Women of Abstract Expressionism
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Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
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MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world. -
LEE KRASNER Public Information (Selected Chronology)
The Museum of Modern Art 79 LEE KRASNER Public Information (Selected Chronology) 1908 Born October 27, Lenore Krassner in Brooklyn, New York. 1926-29 Studies at Women's Art School of Cooper Union, New York City. 1928 Attends Art Students League. 1929-32 Attends National Academy of Design. 1934-35 Works as an artist on Public Works of Art Project and for the Temporary Emergency Relief Administration. Joins the WPA Federal Art Project as an assistant in the Mural Division. 1937-40 Studies with the artist Hans Hofmann. 1940 Exhibits with American Abstract Artists at the American Fine Arts Galleries, New York. 1942 Participates in "American and French Paintings," curated by John Graham at the McMillen Gallery, New York. As a result of the show, begins acquaintance with Jackson Pollock. 1945 Marries Jackson Pollock on October 25 at Marble Collegiate Church, New York. Exhibits in "Challenge to the Critic" with Pollock, Gorky, Gottlieb, Hofmann, Pousette-Dart, and Rothko, at Gallery 67, New York. 1946-49 Creates "Little Image" all-over paintings at Springs, Easthampton. 1951 First solo exhibition, "Paintings 1951, Lee Krasner," at Betty Parsons Gallery, New York. 1953 Begins collage works. 1955 Solo exhibition of collages at Stable Gallery, New York. 1956 Travels to Europe for the first time. Jackson Pollock dies on August 11. 1959 Completes two mosaic murals for Uris Brothers at 2 Broadway, New York. Begins Umber and Off-White series of paintings. 1965 A retrospective, "Lee Krasner, Paintings, Drawings, and Col lages," is presented at Whitechapel Art Gallery in London (circulated the following year to museums in York, Hull, Nottingham, Newcastle, Manchester, and Cardiff). -
Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
Christine Giles Bill Bob and Bill.Pdf
William Allan, Robert Hudson and William T. Wiley A Window on History, by George. 1993 pastel, Conte crayon, charcoal, graphite and acrylic on canvas 1 61 /2 x 87 '12 inches Courtesy of John Berggruen Gallery, San Francisco, California Photograph by Cesar Rubio / r.- .. 12 -.'. Christine Giles and Hatherine Plake Hough ccentricity, individualism and nonconformity have been central to San Fran cisco Bay Area and Northern California's spirit since the Gold Rush era. Town Enames like Rough and Ready, Whiskey Flats and "Pair of Dice" (later changed to Paradise) testify to the raw humor and outsider self-image rooted in Northern California culture. This exhibition focuses on three artists' exploration of a different western frontier-that of individual creativity and collaboration. It brings together paintings, sculptures, assemblages and works on paper created individually and collabora tively by three close friends: William Allan, Robert Hudson and William T. Wiley. ·n, Bob and Bill William Allan, the eldest, was born in Everett, Washington, in 1936, followed by Wiley, born in Bedford, Indiana, in 1937 and Hudson, born in Salt Lake City, Utah, in 1938. Their families eventually settled in Richland, in southeast Washington, where the three met and began a life-long social and professional relationship. Richland was the site of one of the nation's first plutonium production plants-Hanford Atomic Works. 1 Hudson remembers Richland as a plutonium boom town: the city's population seemed to swell overnight from a few thousand to over 30,000. Most of the transient population lived in fourteen square blocks filled with trailer courts. -
Ernest Briggs' Three Decades of Abstract Expressionist Painting
Ernest Briggs' Three Decades its help in allowing artists of the period to go to school. They were set of Abstract Expressionist Painting free economically, and were allowed to live comfortably with tuition and supplies paid for. The Fine Arts School would last about 3 years Ernest Briggs, a second generation Abstract Expressionist painter under McAgy. The program took off due to the presence of Clyfford known for his strong, lyrical, expressive brushstrokes, use of color and Still, Ad Reinhardt, along with David Park, Richard Diebenkorn, Elmer sometimes geometric composition, first came to New York in late 1953. Bischoff and others. Most of the students at the school, about 40-50 He had been a student of Clyfford Still at the California School of Fine taking painting, such luminaries as Dugmore, Hultberg, Schueler and Arts. Frank O’Hara first experienced the mystery in the way Ernest Crehan, had had some exposure to art through university or art school. Briggs’ splendid paintings transform, and the inability to see the shape But there had been no exposure to what was going on in New York or in as a shape apart from interpretation. Early in 1954, viewing Briggs’ first Europe in the art world, and Briggs and the others were little prepared one man show at the Stable Gallery in New York, O’Hara said in Art for the onslaught that was to come. in America “From the contrast between the surface bravura and the half-seen abstract shapes, a surprising intimacy arises which is like The California Years seeing a public statue, thinking itself unobserved, move.” With the entry of Still, the art program would “blow apart”. -
