When an Artwork Needs a New Coat of Paint SSPPEEAAKKEERRSS
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Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Breathing in Art, Breathing out Poetry: Contemporary Australian Art and Artists As a Source of Inspiration for a Collection of Ekphrastic Poems
Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems. Erin Shiel A thesis submitted in fulfilment of requirements for the degree of Master of Arts (Research) Faculty of Arts and Social Sciences The University of Sydney 2016 Abstract: During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. -
Pop Art with Roy Lichtenstein
January 2020 The Studiowith ART HIST RY KIDS Pop Art with Roy Lichtenstein Observe | Discuss | Discover | Create | Connect Pop Art with The Studiowith Roy Lichtenstein ART HIST RY KIDS INTRODUCTION The art of the ordinary Roy Lichtenstein’s successful art career was based on one simple idea – creating fine art inspired by images we see everyday. His art captures the ordinary things that surround us – advertisements, comic books, the painting of other famous artists like Picasso, Mondrian, Matisse, and Monet, and even Micky Mouse cartoons. He took these ideas and recreated them on a larger than life scale. Most of his can- vases are grand and oversized – they are truly bold and impactful when seen in person! He also infused little bits of commentary in his art, and he became known for his skillful use of parody. You don’t need to study every piece of art that’s included in this guide. Feel free to choose just a few that are most interesting to your kids. A range of subject matter is included here, but if some of these paintings are too intense for your kids– just skip them for now, and come back to them when they are older! There’s no hurry, and there are plenty of paintings included here that are perfect for young kids. Pop Art looks out into the world. This is your week to look closely at the “ art and chat about it. We’ll learn all It doesn’t look like a painting of about Lichtenstein and his art next something, it looks like the thing week. -
Stanford Auctioneers Pop, Modern, Contemporary Art & Photography
Stanford Auctioneers Pop, Modern, Contemporary Art & Photography Saturday – September 19th, 2015 www.stanfordauctioneers.com | [email protected] 1: JEAN-MICHEL BASQUIAT - Oil pastel and crayon on paper USD 20,000 - 25,000 Jean-Michel Basquiat (American, 1960-1988). "Babylonians". Oil pastel and crayon on paper. c1984. "Signed" in the image with the artist's trademark "crown" logo. Fine condition - as drawn. Provenance: Estate of a private collector, New York City, acquired directly from the artist. Image copyright © Artists Rights Society (ARS), New York. Overall size: 11 5/8 x 16 1/2 in. (295 x 419 mm). [28746] |12000| {R100} (TL3) uzzzz~uozzz 2: JEAN-MICHEL BASQUIAT - Color offset lithograph USD 1,200 - 1,500 Jean-Michel Basquiat (American, 1960-1988). "Dog Bite [postcard edition]". Color offset lithograph. 1983. Signed in black marker. Edition unknown. Wove paper. The full sheet. Fine impression. Fine condition. The painting is in the collection of the Museum Boymans-van-Beuningen, Rotterdam. Image copyright © Artists Rights Society (ARS), New York. Overall size: 4 1/8 x 6 in. (105 x 152 mm). [28720] |800| {R100} (TL1) tuzz~tozz 3: JEAN-MICHEL BASQUIAT - Color lithograph USD 2,000 - 2,500 Jean-Michel Basquiat (American, 1960-1988). "Hamlet". Color lithograph. 1987. Signed in black marker, lower left. Edition unknown, probably very small. Very light cream wove paper. The full sheet. Fine impression. Very good condition. Basquiat posters are rare. We have located only 11 auction sales of his "lifetime" posters at auction, and not our example, which has not been offered before at auction. Issued for the Hartford Stage's production of Shakespeare's "Hamlet" which ran from October 3 to November 7, 1987, Hartford, Connecticut. -
Form Vision Hans Theys
