INSIDITODAY What's Bloomin'
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Postwar Abstraction in the Hamptons August 4 - September 23, 2018 Opening Reception: Saturday, August 4, 5-8Pm 4 Newtown Lane East Hampton, New York 11937
FOR IMMEDIATE RELEASE Montauk Highway II: Postwar Abstraction in the Hamptons August 4 - September 23, 2018 Opening Reception: Saturday, August 4, 5-8pm 4 Newtown Lane East Hampton, New York 11937 Panel Discussion: Saturday, August 11th, 4 PM with Barbara Rose, Lana Jokel, and Gail Levin; moderated by Jennifer Samet Mary Abbott | Stephen Antonakos | Lee Bontecou | James Brooks | Nicolas Carone | Giorgio Cavallon Elaine de Kooning | Willem de Kooning | Fridel Dzubas | Herbert Ferber | Al Held | Perle Fine Paul Jenkins | Howard Kanovitz | Lee Krasner | Ibram Lassaw | Michael Lekakis | Conrad Marca-Relli Peter Moore |Robert Motherwell | Costantino Nivola | Alfonso Ossorio | Ray Parker | Philip Pavia Milton Resnick | James Rosati | Miriam Schapiro | Alan Shields | David Slivka | Saul Steinberg Jack Tworkov | Tony Vaccaro | Esteban Vicente | Wilfrid Zogbaum EAST HAMPTON, NY: Eric Firestone Gallery is pleased to announce the exhibition Montauk Highway II: Postwar Abstraction in the Hamptons, opening August 4th, and on view through September 23, 2018. In the 1950s and 1960s, the Hamptons became one of the most significant meeting grounds of like-minded artists, who gathered on the beach, in local bars, and at the artist-run Signa Gallery in East Hampton (active from 1957-60). It was an extension of the vanguard artistic activity happening in New York City around abstraction, which constituted a radical re-definition of art. But the East End was also a place where artists were freer to experiment. For the second time, Eric Firestone Gallery pays homage to this rich Lee Krasner, Present Conditional, 1976 collage on canvas, 72 x 108 inches and layered history in Montauk Highway II. -
ALI BANISADR with Phong Bui | the Brooklyn Rail 10/10/18, 2 41 PM
ALI BANISADR with Phong Bui | The Brooklyn Rail 10/10/18, 241 PM MAILINGLIST Art October 3rd, 2018 INCONVERSATION ALI BANISADR with Phong Bui BLAIN|SOUTHERN | SEPTEMBER 29 – NOVEMEBER 17, 2018 (BERLIN) One of the most poignant responses to the perpetual condition of being in exile is credited to Jonas Mekas, the legendary Godfather of American Avant-garde cinema, when he was asked, “Where are you from?” he offered, “I was born and raised in Lithuania, I live in New York, and now my country is culture.” Although the critical issue of how artists respond to the ongoing crises and challenges of the constant pressure to assimilate to their immediate and new environment has been with us since the beginning of time, it has become increasingly acute and urgent in regard to mass migration, especially from the Middle East and Ali Banisadr, Language of the Birds, 2018. Oil on linen, Africa. Ali Banisadr is one exemplar of this feat, following 66 × 88 inches. Courtesy the artist and Blain|Southern, London and Berlin. many of his fellow artists from a generation earlier, including Nicky Nodjoumi, Shirin Neshat, Shoja Azari, Y.Z. Kami, among others. Banisadr left Iran at the tail end of the Iran-Iraq war in 1988, moving first to Turkey, then to the U.S. where he participated in the Mission School of graffiti in San Francisco, and attended SVA (School of Visual Arts) for his BFA, before earning an MFA from New York Academy of Art while also performing as a DJ in Williamsburg, Brooklyn. Above all else, Banisadr is a devoted student of art history and the culture of painting specifically. -
Gerald Van De Wiele: Variations Seven Decades of Painting, Drawing and Sculpture