Press Release Al Held
PRESS RELEASE AL HELD Black and White Paintings 1967–1969 Opens Thursday February 18 from 6-8 pm Exhibition continues through March 26, 2016 Cheim & Read is pleased to present eight monumental black and white paintings, dating from 1967 to 1969, Al Held (1928–2005). An exhibition of Held’s “Alphabet Paintings,” made between 1961 and 1967, was exhibited at the gallery in 2013. This exhibition focuses on the unique series of paintings Held began in 1967, in which various geometric forms, arranged in multiple perspectives, are rendered within the strict confines of a black-and-white palette. Perhaps inspired by the India ink drawings of lines, circles, triangles, and squares that he made in 1966, Held had already begun moving away from the flat, boldly-colored shapes of his earlier work. Using charcoal and white acrylic directly on canvas, he started sketching multi-dimensional, interlocking configurations, surrounding them with colored ground. In late 1967, this B/W V 1967-68 acrylic on canvas experimentation yielded to an increasingly graphic, complex, and illusory 114 x 114 in 289.6 x 289.6 cm space. While compositions were still worked out on the canvas, often in several iterations, Held’s soft-edged charcoal was replaced by the sharply defined contours of uniformly painted forms, their thick black outlines positioned against a stark white field. The paintings featured in this exhibition encompass the initial phase of this new body of work. The “B/W series” is comprised of Held’s first fully realized canvases in his new style and limited palette, while works from the “Phoenicia” series are more explicit in their development of multiple perspectives and vanishing points, resulting in evermore ambiguous spatial relationships. -
Summer 1987 CAA Newsletter
newsletter Volume 12. Number 2 Summer 1987 1988 annual meeting studio sessions Studio sessions for the 1988 annual meeting in Houston (February Collusion and Collision: Critical Engagements with Mass 11-13) have been planned by Malinda Beeman, assistant professor, Culture. Richard Bolton, c! 0 Ha,rvard University Press, 79 University of Houston and Karin Broker, assistant professor, Rice Garden Street, Cambridge, MA 02138. University. Listed below are the topics they have selected. Anyaddi Art and mass culture: it is customary to think of these two as antagon tional information on any proposed session will be published in the Fall ists, with art kept apart to best preserve its integrity. But recent art and newsletter. Those wishing to participate in any open session must sub theory has questioned the necessity of this customary antagonism, and mit proposals to the chair of that session by October I, 1987. Note: Art many contemporary artists now regularly borrow images and tech history topics were announced in a special mailing in April. The dead niques from mass culture. This approach is fraught with contradic line for those sessions was 31 May. tions, at times generating critical possibility, at times only extending the reign of mass culture. It becomes increasingly difficult to distin Artists' Visions of Imaginary Cultures. Barbara Maria Stafford (art guish triviality from relevance, complicity from opposition, collusion historian). University of Chicago and Beauvais Lyons (print from collision. Has the attempt to redraw the boundaries between maker), University of Tennessee, Department of Art, 1715 Vol mass culture and art production been successful? Can society be criti unteer Blvd., Knoxville, TN 37996-2410. -
Course GA-17 WOMAN in ART: VISIONS from the PERSPECTIVES of DIFFERENCE and EQUALITY Lecturer: Dr