Form Vision Hans Theys Form Vision Artists on Art Tornado Editions 2019 To Tamara Van San In 1983, a fellow student handed me this Banda copy, suggesting it might be interesting for me – as an aficionado of art and literature – to study the writings of Kafka without interpreting them. The origin of the book you are holding now lies within this generous gesture. Thirty years later, when I accidently rediscovered it, I realised that the text quotes a book by Susan Sontag, translated and typewritten by an unknown hand. Everyone has a sort of individual form vision. In all the greatest artists the seeds of this form vision has been present even in their early work, and to some extent their work has been a gradual unfolding of this rhythm throughout. (…) It’s something the artist can’t control – it’s his make up. (…) The less conscious you are of your own individual form rhythm, the more likely it is, I think, to get richer and fuller and develop. Henry Moore, 1941 What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. (…) The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means. -
Roy Lichtenstein's Outdoor Painted Sculpture Three Brushstrokes
1 Roy Lichtenstein’s Outdoor Painted Sculpture Three Brushstrokes (1984): Analysis of Paint Structure and Composition Project Overview In 2005, as part of a large donation of outdoor sculpture from the Ray Stark Revocable Trust, the J. Paul Getty Museum acquired a sculpture by Roy Lichtenstein (American, b. 1923; d.1997) entitled Three Brushstrokes (Fig. 1), which was created in 1984. In compliance with the gift agreement, the painted aluminum construction was quickly installed at the Getty Center leaving little time for in-depth study of the original materials and techniques of creation or its conservation history. It was clear from the beginning that a restoration had occurred in the past and the extant paint colors did not properly represent the original appearance. The materials and techniques of Lichtenstein's indoor painted works, mostly canvas paintings, have been comparatively well studied (Cowart 1992; Cowart 1999; Crook and Learner 2000; Learner 2004), but less attention had been paid to the changing techniques and materials he used for his outdoor works. This gap in knowledge, in combination with the uncertainties surrounding the Getty piece, stimulated a collaborative endeavor between the Getty Conservation Institute (GCI), the J. Paul Getty Museum (JPGM), and the Roy Lichtenstein Foundation that was directed towards establishing a clear understanding of the evolution of the artist’s original fabrication and painting techniques for his outdoor sculpture, with specific focus on Three Brushstrokes. Contributing to that wider endeavor, scientific investigations of the paint on the sculpture were carried out by GCI Science in order to address particular questions Figure 1. -
The Robert and Jane Meyerhoff Collection: Selected Works October 1, 2009 - May 2, 2010
Updated Monday, September 21, 2009 | 4:47:03 PM Last updated Monday, September 21, 2009 Updated Monday, September 21, 2009 | 4:47:03 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 The Robert and Jane Meyerhoff Collection: Selected Works October 1, 2009 - May 2, 2010 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Cat. No. 1 / File Name: 2985-195.jpg Title Title Section Raw Cat. No. 1 / File Name: 2985-195.jpg Roy Lichtenstein Roy Lichtenstein Conversation, 1962 Conversation, 1962 graphite on paper; sheet: 32.4 x 27.3 cm (12 3/4 x 10 3/4 in.) graphite on paper; sheet: 32.4 x 27.3Title cm Prefix (12 3/4 x 10 3/4 in.) image: 24.8 x 20 cm (9 3/4 x 7 7/8 in.) image: 24.8 x 20 cm (9 3/4 x 7 7/8 in.) Collection of Robert and Jane Meyerhoff Collection of Robert and Jane MeyerhoffTitle Suffix Title Assembly Conversation Cat. -
Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston
Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston Nicolas Moufarrege: Recognize My Sign November 10, 2018–February 17, 2019 Please do not remove from gallery. 1 Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston BEIRUT In 1973, Nicolas Moufarrege mounted his first art exhibition at Triad Condas gallery in Beirut, Lebanon. The exhibit included a number of modestly-sized portrait-tapestries; a representative work is included in this exhibition. Moufarrege did not follow pre-made plans when embroidering, as one would with a standard embroidery kit. His approach, which he called “experimental weaving,” is improvisational: as images developed, he elaborated on them stitch by stitch. A similar energy enlivens a nearby drawing in marker on paper. For his tapestries, Moufarrege inventively used a combination of silk, cotton, and wool threads in varying colors to create vibrant textures, movement, and tonal shifts. In a 1973 interview with Moufarrege in the magazine Le Beyrouthin on the occasion of his inaugural show, the noted Lebanese artist Etel Adnan remarked that “this is how traditional craftsmanship becomes a personal art full of promise.” Unless otherwise noted, all works appear courtesy Nabil Moufarrej and Gulnar “Nouna” Mufarrij, Shreveport, Louisiana. No. 7, 1975 Thread on needlepoint canvas Une Ile [An Island], 1975 Thread on needlepoint canvas Please do not remove from gallery. 2 Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston Embroidered patch, n.d. Thread and bead on denim Artist’s scrapbook, n.d. Various materials Untitled drawing, n.d. Marker on paper Title unknown, n.d. Thread on needlepoint canvas Please do not remove from gallery. -
Little Big Painting Roy Lichtenstein, 1965
15 avril 2015 Dylan Pouilly 404 Joanne Joho 403 Little Big Painting Roy Lichtenstein, 1965 15 avril 2015 Little Big Painting, Roy Lichtenstein Fiche signalétique Le sujet de ce tableau est une représentation d’un plan rapproché de plusieurs traits de peinture représentant l’Action Painting, mais réalisé dans le style unique de Roy Lichtenstein. Le sujet est donc la peinture ellemême. Le travail est réalisé sur une toile de 172,7 x 203,2 centimètres1 à la peinture à l’huile et au Magna (marque d’acrylique pouvant s’enlever avec de l’essence de thérébentine)2. Il fait partie de la série Brushstrokes (coups de pinceau) qu’a confectionnée Roy Lichtenstein sous forme de tableaux et de sculptures à partir de 1965 (même s’il s’y est surtout consacré de 65 à 66). Cette oeuvre est l’une des premières de cette série et a été achevée en 1965, année où Willem de Kooning, artiste néerlandais (naturalisé américain) et précurseur de l’expressionnisme abstrait, connait sa première rétrospective dans un musée américain (Smith College Museum of Art)3 . Ce tableau est actuellement exposé au Whitney Museum of American Art à New York. Analyse Aux ÉtatsUnis, les années soixante sont des années marquées par une forte envie de vivre, traduite par la montée du mouvement hippie, en même temps qu’une époque de hautes tensions internationales : en 1962, la crise des missiles de Cuba fait croire à une Troisième Guerre Mondiale, l’année suivante connait l’assassinat de Kennedy, tandis que la guerre du Vietnam fait rage et le combat pour les droits civiques est à son apogée, avec comme leader spirituel et charismatique Martin Luther King, qui sera d’ailleurs assassiné lui aussi dans cette décennie, en 1968. -
Northwest Impressionism, 1910-1935
Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Susan Casteras, Chair René Bravmann Douglas Collins Program authorized to Offer Degree: Art History University of Washington Abstract Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert Chair of the Supervisory Committee: Professor Susan Casteras Art History Northwest Impressionist artists are among the forgotten figures in American art history. Responsible for bringing Modernism to Washington and Oregon, they dominated the art communities in Seattle and Portland from about 1910 to 1928, remaining influential until the mid 1930’s. After describing the artists briefly, this dissertation summarizes and evaluates the slim historiography of Northwest Impressionism. Impressionism and Tonalism are contrasted in order to situate these artists within the broad currents of American art history. Six important artists who have not been studied in the past are each accorded a chapter that summarizes their educations, careers, and artistic developments. In