Gerald van de Wiele: Variations Seven Decades of Painting, Drawing and Sculpture curated by Jason Andrew January 19-May 19, 2018 This historic retrospective captures seven-decades of art by Gerald van de Wiele; an exhibition that highlights the artist’s distinctive calibration of color and line while tapping the pulse-rhythm of the natural world. Gerald van de Wiele: Ever the Dreamer by Jason Andrew Black Mountain College has a rich and complex narrative. It’s a story full of many colorful characters, suspenseful chapters, and historic scenes. One such narrative that hasn’t been told, until now of course, is the story of Gerald van de Wiele. “By the time I was in my early teens, I knew I wanted to be a painter. There was no question about it,” van de Wiele told author and historian Martin Duberman in 1968, “I didn’t know what it meant and everything, but I knew a lot about art at a very early age, maybe even 13 or 14 years old—maybe even earlier. And the path ahead seemed very clear. I knew that’s what I’d be, a painter.”1 Gerald van de Wiele was born in 1932 and raised in Detroit. He attended Cass Technical High School from 1947-1950. One day, a recent grad of the school by the name of Ray Gerald van de Wiele Johnson visited his class “singing the praises of a place called Untitled (Black Mountain College) (1956) Black Mountain College. That was the first time I heard of Oil on canvas, 20 x 16 in. -
It's a Roman Holiday for Artists
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 It’s a Roman Holiday for Artists: The American Artists of L’Obelisco After World War II IT’S A ROMAN HOLIDAY FOR ARTISTS: THE AMERICAN ARTISTS OF L’OBELISCO AFTER WORLD WAR II italianmodernart.org/journal/articles/its-a-roman-holiday-for-artists-the-american- Ilaria0 Schiaffini Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 ABSTRACT L’Obelisco was among the most international of galleries in Rome (1946–81). Its owners, Gaspero del Corso and Irene Brin, established particularly close relationships with the United States starting in 1946, when the gallery opened. They organized the first European exhibition of Robert Rauschenberg, in 1953, and shows of Eugène Berman, Roberto Matta, Saul Steinberg, Ben Shahn, and Alexander Calder, among many others. In 1957, they facilitated the first European retrospective dedicated to Arshile Gorky, with a catalogue that included a preface by Afro. This paper addresses the presence in Italy, from World War II through the 1950s, of artists from the U.S. including exiles who had fled there from elsewhere in Europe during the conflict. Artistic, commercial, and political factors intertwined and favored the concentration of American artists in Italy after the Liberation. Starting with their management of the small gallery La Margherita (1943–45), the del Corso couple were a reference point for all sorts of visitors from the U.S., including intelligence agents. Thanks to the complicity of one such agent, the journalist and antiquarian Peter Lindamood, and of the gallerist Alexander Iolas, the “Fantasts” section of the MoMA exhibition Twentieth-Century Italian Art took shape. -
PAST EXHIBITIONS Pollock-Krasner House and Study Center
PAST EXHIBITIONS Pollock-Krasner House and Study Center *No publication 1990 Jackson Pollock: The Black Screenprints, 1951 3 May – 1 September Brochure Greenwich Village, The ’50s and ’60s: Photographs by Fred W. McDarrah 8 September – 27 October Brochure 1991 Alfonso Ossorio: The Victorias Drawings, 1950 2 May – 27 July Brochure A Day with Jackson and Lee: Photographs by Hans Namuth 1 August – 31 October Brochure 1992 Betty Parsons: Paintings on Paper 1 May – 25 July In conjunction with the Fine Arts Gallery, Southampton College, and the Benton Gallery, Southampton Brochure Me and Jackson: Robert Arneson Interprets Jackson Pollock 30 July – 31 October Brochure 1993 Atelier 17 and the New York Avant-Garde, 1940-1955 1 May – 31 July Brochure The Abstract Spirit: John Ferren (1905-1970) In conjunction with the University Art Gallery, Stony Brook University, and the Godwin-Ternbach Museum, Queens College Formative Years: The 1930s in Paris and Spain 5 August – 30 October Catalog 1994 Robert Richenburg: Abstract Expressionist In conjunction with the Rose Art Museum, Brandeis University, and the University Art Gallery, Stony Brook University Selected Works on Paper 30 April – 30 July Catalog Color Rhythm: The Late Watercolors of Joseph Meert 4 August – 29 October Catalog 1995 *Selections from the Permanent Collection 4 – 30 May Jackson Pollock: “New-Found” Screen Prints 1 June – 30 July Brochure Lee Krasner Figure Drawings: Process and Transformation 3 August – 28 October Brochure 1996 Collages by Ben Bianchi, 1994-95 2 May – 28 July Brochure -
