News Jon Schueler (1916-1992) April 2013

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News Jon Schueler (1916-1992) April 2013

NEWS Jon Schueler APRIL 2013 (1916-1992) AB-EX/ RE-CON: Abstract Expressionism Reconsidered is at the Nassau County Museum of Art, Museum Drive, Roslyn Harbor, NY, March 9-June 16. This fascinating exhibition Photo by Archie Iain McLellan, 1981 includes Jon Schueler's early oil, Small Painting, III, 1950, 20" x 24" (o/c 50-2) from the collection of Bruce M. Clark. The Jon Schueler oil, Ballachulish Mist, 1956, 51" x 45" (o/c 57-8) is part of the group exhibition About Abstraction at the David Findlay Jr Gallery, 724 Fifth Ave, New York, NY, April 6-27. Reception April 6, 3.00-5.00pm. In Schueler's hometown, Milwaukee, WI, the Dean Jensen Gallery, 759 N. Water Street, holds a one-person exhibition Jon Schueler: Second Coming from April 19-June 4. A catalogue, with an essay by Katherine Murrell, University of Wisconsin—Milwaukee will be available. Sun and Grey Sea, II, 1973, 40" x 36" (o/c 331) China Blues, 1983, 32" x 48" (o/c 1331) is included in Personal Perspectives-- favorite paintings from the museum's collection-- chosen by the curators of the Springfield Art Museum, Springfield, MO and city leaders. It continues until June 2nd. Sabhal Mor Ostaig, the Gaelic university on the Isle of Skye, Scotland, has announced that the panel of Arthur Watson, President of the Royal Scottish Academy, Sheila Hayman, Independent Curator and Kath McLeod, Arts Development Officer for Sabhal Mor Ostaig, have selected the Japanese photographer, Takeshi Shikama to be the first recipient of the Jon Schueler Residency. See the website: www.shikamaphoto.com To hear Jon Schueler on the double bass in 1951, with friends from the California School of Fine Arts and others in the Studio 13 Jass Band, go to the San Francisco Museum of Modern Art's web site: http://www.sfmoma.org/explore/multimedia/audio/154. Great Dixie plus! Roland Howser, banjo; Jon Schueler, double bass; Jack Lowe, drums; Elmer Bischoff, trumpet; David Park, piano; & Charles Clark, clarinet THE JON SCHUELER ESTATE Magda Salvesen, Curator, 40 W 22nd ST, 12TH FL, NEW YORK, NY 10010 phone: (212) 929-7614 email: [email protected] WWW.JONSCHUELER.COM.

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Annual Exhibition by the Society for Contemporary American Art
23rd ANNUAL EXHIBITION BY THE SOCIETY FOR CONTEHPOR.ARY ANERICMJ ART May 24- June 17, 1963 Nominated by: 1. IV AN ALBRIGHT Young Girl, charcoal3 $1700 Lent by the artis-t,, Chicago Hr. Lawrence Pucci, Jr. 2, MILTON AVERY Beach Blankets, wat er color> ~;;1300 Grace Borgenicht Gallery, New York Mr" and Urs. H . Press Hodgkins 3 • ROBERT BARNES View From Riverbank, pencil, ~P2.50 Allan Frumkin Gallery, Chicago Mr. and Mrs. Arnold noot 4. ROBERT BARNES Stage No.,l, pencil, ~>2.50 Allan Frumkin Gallery, Chicago Mrs. Jane G8 Weinberg .5. LEONARD BASIITN l1outh of Socrates, ink and wash, ~>700 Boris Hirski Gallery, Boston l1r. and Mrs.. Arnold Smoller 6. LEONARD BASKIN Flower III, ink, $7.50 Grace Borgenicht Gallery, New York Mr. and Mrs. Albert Arenberg 7. ROBERT BEAUCHAMP Untitled, pencil, ~~175 Green Gallery, .New York Mr. and Hrs. Sanford R. Robertson 8.. GENE BEERY Hello There, water color Lent by the artist, Racine, Wi.sconsin Mr. and Hrs. Barnet Hodes 9 •. CLAUDE BENTLEY Retablo, paper collage and casein, $800 Lent by the artist, Chicago Mr. and Mrs. Alfred w. Stern 10. CLAUDE BENTLEY Boy with Kite, swni ink, ~~175 lent by the artist, Chicago Mr. and Mrs. Altred W. Stern 11. LEE BONTECOU Untitled, soot on muslin, ~~875 Leo Castelli Gallery, New York Mr~ and Mrs. Joseph R. Shapir o 12., LEE BONTECOU Untitled, pencil, ~~470 Leo Castelli Gallery, New York ~Wo and I~s. Joseph R. Shapiro 13. HARRY BOURAS Gift of Night, collage, ~~250 lent by the artist, Chicago Mr .. and Urs. Alexander Liveright 14 o HARRY BOURAS Landfigure 1 collage, ~~350 lent by the artist, Chicago }~o and Mrs.
