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The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 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. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Critic's Guide: New York | Frieze
Advertisement Critics’ Guides / Critic’s Guide: New York BY J O S E P H I N E G R A F 7 N O V 2 0 1 7 From re-examined positions, to explorations of gender and energy: a roundup of the best shows across the city Lewis Stein, Untitled c.1972/2017, installation view, ‘Works from 1968-1979’, ESSEX STREET, New York. Courtesy: ESSEX STREET, New York; photograph: Jason Mandella Lewis Stein, ‘Works from 1968–1979’ ESSEX STREET <https://frieze.com/event/lewis-stein> 29 October – 22 December 2017 Having found success as a painter in the 1960s, New York-based artist Lewis Stein went on to reconsider the readymade by cooly transplanting overlooked urban objects – a street lamp, stanchions, a wooden billy club – into the gallery. This show gathers key works from 1968 to 1979 and makes a compelling argument for revisiting Stein’s oeuvre. Stein separates the readymade from its Duchampian irony, revealing instead how everyday objects can guide visibility and delimit movement in a subtle and concise form of policing. The exhibition’s force resides less in the objects themselves than in their effect on the body of the viewer that must negotiate them, for example skirting a barrier (Untitled, c.1972) or squinting against a blinding street light (Untitled, c.1979–80). There’s a productive relationship to younger artists on the gallery’s roster, too, such as Park McArthur and Cameron Rowland, each of whom mine histories of control held within the seemingly benign. Barbara Hammer, Bowsprit, Hornby Island, British Columbia, 1972, 2017, silver gelatin print, 39 x 58 cm. -
A Stellar Century of Cultivating Culture
COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists. -
Artist's Proposal
Gabbert Artist’s Proposal 14th Street Roundabout Page 434 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor Ladies and Gentlemen, Thank you for this opportunity. For your consideration I propose a work tentatively titled “Flame”. I believe it to be simple-yet- compelling, symbolic, and appropriate to this setting. Dimensions will be 20 feet high by 14.5 feet wide by 14.5 feet deep. It sits on a 3.5 feet high by 9 feet in diameter base. (not accurately dimensioned in the 3D graphics) The composition. The design has substance, and yet, there is practically no impediment to drivers’ visibility. After review of the design by a structural engineer the flame flicks may need to be pierced with openings to meet the 150 mph wind velocity requirement. I see no problem in adjusting the design to accommodate any change like this. Fire can represent our passions, zeal, creativity, and motivation. The “flame” can suggest the light held by the Statue of Liberty, the fire from Prometheus, the spirit of the city, and the hearth-fire of 612.207.8895 | jgsculpture.webs.com | [email protected] 14th Street Roundabout Page 435 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor home. It would be lit at night with a soft glow from within. A flame creates a sense of place because everyone is drawn to a fire. A flame sheds light and warmth. Reference my “Hopes and Dreams” in my work example to get a sense of what this would look like. The four circles suggest unity and wholeness, or, the circle of life, or, the earth/universe. -
Angela Perko & WJ Mccloskey
10/8/2018 THE BLUE LANTERN: Wrapped Lemons: Angela Perko & W.J. McCloskey More Create Blog Sign In THE BLUE LANTERN Arts Journalism For The Love Of It 08 November 2015 Total Pageviews Wrapped Lemons: Angela Perko & W.J. McCloskey 2,133,734 Why The Blue Lantern ? A blue-shaded lamp served as the starboard light for writer Sidonie-Gabrielle Colette's imaginary journeys after she became too frail to leave her bedroom at the Palais Royale. Her invitation, extended to all, was "Regarde!" Look, see, wonder. "I think of myself as being in a line of work that goes back about twentyfive thousand years. My job has been finding the cave and holding the torch. Somebody has to be around to hold the flaming branch, and make sure there are enough