Modern/Post-War
MODERN/POST-WAR ABSTRACT ADDICTIONS: SONGS WITHOUT WORDS 2018 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM 2 3 ABSTRACT ADDICTIONS: SONGS WITHOUT WORDS “It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academic painting. However, there is no such thing as a good painting about nothing.”…Mark Rothko It has been one year since we last published a large catalogue devoted to our vast inventories touching upon our passion for Post-War and modern works of art. When you peruse the following pages please pause a moment and realize that each work of art on each page has a backstory. When and where was it created? Where did it go after its creation and to whom? Over the years of its initial acquisition who lived with it and who viewed it? Was it loaned to exhibitions or museums? Has it traded hands only once or numerous times and eventually how did we acquire it? Well… all of the above are wonderfully curious questions one doesn’t generally think about, but in my life it is all I think about. The backstories and future of all these great works of art have finally come home to me. As times change, we continue to keep reinventing ourselves. Our growth as well as our desire to learn is paramount in keeping us current. Our focus lies mostly in Post-War art, which surprisingly comprises many more movements than one would expect. -
Contemporary American Painting and Sculpture
ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ARnM!TFXTURE KIOMR LliiHAKY AKOHITKTUKfc UNiVEIWTY OF ILLINOIS NOTICE: Return or renew all Library Malerlalst The minimum Fee for each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN L16I—O-1096 ' » • .( ij.^.'. / »f T»^ 'A^Vc^ * • ir* ;' I n'V', ii'.mM :"! ii'vi '' > ' i: 1 "i .m'i ;:[ ' iv/iv/,''ir' ',!.;' ill ! i;'M,'i)">'i>''; I I I'^i'iii' , I ji II, >,M]' i,,i,ii, I * l'.',, i ! I i M!, ,.ll;!;J!-!;'!li^:*^'(WrM''^ I 1 ' ' I •,''',•1 ' , ill'' I fe!(''::!:ifi!'yi§li''i'!''';iVM^ »ntemporary American Painting and Sculpture] niversity off Illinois . -i&Sv i; z^' ii^ THE LIBRARY OF THE FEB ,?4iS5G UNIVERSITY OF ILLINOIS c ^MTifn? Y-^.m ARCWTEcnwi oi .n oi. =4 CONTEMPORARY AMERICAN PAINTING AND SCULPTURE University of Illinois, Urbana Sunday, February 27, through Sunday, April 3, 1955 Galleries, Architecture Building Co//ege of Fine and Applied Arts THE LIBRARY OF THE IVIAR 1 1955 iiMi\fFe<:rrv nr iiiiNrii5$ Copyright 1955 by the University of Illinois Manufactured in the United States of America RICKFP 5-^>/ ,^r^^ tIRRARY ARCHITCCTU8E 7 UMVfcXS.IY OF lumois CONTEMPORARY AMERICAN PAINTING AND SCULPTURE LLOYD MOREY President of the University- ALLEN S. -
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction ITALIAN MODERN ART - ISSUE 3 | INTRODUCTION italianmodernart.org/journal/articles/introduction-3 Raffaele Bedarida | Silvia Bignami | Davide Colombo Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 https://www.italianmodernart.org/journal/issues/methodologies-of- exchange-momas-twentieth-century-italian-art-1949/ ABSTRACT A brief overview of the third issue of Italian Modern Art dedicated to the MoMA 1949 exhibition Twentieth-Century Italian Art, including a literature review, methodological framework, and acknowledgments. If the study of artistic exchange across national boundaries has grown exponentially over the past decade as art historians have interrogated historical patterns, cultural dynamics, and the historical consequences of globalization, within such study the exchange between Italy and the United States in the twentieth-century has emerged as an exemplary case.1 A major reason for this is the history of significant