Course GA-17 WOMAN IN ART: VISIONS FROM THE PERSPECTIVES OF DIFFERENCE AND EQUALITY Lecturer: Dr. Magdalena Illán Martín ([email protected]) Lecturer: Dr. Lina Malo Lara ([email protected]) OBJECTIVES This Course is designed with two key objectives in mind: firstly, to contribute to the rescue from academic oblivion of the women artists who have produced creative output throughout history and who, due to a range of different conditioning factors of a social kind, have remained on the margins of the Art World; secondly, to raise awareness of, and encourage reflection about, the situation of women within the Art environment of the present day, as well as about the aims pursued by tendencies within feminist criticism, together with the compromise, at the dawn of the twenty-first century, of the woman artist in the call for gender equality in society. METHODOLOGY Class sessions will be interactively theoretical and practical, combining the theoretical exploration of syllabus content – supported by the viewing of artistic works and documentaries- with critical debate on the part of students when dealing with the on-sceen images and the recommended texts. SUBJECT BLOCK 1.: STARTING POINT Do Women Have To Be Naked To Get Into the Met. Museum? Art and Gender. Art Created by Women; Feminine Art; Feminist Art. Feminism and Post-Feminism. SUBJECT BLOCK 2.: THE DEPICTION OF THE FEMININE IN THE HISTORY OF ART Introduction: Models and Counter-Models. Woman-as-Fetish. Art and Mythology: Disguised Eroticism. Art and Religion: the Figure of Mary versus Eve. Art and Portraiture: Women of the Nobility, of the Bourgeoisie, and Nameless Faces. -
(Public Pack)Agenda Document for Barbican Centre Board, 24/07/2019 11:00
Public Document Pack Barbican Centre Board Date: WEDNESDAY, 24 JULY 2019 Time: 11.00 am Venue: COMMITTEE ROOMS, 2ND FLOOR, WEST WING, GUILDHALL Members: Deputy Dr Giles Shilson (Chairman) Deputy Tom Sleigh (Deputy Chairman) Stephen Bediako (External Member) Russ Carr (External Member) Simon Duckworth Alderman David Graves Gerard Grech (External Member) Deputy Tom Hoffman (Chief Commoner) Deputy Wendy Hyde Emma Kane (Ex-Officio Member) Vivienne Littlechild Wendy Mead Lucy Musgrave (External Member) Graham Packham (Ex-Officio Member) Judith Pleasance Alderman William Russell Jenny Waldman (External Member) Enquiries: Leanne Murphy tel. no.: 020 7332 3008 [email protected] Lunch will be served in the Guildhall Club at 1pm N.B. Part of this meeting could be the subject of audio or visual recording John Barradell Town Clerk and Chief Executive AGENDA A number of items on the agenda will have already been considered by the Board’s Finance and/or Risk Committees and it is therefore proposed that they be approved or noted without discussion. These items have been marked with a star (*). Any Member is able to request that an item be unstarred and subject to discussion; Members are asked to inform the Town Clerk or Chairman of this request prior to the meeting. 1. APOLOGIES 2. MEMBERS' DECLARATIONS UNDER THE CODE OF CONDUCT IN RESPECT OF ITEMS ON THE AGENDA 3. MINUTES a) Board Minutes To agree the public minutes and summary of the Barbican Centre Board meeting held on 22 May 2019. For Decision (Pages 1 - 8) b) Minutes of the Finance Committee - TO FOLLOW To receive the public minutes of the Finance Committee of the Barbican Centre Board meeting held on 8 July 2019. -
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. -
Alice Aycock: Sculpture and Projects
Alice Aycock: Sculpture and Projects. Cambridge and London: M.I.T. Press, 2005; pp. 1-8. Text © Robert Hobbs The Beginnings of a Complex The problem seems to be how to connect without connecting, how to group things together in such a way that the overall shape would resemble "the other shape, ifshape it might be called, that shape had none," referred to by Milton in Paradise Lost, how to group things haphazardly in much the way that competition among various interest groups produces a kind ofhaphazardness in the way the world looks and operates. The problem seems to be how to set up the conditions which would generate the beginnings ofa complex. Alice Aycock Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs, 1977 In Book 11 of Milton's Paradise Lost, Death assumes the guise of two wildly dissimilar figures near Hell's entrance, each with an extravagantly inconsistent appearance. The first, a trickster, appears as a fair woman from above the waist and a series of demons below, while the second-a "he;' according to Milton-is far more elusive. It assumes "the other shape" that Aycock refers to above. 1 When searching for a poetic image capable of communicating the world's elusiveness and indiscriminate randomness, Aycock remembered this description of Death's incommensurability, which she then incorporated into her artist's book Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs. Although viewing death in terms oflife is certainly not an innovation, as anyone familiar with Etruscan and Greco-Roman culture can testify, seeing life's complexity in terms of this shape-shifting allegorical figure signaling its end is a remarkable poetic enlists images from the past and from other inversion.