pigments." Calvin Tompkins I had never heard of Angela Perko until recently when I saw Wrapped Lemons apres W.J. McCloskey (above); I had heard of William McCloskey, but couldn't remember how although I did remember why. The elusive artist painted strangely captivating wrapped fruits, a genre he may well have invented. The artist Angela Perko, also turns out to admire the Canadian artists known collectively as the Group of Seven, artists I've mentioned recently. Perko cites the group, especially its lone female member Emily Carr, as influencing her use of color. She arranges colors fearlessly, as comfortable with dissonance as she is with delicacy. Like the Seven, Perko explored painting through landscape; like McCloskey she was born elsewhere but eventually moved to California. I think Perko's Wrapped Lemons refers to McCloskey's Florida Lemons (below). -
Marcia Marcus (B
Marcia Marcus (b. 1928, New York, NY) made figurative paintings, which were revolutionary in both style and subject matter. She studied at the Cooper Union and the Art Students League in the 1950s. At the Art Students League, she studied with Edwin Dickinson, a teacher she adored, and whose influence can be felt in the refinement of Marcus’s figures, her draughtsmanship, and her tonal subtlety. At Cooper Union, she was a contemporary of Alex Katz and Lois Dodd, with whom her work shares other aesthetic qualities – namely, the flattening of forms and painterly shorthand to articulate figures and patterns, a bravura compositional organization, and an attention to fashion. Marcus was a central figure in the avant-garde art world of downtown New York. By 1954, she was a friend and collaborator of Allan Kaprow. The younger artist Red Grooms invited her to be part of the artist cooperative, the Delancey Street Museum, along with founding members Jay Milder and Bob Thompson. There, she performed a “Happening” and showed her painting in the late 1950s. In addition to her intimate involvement with this venue, Marcus showed her work throughout the 1950s and 60s at other now fabled galleries such as the Stable Gallery and March Gallery. Through the 1960s and 70s she had solo exhibitions at Graham Gallery, ACA, Zabriskie, and Terry Dintenfass Gallery. For over 25 years, from 1952-78, Marcus spent summers living and working in one of the legendary Provincetown dune shacks. She enjoyed the relative isolation and time this granted her to further develop her work, but also thrived on the lively social and intellectual interchange with artists there. -
Report of the President, Bowdoin College 1972-1973
Bowdoin College Bowdoin Digital Commons Annual Report of the President Special Collections and Archives 1-1-1973 Report of the President, Bowdoin College 1972-1973 Bowdoin College Follow this and additional works at: https://digitalcommons.bowdoin.edu/presidents-reports Recommended Citation Bowdoin College, "Report of the President, Bowdoin College 1972-1973" (1973). Annual Report of the President. 82. https://digitalcommons.bowdoin.edu/presidents-reports/82 This Book is brought to you for free and open access by the Special Collections and Archives at Bowdoin Digital Commons. It has been accepted for inclusion in Annual Report of the President by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Report of the President 1972-1973 BOWDOIN COLLEGE BRUNSWICK, MAINE Report of the President To the Trustees and Overseers of Bowdoin College: I have the honor to submit the following report for the academic year 1972-1973. The Financial Situation IT seems almost inevitable that presidential reports begin with a discussion of the financial situation of the College. It is there- fore a happy circumstance which enables me to say that the Col- lege is stronger today in a financial sense than it has been for many years. The fact that the College experienced operating deficits for a decade was a cause of great concern to all members of the college community, and this circumstance, coupled with the widely cir- culated and gloomy financial projections of the Carnegie Com- mission and the Association of American Colleges, has tended in recent years to cast a sense of foreboding over the financial sections of this report. -