migration from the former to the latter, contributing to the establishment of transatlantic networks and avenues for cultural exchange. Waves of migration due to economic necessity in the late nineteenth and early twentieth centuries gave way to the smaller in size but culturally impactful arrival in the U.S. of exiled Jews and political dissidents who left Fascist Italy during Benito Mussolini’s regime. In reverse, the presence in Italy of Americans – often participants in the Grand Tour or, in the 1950s, the so-called “Roman Holiday” phenomenon – helped to making Italian art, past and present, an important component in the formation of American artists and intellectuals.2 This history of exchange between Italy and the U.S. -
Oral History Interview with Nicholas Carone, 1968 May 11-17
Oral history interview with Nicholas Carone, 1968 May 11-17 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview PC: PAUL CUMMINGS NC: NICOLAS CARONE PC: May 11. Paul Cummings and Nicolas Carone. Do you accept the "e"? NC: Well, in Italian it's Car.ro'ne. We were called Ca.ron' all through school. PC: You were born in New York. I don't have a date for it. NC: June 4, 1917, in New York City. PC: Why don't you just give me some idea of your family, you background, where you lived in New York. NC: Well, my family is Italian. My father comes from Bari, Italy. My mother comes from Lucania. They came here, oh, I don't remember the date when they came. I was born on the East Side of New York. When I was about five years old, we moved to Hoboken, New Jersey, to live. I was really brought up in Hoboken. I went to school there, public school. And then I started to go to art school from there when I was very young, about eleven years old. I went to the Leonardo da Vinci Art School. PC: Oh, downtown. NC: Downtown. It was in an old church in St. Marks Place. PC: Right. NC: And Noguchi was there, and Peter Agostini and George Spaventa, and Marca Relli. But I was younger than they were. PC: From Hoboken you went back and forth? NC: Yes. I used to travel as a kid. -
Nicolas Carone, War Games, 2008, Acrylic on Tarpaulin, 48 X 60 Inches
Nicolas Carone, War Games, 2008, acrylic on tarpaulin, 48 x 60 inches On view Nicolas Carone: Late AbEx Paintings March 18 - April 23, 2016 McClain Gallery is pleased to present Nicolas Carone: Late AbEx Paintings featuring a selection of acrylic paintings rendered in shades of black, white and gray which were all created in the last decade of his life. Carone was one of the last surviving Abstract Expressionist painters known for his figurative style based on abstract principles. The figure acts as the foundation that shapes his lyrical brushstrokes, layered drips and delicate washes. His later works successfully integrate the classical figurative tradition of his early training with the spontaneous and instinctual painting process of his AbEx contemporaries and friends such as Jackson Pollock, Sam Francis, Franz Kline, Willem de Kooning and Conrad Marca-Relli. Since the beginning of the 21st century, there has been a renewed interest in Carone and his work. In addition to his appearance in a variety of group exhibitions, in 2003 Carone had a solo show at the Butler Institute of American Art, in Youngstown, Ohio and a number of gallery exhibitions which were positively reviewed by critics: "Mr. Carone's mixture of de Kooning, Old Master, and Greco Roman inspired works made up of nearly abstract figures [is] rich and absorbing rhythmic tumble of classicism, eroticism, and ambiguity," Lance Esplund wrote for the New York Sun (November 17, 2005). An upcoming exhibition in New York City will revisit his early works. Nicholas Carone (b.1917 – d. 2010) was born in New York City to Italian immigrant parents. -
Abstract Expressionism 1 Abstract Expressionism
Abstract expressionism 1 Abstract expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.[1] The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[2] Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.