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Lost Man Blues: Jon Schueler – Art and War
Exhibition Proposal Lost Man Blues: Jon Schueler – Art and War Wing Shadow Over Grey Sea, 1982, 72” x 65” (o/c 1248) Curated by Marissa Roth Lost Man Blues: Jon Schueler – Art and War Lost Man Blues Romasaig, Scotland, September 1988 Oil on canvas 18 x 16 in / 45.72 x 40.64 cm (o/c 1549) The title of this painting refers to the loss of a plane in Schueler’s squadron on the return to England after a bombing mission over Germany. Lost Man Blues JON SCHUELER – Art and War Curated by Marissa Roth When reflecting on the arc of an artist’s life and career, we find that his or her own words and thoughts provide the most telling details and authentic backdrop to the work and convey its full breadth. Because of the physical nature of art, it can only tell part of the story at any one time. But the binding together of years of personal writings reveals the artistic journey in its totality and offers the most meaningful context. Jon Schueler (1916-1992), the esteemed prolific American Abstract Expressionist painter from Milwaukee, Wisconsin, was also a masterful writer. Over the course of three decades, he wrote thousands of pages and deliberately conserved them by date as a testimony of his life. This self-portrait in words - reflections, ruminations, personal letters and business correspondence - is an acutely self-aware record of his creative process and mirrors his breathtaking output as a painter. Through these writings lovingly edited by his widow Magda Salvesen, and editor Diane Cousineau, we hear his voice and understand his innermost creative struggles.
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Jon Schueler, It Is Magazine, 1960
When I speak of nature I’m speaking of the sky... And when I think of the sky, I think of Jon Schueler 1916-1992 the Scottish sky over Mallaig... Jon Schueler Time was there and motion was there..lands forming, seas disappearing, words Discover the artist, his works fragmenting, colors giving birth to burning shapes...... and his inspiration in 2016. Jon Schueler, It is magazine, 1960 Born in Milwaukee in 1916, Jon Schueler studied at the California School of Fine Arts from 1948-51 where his teachers included Clyfford Still and Richard Diebenkorn. In ‘51 he moved to New York and, through Still, became immersed in the art world of Mark Rothko, Franz Kline, Jackson Pollock, and Robert Motherwell. Considered one of the younger members of the legendary New York School, he was taken up by both the celebrated dealer Leo Castelli and the Stable Gallery. In 1957 he discovered Mallaig, a fishing village on the west coast of Scotland, and this landscape informed his work in NY throughout the ‘60s. In 1970 he returned to Mallaig for 5 years, and then painted there again most summers until his death in 1992. Essentially an abstract painter, Schueler nonetheless grounded his work in nature --especially in the light and atmosphere of the Scottish west coast. This dimension will be celebrated by both museums and galleries during the 2016 centenary. Schueler’s paintings are in the collections of distinguished American and British institutions including the Whitney Museum in New York and the Scottish above : Sea Light: Dreaming, I, 1981, 152 x 132 cm (60”x 52”) o/c 1192 National Gallery of Modern Art, Edinburgh.