“Beat Memories: the Photographs of Allen Ginsberg” at Grey Art Gallery, NYU Pg
FEBRUARY–MARCH 2013 www.galleryandstudiomagazine.com VOL. 15 NO. 3 New York GALLERYSTUDIO “Beat Memories: The Photographs of Allen Ginsberg” at Grey Art Gallery, NYU pg. 7 1955, Gelatin silver print, printed 1984–97, 9 7/8 x 14 7/8 in. (24.9 x 38 cm), National Gallery of Art, Gift of Gary S. Davis © 2012 The Allen Ginsberg LLC. All rights reserved. TRIAD a new excerpt from Ed McCormack’s HOODLUM HEART pg. 14 (50$0$57,1<267 )HOWHG)LHOGV &ĞďƌƵĂƌLJϳͲ&ĞďƌƵĂƌLJϮϳ͕ϮϬϭϯ KƉĞŶŝŶŐZĞĐĞƉƟŽŶ͗dŚƵƌƐĚĂLJ͕&ĞďƌƵĂƌLJϳ͕ϲͲϴƉŵ +DQGIHOWHGDQG6WLWFKHG&RQVWUXFWLRQV ³)LUHÀ\)LHOG´ )HEUXDU\0DUFK 5HFHSWLRQ6DWXUGD\)HEUXDU\SP :HVWWK6W1<& 7XHV6DWSP ZZZQRKRJDOOHU\FRP © Jerry Anderson - Angel with Red Cloud 1 Acrylic on Canvas 30” x 15” © Jerry Anderson - Angel with Red Cloud 1 Acrylic 30” on Canvas ƐĐŽƚŽ͘ĂƌƌĂƌĂZŝĐŚĂƌĚĞůůŽDŝĐŚĂĞůŽǁĚƌŽLJ<ƌnjŝƐͲ>ŽƌĞŶƚ&ƌĠĚĠƌŝƋƵĞ< :ĞƌƌLJŶĚĞƌƐŽŶEŝĐŬƌĐŝĞƌŽEĂnjŝŬƐůĂŶLJĂŶ:ĞŶŽǁůĞƐ tĂƌƌĞŶZDĂĐŬ'ĂďƌŝĞůĞDĂƵƌƵƐŵŵĂŶƵĞůůĞZŝǀĂƌĚ:ĂĚĞZŽƵŐĞƌŝĞ 530 West 25th Street, New York 212-226-4151 Fax: 212-966-4380 www.Agora-Gallery.com [email protected] GALLERYSTUDIO FEBRUARY/MARCH 2013 “Winter Warm-Up” Showcases Several Artists ail Comes, one of the artists featured lightly sketched on toned paper in pencil and compositions from elements of realism. Gin this catchily titled show, has a strong charcoal by the artist known simply as Zelda Then there is Lucinda Prince, whose two figurative style with sometimes surreal could also suggest subjects dating back to the paintings from her “Winter Trees” series, one overtones. Here, she is represented by the classical past. For in “A Tale of Two Men,” with snow piled on its bare branches, have a oil on canvas “Dancing with the Tiger,” in and two other drawings, Zelda displays shimmering beauty. -
MISSOURI TIMES the State Historical Society of Missouri and Western Historical Manuscript Collection
November 2008/ Vol. 4, No. 3 MISSOURI TIMES The State Historical Society of Missouri and Western Historical Manuscript Collection Annual Meeting Moves, Educates Attendees year. He noted the increase in monies received from the state legislature, which helped fund the second of a projected three-phase salary equity plan, and a $600,000 appropriation to begin planning for a much-needed new building. Kremer Annual Meeting awards discussed the popularity Page 3 of the Missouri History Speakers’ Bureau, which has provided more than one hundred speakers to nonprofit groups around the state, and the inauguration of MoHiP Theatre. Other Society achievements he Guests sparked conversations with acquaintances old and new as they arrived at noted included the receipt the Tiger Hotel for the annual meeting. of a prestigious National State Historical Society members and Digital Newspaper Project grant from the National Endowment for the Humanities and Page 4 guests gathered at the historic Tiger Hotel in downtown Columbia for the 2008 annual grants from the Missouri State Library to digitize meeting on November 1. In a departure from card catalogs in the Newspaper and Reference past meetings when a speaker was featured, libraries. attendees enjoyed Reunion, a reader’s theatre At the conclusion of the luncheon, Dr. presentation by the Society’s Missouri History in Kremer presented Alan R. Havig with the Performance (MoHiP) Theatre. Four Columbia 2008 Distinguished Service Award. Dr. Havig, actors portrayed a World War II veteran, his wife, professor emeritus of history and now archivist and the adult children of another veteran at a at Stephens College in Columbia, has written reunion of the Railsplitters, a unit of the Eighty- histories of Columbia and local organizations as well as the 1998 centennial history of the Society. -
Farm Book 2012