Seattle, Paul Gustin, the early leader of the Seattle art community, was most closely associated with images of Mount Rainier. Edgar Forkner, a well established Indiana artist, moved to Seattle and painted numerous canvases of old boats at rest and still lifes of flowers. Dorothy Dolph Jensen, a latecomer, emphasized shoreline and harbor scenes in her work. In Portland, Charles McKim traded complete anonymity in Portland, Maine for the leadership of the Oregon art community, creating a variety of landscapes and seascapes. Clyde Keller produced an enormous output of landscapes over a long career that extended to California as well as Oregon. -
Complete Dissertation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Table of Contents Page Title page 2 Abstract 3 Acknowledgements 4 Introduction 5 Chapter 1 A brief biography of E J Power 8 Chapter 2 Post-war collectors of contemporary art. 16 Chapter 3 A Voyage of Discovery – Dublin, London, Paris, Brussels, 31 Copenhagen. Chapter 4 A further voyage to American and British Abstraction and Pop Art. 57 Conclusion 90 List of figures 92 Appendices 93 Bibliography 116 1 JUDGEMENT BY EYE THE ART COLLECTING LIFE OF E. J. POWER 1950 to 1990 Ian S McIntyre A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS THE UNIVERSITY OF EAST ANGLIA September 2008 2 Abstract Ian S McIntyre 2008 JUDGEMENT BY EYE The art collecting life of E J Power The thesis examines the pattern of art collecting of E J Power, the leading British patron of contemporary painting and sculpture in the period after the Second World War from 1950 to the 1970s. The dissertation draws attention to Power’s unusual method of collecting which was characterised by his buying of work in quantity, considering it in depth and at leisure in his own home, and only then deciding on what to keep or discard. Because of the auto-didactic nature of his education in contemporary art, Power acquired work from a wide cross section of artists and sculptors in order to interrogate the paintings in his own mind. He paid particular attention to the works of Nicolas de Stael, Jean Dubuffet, Asger Jorn, Sam Francis, Barnett Newman, Ellsworth Kelly, Francis Picabia, William Turnbull and Howard Hodgkin. -
Artist Rooms Roy Lichtenstein in Focus Tate Liverpool
TATE LIVERPOOL ARTIST ROOMS 22 SEP – 17 JUN 2018 ROY LICHTENSTEIN IN FOCUS INTRODUCTION ARTIST ROOMS is owned by the National The pack is designed to support teachers and This display is free. For further details about Galleries of Scotland and Tate. The collection educators in planning a visit to the display with visiting Tate Liverpool with your group and is shared across the UK with Ferens Art Gallery, a collection of ideas, workshops and points for to book a visit online see: supported by the National Lottery through discussion. It is intended as a starting point that Arts Council England, Art Fund and by the will ‘trigger’ your own connections and creative www.tate.org.uk/learn/teachers/school-visits- National Lottery through Creative Scotland. ideas. The activities are suitable for all ages and tate-liverpool This free display at Tate Liverpool brings can be adapted to your needs before, during together over 20 works charting the career and after your visit. Email: [email protected] of Roy Lichtenstein (1923–1997) from his early interest in landscape to the iconic pop Call: +44 (0) 1517 027 400 paintings influenced by comic strips and advertising imagery. It includes Lichtenstein’s only work with the media of film, his triple- screen installation Three Landscapes made at Universal Studios in 1969. Cover: Reflections: Art 1988 © Estate of Roy Lichtenstein/DACS 2017 2 Roy Lichtenstein In Focus Teachers’ Pack CONTENTS ROY LICHTENSTEIN 4 ACTIVITIES 7 IN THE CAR 1963 8 ACTIVITIES 11 GLOSSARY 12 FURTHER RESOURCES 13 3 Roy Lichtenstein In Focus Teachers’ Pack ROY LICHTENSTEIN “It occurred to me one day to do something that Born in Manhattan in 1923 Roy Lichtenstein While teaching at the State University of New would appear to be just the same as a comic grew up in the West Side of New York City.