Conversation with Iman Ansari
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THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art. -
KAWS Media Release
KAWS Media release 6 February–12 June 2016 Longside Gallery and open air Yorkshire Sculpture Park (YSP) presents the first UK museum exhibition by KAWS, the renowned American artist, whose practice includes painting, sculpture, printmaking and design. The exhibition, in the expansive Longside Gallery and open air, features over 20 works: commanding sculptures in bronze, fibreglass, aluminium and wood alongside large, bright canvases immaculately rendered in acrylic paint – some created especially for the exhibition. The Park’s historically designed landscape becomes home to a series of monumental and imposing sculptures, including a new six-metre-tall work, which take KAWS’s idiosyncratic form of almost-recognisable characters in the process of growing up. Brooklyn-based KAWS is considered one of the most relevant artists of his generation. His influential work engages people across the generations with contemporary art and especially opens popular culture to young and diverse audiences. A dynamic cultural force across art, music and fashion, KAWS’s work possesses a wry humour with a singular vernacular marked by bold gestures and fastidious production. In the 1990s, KAWS conceived the soft skull with crossbones and crossed-out eyes which would become his signature iconography, subverting and abstracting cartoon figures. He stands within an art historical trajectory that includes artists such as Claes Oldenburg and Jeff Koons, developing a practice that merges fine art and merchandising with a desire to communicate within the public realm. Initially through collaborations with global brands, and then in his own right, KAWS has moved beyond the sphere of the art market to occupy a unique position of international appeal. -
Museum of Arts and Design
SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Memoria 09-10
Memoria 09-10 Índice Programación de Navidad 09,10 Grupo de teatro permanente de la Fundación Cerezales Antonino y Cinia. Teatro Amateur. Teatro Roblano “Harmonia” ¡Que viene mi marido! III Exposición: “Entorno Camín” Joaquín Rubio Camín Programación de Semana Santa. Teatro “Enamorado de la muerte”. IV Exposición: “En los límites de las sombras”. Bernardo Alonso Villarejo V Exposición: “Peso y Materia”. Richard Serra obra gráfica. Encerezados. Programa de actividades verano 2010. Otoño- Invierno 2010 Concierto de Flamenco. VI Exposición “Paisaje Múltiple. Latinoamérica en la colección Musac”. Semana de la Ciencia 2010. Música en Navidad 10-11` Filandones: Vidas contadas, Vidas Vividas. Cartelería. Notas y Convocatorias de prensa Música en Navidad 09,10`. Segunda edición del ciclo música clásica en Navidad En estas Navidades presentamos un ciclo de música integrado por cuatro conciertos diversos y variados, a la par que didácticos, cumpliendo así uno de los objetivos de nuestra Fundación. Orfeón Leonés. Viernes, 18 de diciembre de 2009_20.30h La primera actuación de esta agrupación aparece en un programa de fiestas en la ciudad de León de 1892, denominadas por aquel entonces de “San Miguel” en la que ya aparece esta coral con el nombre de “Orfeón Leonés”, dirigida por el Maestro Areal. Su actual configuración se establece en 1927 bajo la batuta de D. Joaquín Manceñido. En el año 1933 se hizo cargo del Orfeón Leonés el Maestro Odón Alonso González, quien orientó la trayectoria musical del Orfeón hasta su fallecimiento en 1977. En febrero de 1981, asumió la dirección Mª José Flecha Pérez, su actual directora. El Orfeón Leonés, en su dilatada vida musical, ha cultivado con éxito el género de la zarzuela e igualmente ha realizado numerosos conciertos con la antigua Orquesta de Cámara de León, interpretando obras como el Mesías de Haendel o la Pasión según San Mateo de Bach. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
APR MAY JUN 2020 at 515.271.0336 Or [email protected] JUNE 13 – SEPTEMBER 13, 2020 ANNA K
APR MAY JUN 2020 DESMOINESARTCENTER.ORG | 1 FROM THE DIRECTOR t’s finally spring and there is a lot of activity with Urban Experience and the artist Jordan at the Art Center in anticipation of warmer, Weber to present art activities for Des Moines’ I sunnier days. I am looking forward to many Juneteenth celebration. These are just a few exciting events. These include a lecture with of the many offerings available for the entire the scholar and newly appointed curator at community at the Art Center. The Metropolitan Museum of Art, Denise Murrell; After many months of listening and a performance of Morton Feldman’s musical deliberating in multiple gatherings of staff, arrangement for Philip Guston in the galleries trustees, and the community, I am pleased to performed near our painting Friend – To M.F., announce the roll out of the Art Center’s new 1978, by Guston; Member Sundae on the front strategic plan. This blueprint will carry the lawn of the Art Center; an exhibition of Justin Art Center through the next three years, utilizing Favela’s artwork as well as a community fiesta three core tenets. They are: 1) evaluate and hosted by the artist and members of his family; enrich the quality of experiences that the and the showing of Jeffrey Wolf’s new film, Bill Art Center provides; 2) reaffirm the Art Center’s Traylor: Chasing Ghosts, to name a few. We will commitment to the community; and 3) optimize also host the Latino Film Festival in mid-April. and enhance internal culture. Two of these are More information will be forthcoming. -
Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019