“Red Gateway” Myriad Gardens Oklahoma, City, OK Crescendo Tarrytown, New York “Mariner’s Gateway” Haverstraw, NY © 2017 Hans Van deBovenkamp,LTD. © 2017HansVan www.vandebovenkamp.com Hans Van de Bovenkamp LARGE SCALE SCULPTURES Large Scale Sculptures by Hans Van de Bovenkamp © 2017 Hans Van de Bovenkamp, LTD. www.vandebovenkamp.com About Hans Van de Bovenkamp is a contemporary abstract sculptor and an architectural designer. He has earned an international reputation over the past 55 years for designing, fabricating, installing and maintaining unique sculptures, fountains and gates in collaboration with architects and designers. His works can be The seen in hundreds of public, civic, corporate and private collections. ARTIST STATEMENT “For me, making sculpture is both a spiritual and an artistic act. The studio is my playground, my laboratory, my sanctuary, where I practice and experiment with sculptural ideas. When I am working I am truly living in the Artist present moment: focused and aware of choices as I make them, functioning in an elevated state between the conscious and the subconscience. Over time, I have been fortunate to gather together enough skill and vision to realize my ideas as they have come into my heart. Art for me, is not just a passion, it is a way of life.” The Following pages contain Hans Van de Bovenkamp’s Available Inventory of Large Scale Sculpture* for Immediate Installation suitable for Commercial or Residential Usage and Exhibitions. Please visit www.vandebovenkamp.com for additional information or to request -
Large Scale Sculptures Fountains & Gates
Hans Van de Bovenkamp Large Scale Sculptures Fountains & Gates © 2014 Hans Van de Bovenkamp, LTD. www.vandebovenkamp.com photo: Denise C. Moore 2 As exhibited at the Bernarducci.Meisel gallery in NYC 2011 #0002 • “Manhattan Portal” 2011 Bronze 120”H x 408”W x 72”D 3 #0001 • “Oh, Ophylia, Why” 1989 Stainless Steel 96” H x 60” W x 36” D 4 #0004 • “Spire” Stainless Steel 2008 192” H x 72” W x 60” D 5 #0342 • “Titan Anemone” 2016 Stainless Steel 108” H x 77” W x 70” D 6 #0338 • “Titan Blossom” 2016 Stainless Steel 120” H x 72” W x 72” D 7 #0343 • “Titan Nebula with base ” Bronze Patina 2016 77” H x 24”H x 24”D 8 #0014 • ““Oracle” 2008 Stainless Steel 120”H x 72” W x 24”D 9 #0006 • “Sagg Portal” Stainless Steel 2009 144” H x 288” W x 72” D 10 #0010 • “Muse#3” 2008 Stainless Steel 96” H x 24”W x 24”D 11 #0022A • ““Ode to Chamberlain” 2006 Bronze 96”H x 24” W x 24”D 12 #0023 • “Gaea” 2012 Bronze 95” H x 60” W x 45” D 13 #0024 • “Izanagi & Izanami” 2006 Bronze 99” H x 78”W x 46”D 14 #0027 • “Ode to Miles” 2006 Stainless Steel 180” H x 96” W x 84” D 15 #0036 • “Olympia” 2006/2007 Painted Stainless Steel 144” H x 60” W x 48” D 16 #0037 • “Ode to Charles Mingus” 2005 Stainless Steel 168” H x 84” W x 60” D 17 #0038 • “Cloudkicker” 2005 Stainless Steel 128” H x 79”H x 97”D 18 #0046 • “Sagg Portal with Bench ” Stainless Steel 2006 108” H x 120” W x 60” D 19 #0047 • “Seive 2” 2004 Stainless Steel 120” H x 72”W x 74”D 20 #0071 • “Black Portal ” Painted Stainless Steel 2009 125” H x 140”H x 78”D 21 #0072 • “Menhir Meneer” 2009 Stainless Steel 148” H x -
20Th – 21St Centuries Charles White
th st 20 – 21 Centuries Charles White (American, 1918-1979) Birth of Spring, 1961 Charcoal drawing 63.33 Gift of the Childe Hassam Fund of the American Academy of Arts and Letters, New York A Chicago native, Charles White was born in 1918, the son of working class parents. He participated in the “Chicago Renaissance,” a mid-western movement of the 1930s, 40s and 50s that, like the earlier “Harlem Renaissance,” was characterized by socially critical cultural expressions by African Americans. In the late 1940s White began to devote his attention to the creation of monumental finished drawings in charcoal, wash, and ink. His large drawings often took months to complete, and his imagery focused on the social and spiritual lives of African Americans. The Birth of Spring was created in 1961, during the early years of the American Civil Rights movement. The woman’s somber face and weathered hands testify to a life of physical and emotional pain, yet she rises out of the darkness into the open space above. Historian Peter Clothier described the figure as an “ancestral presence” removed from time and place, “existing somewhere between America and Africa.” (MAA 2/06) MAA 6/2012 Docent Manual Volume 2 20th – 21st Centuries 1 th st 20 – 21 Centuries Robert Natkin (American, b. 1930) Beyond the Sapphire and Sound, 1963 Oil on Canvas 63.34 Gift of Mr. David Dolnick Born in Chicago, Robert Natkin traveled to New York City in the 1950s, where he moved in the same circles as the Abstract Expressionists Willem de Kooning and Mark Rothko.