand Léger Marcel Gromaire and André Lhote 1938-1939 L'Académie Ranson 1939-1940 Vaclav Vytlacil 1946 Art Student's League of New York 1955 On October 5th, Louise Bourgeois becomes an American citizen Preise und Auszeichnungen / Awards and Distinctions 2009 Inducted into National Women’s Hall of Fame, Seneca Falls, New York NY 2008 Aragon-Goya Award, Goya Foundation, Aragon Government, Zaragoza, Spain French Legion of Honor medal presented by President Sarkozy to Louise Bourgeois, Artist’s Chelsea home, France 2007 The "Woman Award", The United Nations and Women Together, New York NY Österreichisches Ehrenzeichen für Wissenschaft und Kunst (Austrian Honour Medal for Science and Arts) 2002 Wolf Foundation Prize in the
    [Show full text]