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Crsaforum ● from the President Nancy Mowll Mathews Spring 2007 Since Last Winter There Has Been Some Progress on Proposed Programs for CRSA Members
CRSA forum The Journal of the Catalogue Raisonné Scholars Association An Affiliated Society of the College Art Association Spring 2007 ● No 21 ● CRSAforum ● from the President Nancy Mowll Mathews Spring 2007 Since last winter there has been some progress on proposed programs for CRSA members. Thanks to our faithful director of programming, Steven Manford, a fall panel at the Dedalus Foundation in New York is in the works. He is also partnering with CRSA member Adina CONTENTS Gordon to present a panel on catalogues raisonnés of sculptors during the 2008 CAA meet- New & Noteworthy 03 ing in Dallas. By Way of Introduction 05 A number of other CRSA members, such as Ellen Epstein, have begun looking into programs Websites and the for the future, and we applaud their efforts. Although Steven and I do our best in this regard, Catalogue Raisonne 08 the organization will only be as active as its members are. Please feel free to organize CRSA Book Reviews 10 events in your locale and according to your special interests. Scott Ferris has been very Publications 11 good at setting times and locations for discussion meetings for whomever can make it. His Announcements 12 efforts can serve as a good model. The CRSA Forum and the list serve are handy vehicles for announcing your programs to the wider membership. And for those who can come to an- nual CAA conferences, there will always be a CRSA meeting and/or panel. As an affiliated society, we are also eligible to hold our own sessions if a CRSA member would like to chair ON THE COVER one.
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SSAH Will Continue to Grow and Develop Its Role As One of the Pre-Eminent Vehicles of Art from the Chair Historical Research in Scotland
Newsletter No. 21 Autumn/Winter 2005 During that time the SSAH will continue to grow and develop its role as one of the pre-eminent vehicles of art From the Chair historical research in Scotland. Our 2005 Journal is a particularly rich and varied publication and we are now st lthough not exactly a ‘coming of age’, the 21 exploring opportunities for more extensive distribution birthday of the SSAH has offered a marvellous and online publishing. More news of this will follow. We opportunity to review both our past and our are delighted to have contributions from several scholars A st future. Our past was essentially the theme of our 21 and writers working outwith Scotland and hope this is a anniversary colloquium in April - Art & Scotland: the last harbinger of a growing internationalism, both for our 21 years - but this was no exercise in self-indulgent Society, but also for the study and appreciation of Scottish congratulation or navel-gazing. Instead a succession of art and for the study of art in Scotland. stimulating papers and discussions served to emphasise how vibrant and energising the issue of art continues to Robin Nicholson be in a nation now mystifyingly re-branded as the ‘best small country in the world’. Certainly none can deny that Scotland always has punched above its weight and the colloquium was Notices launched with Duncan Macmillan’s challenging thesis that the international influence of Scots artists might be signifi- cantly more extensive than previously thought. Obliquely AGM this set a theme for the following day’s debates which The Annual General Meeting of the Scottish Society for constantly returned to questions of Scottish culture, Art History will take place on Saturday December 3rd in identity and outlook.
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Centenary of American Artist Jon Schueler (1916-1992) Celebrated Throughout 2016
FOR IMMEDIATE RELEASE April 25, 2016 CENTENARY OF AMERICAN ARTIST JON SCHUELER (1916-1992) CELEBRATED THROUGHOUT 2016 Solo and group exhibitions, both in the US and in the UK, will mark the centennial of Jon Schueler’s birth. A Jon Schueler symposium, The Sound of Sleat: Echoes, Reflections, and Transfigurations, moderated by Lindsay Blair, will take place at Sabhal Mòr Ostaig, the University of the Highlands and Islands, Isle of Skye, Scotland, May 27-29. Two shows at the beginning of April set off events in Scotland: at the University of Stirling and at the Heritage Centre in Mallaig, where Schueler had a studio from 1970 to 1992. In May, we move north to Ullapool for openings at An Talla Solais and at Rhue Art. On the Isle of Skye, Sabhal Mòr Ostaig --along with hosting the 2-day Schueler symposium--will show a selection of the artist's oils and works on paper. The college, like the fishing village of Mallaig, witnesses the The Search: Red and Grey, II, 1981, dramatic and mysterious weather patterns sweeping over the Sound of Sleat, the 48 x 40” (o/c 1173). University of Stirling Exhibition body of water that so often served as the source of Schueler's imagery and fantasies. For other exhibitions opening later in the year, see accompanying list. The stunning Schueler exhibition, Jon Schueler: Mapping Memory, at the Anderson Gallery, State University of Bridgewater, MA marked the opening of the 2016 celebrations in the United States. The Weisman Art Museum, Minneapolis, MN is currently featuring its collection of Schueler's paintings "as center pieces surrounded by forerunners and successors" in its exhibition, Clouds, Temporarily Seen.