Smithsonian American Art Museum February 11, 2019 Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019 Artists Respond: A Symposium: March 15, 9am–5:30pm Smithsonian American Art Museum Eighth and F Streets N.W. Washington, D.C. 20004 USA Hours: Monday–Sunday 11:30am– 7pm T +1 202 633 1000 Americanart.si.edu Martha Rosler, Red Stripe Kitchen, from the series "House Beautiful: Bringing the War Home," ca. 1967-72. Photomontage, Art Institute of Chicago, through prior gift of Adeline Yates. © Martha Rosler. Courtesy of the artist and Mitchell-Innes & Nash, New By the late 1960s, the United States was in pitched conflict both in Vietnam, against a foreign power, and at home—between Americans for and against the war, for and against the status quo. Artists Respond: American Art and the Vietnam War, 1965–1975 presents art created amid this turmoil, spanning the period from President Lyndon B. Johnson’s fateful https://www.e-flux.com/announcements/244630/artists-respond-american-art-and-the-vietnam-war-1965-1975/ decision to deploy U.S. ground troops to South Vietnam in 1965 to the fall of Saigon ten years later. The first national museum exhibition to examine the contemporary impact of the Vietnam War on American art, Artists Respond brings together nearly 100 works by 58 of the most visionary and provocative artists of the period. Galvanized by the moral urgency of the Vietnam War, these artists reimagined the goals and uses of art, affecting developments in multiple movements and media: painting, sculpture, printmaking, performance, installation, documentary art, and conceptualism. -
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. -
Ellsworth Kelly and Andy Warhol Lead Swann Galleries' November
FOR IMMEDIATE RELEASE Contact: Alexandra Nelson October 25, 2016 Communications Director 212-254-4710 ext. 19 [email protected] Ellsworth Kelly and Andy Warhol Lead Swann Galleries’ November Contemporary Art Auction New York— On Tuesday, November 15, Swann Galleries will hold an auction of Contemporary Art, featuring works by Chuck Close, Christo, Richard Diebenkorn, Claes Oldenburg and Cy Twombly, among others. Prime works by Pop Art king Andy Warhol include the iconic 1964 screenprint of Elizabeth Taylor, aptly titled Liz, as well as the screenprint Campbell’s Soup I: Green Pea, 1968 ($30,000 to $50,000 and $15,000 to $20,000, respectively). Also available is a sheet of sixty unpeeled Banana Stickers (The Velvet Underground & Nico), 1967, the largest amount of intact stickers related to the landmark collaboration between Warhol and The Velvet Underground ever seen at auction, estimated to sell between $8,000 to $12,000. Abstract Expressionist masters are well represented. An excellent work from Robert Motherwell’s Elegy to the Spanish Republic series titled Lament for Lorca, 1981-82, is estimated at $10,000 to $15,000. Willem de Kooning’s first lithograph with printer Irwin Hollander, Woman at Clearwater Beach, 1971, is also present. According to Hollander, the work was inspired by the artist’s “trip to Japan…the seeing and feeling of calligraphy, sumi brush and Zen”—it is expected to realize $8,000 to $12,000. There is also a run of moody works by Adolph Gottlieb. Bridging print and sculpture is Jean Dubuffet’s Parcours, 1981, an unusual scrolled screenprint on silk. -
Barbara Rose Papers, 1940-1993 (Bulk 1960-1985)
http://oac.cdlib.org/findaid/ark:/13030/tf9199n9wm Online items available Finding aid for the Barbara Rose papers, 1940-1993 (bulk 1960-1985) Jocelyn Gibbs. Finding aid for the Barbara Rose 930100 1 papers, 1940-1993 (bulk 1960-1985) Descriptive Summary Title: Barbara Rose papers Date (inclusive): 1940-1993 (bulk 1960-1985) Number: 930100 Creator/Collector: Rose, Barbara Physical Description: 11 Linear Feet(40 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The Barbara Rose papers represent a selection from her archive and document her research in post-war and contemporary American art. The bulk of the papers date from 1960 through 1985. Included are sound recordings and videos, most of which are interviews by Rose of American artists active in the 1960s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Barbara Rose is an American art historian and critic, born in 1938 and educated at Smith College, Barnard College and Columbia University. She is known primarily for her writings on 20th-century American art. She has taught (at Hunter College, the Universtiy of California at San Diego and Irvine, and Sarah Lawrence College), curated exhibitions and made films. Through her marriage to Frank Stella and friendships with many other New York artists, she was a well-positioned observer of the American art world, particularly in the active New York scene of the 1960s and 1970s. -
Aria Amenities Fine Art Brochure
YOUR GUIDE TO EXPLORING THE Reproduced by permission of the Henry Moore Foundation The first major permanent collection of art in Las Vegas to be integrated into a public space, the ARIA Fine Art Collection is one of the world’s largest and most ambitious corporate collections. The ARIA Fine Art Collection features work by acclaimed painters, sculptors and installation artists, including Maya Lin, Jenny Holzer, Nancy Rubins, Claes Oldenburg and Coosje van Bruggen, Frank Stella, Henry Moore, James Turrell and Richard Long, among others. The ARIA Fine Art Collection encompasses a multitude of styles and media engaging visitors on a visual and intellectual level. Some were existing pieces, carefully chosen for their artistic value and cultural significance; others are site-specific installations for which the artist commanded their vision over the space. Fully integrated into the architecture and design of the ARIA Campus, guests can interact with important works of art in the living, breathing spaces of ARIA’s public areas, hotels and residential common spaces. From vibrant and ornate to intimate and serene, these works were strategically placed to fascinate and educate guests. For more information about the ARIA Fine Art Collection, please visit Aria.com/fineart. Please do not touch the artwork. 11 6 12 5 4 9 13 ADDITIONAL ATTRACTIONS TO CASINO ND LEVEL 7 10 PROMENADE ARIA Resort & Casino 3 8 A Lumia ARIA Resort & Casino, Main Entrance Twisting ribbons and large arcs of streaming water create bold, captivating “water sparks” at their intersections. Lumia is the first fountain to be lit, so the vibrant colors are visible during daylight.