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STEVE CIESLAWSKI His Premiere One Man Exhibition
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PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
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Jon Schueler (American, 1916-1992)
Jon Schueler (American, 1916-1992) Abstract painter Jon Schueler was born in Milwaukee on September 12, 1916. He attended the University of Wisconsin, and received a B.A. in English literature and an M.A. in economics. Schueler originally wanted to become a writer and, after acquiring his MA at the University of Wisconsin–Madison in 1940, he worked for a short time as a journalist. He developed an interest in painting after serving in World War II as an Army pilot, when the G.I. Bill enabled him to return to school. He attended the California School of Fine Arts, where he was taught by Clyfford Still. Schueler moved to New York in 1951. His first one-man show was at the Stable Gallery in New York in 1954, followed by exhibitions at the Leo Castelli Gallery in 1957 and 1959. His work was the subject of an exhibition at the Whitney Museum of American Art in 1975. In New York, Schueler longed to be surrounded by nature, which he considered the visual basis for his abstraction. He had been fascinated by the sky ever since his childhood in Wisconsin, beside Lake Michigan. In 1957, he first traveled to Scotland, a part of the world that would forever influence his painting style. Schueler wrote: “When I speak of nature I'm speaking of the sky... And when I think of the sky, I think of the Scottish sky over Mallaig... Time was there and motion was there--lands forming, colors emerging or giving birth to burning shapes, mountain snows showing emerald green.” Throughout his career, he exhibited frequently in Scotland, where he purchased a house in the small fishing village of Mallaig on the Sound of Sleat in 1957.
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“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
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Ben Heller (Bh)
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: BEN HELLER (BH) INTERVIEWER: AVIS BERMAN (AB) LOCATION: NEW YORK CITY DATE: APRIL 18, 2001 BEGIN TAPE 1, SIDE 1 BH: Before we start, could we state the rules openly, so they are there and recorded? AB: Certainly. Mr. Heller has asked me to state the ground rules, as we talked about them before the tape began. First of all, my plan is to ask him some background questions about his involvement with art, and then go on to his involvement with The Museum of Modern Art and eventually some of the artists that he knew during that time -- most likely [Jackson] Pollock, [Mark] Rothko and [Clyfford] Still. We also discussed that the purpose of this interview is for The Museum of Modern Art's archives; it is not necessarily to ever be published, and access will be dependent upon Mr. Heller's permission to use it. He may restrict it as he sees fit, and he may use the material as he sees fit, if he ever intends to write about his life, career, or art collecting, in the future. Is there anything else you'd like to add? BH: Marvelously well done. AB: Very good. Before I begin, was there anything you were thinking about, or anything that came to mind as you were preparing for this interview that you thought you might like to say or discuss? BH: Oh, that's terrible. I'm embarrassed to say I did not prepare. AB: Okay. No problem. I have prepared questions, then.
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Press Release
ANITA SHAPOLSKY GALLERY 212.452.1094 152 East 65th St, New York, NY 10065 anitashapolskygallery.com [email protected] CANY: Post-War Migration of Abstract Expressionists ERNEST BRIGGS, LAWRENCE CALCAGNO, HERMAN CHERRY JOHN HULTBERG, RICHARDS RUBEN, and JON SCHUELER SEPTEMBER 11 - NOVEMBER 22, 2019 Opening Reception: Wednesday, September 11, 6 - 8pm Anita Shapolsky Gallery is pleased to present CANY: Post-War Migration of Abstract Expressionists, a group exhibition of select Bay Area and Los Angeles artists who followed the surge of Abstract Expressionists across the country in the 1950s to participate in the flourishing sister movement: the New York School of Abstract Expressionism. The Bay Area School of Abstract Expressionism was centered around the California School of Fine Arts (CSFA) in San Francisco and its director, Douglas MacAgy. MacAgy was hired in 1945 in an effort to revitalize and modernize the overly- traditional program. He began by hiring a plethora of young artists, including Richard Diebenkorn, Stanley Hayter, and Clyfford Still, who, while largely inexperienced in teaching, were nevertheless instrumental in educating a wave of second- generation Abstract Expressionists. Like many of the students at the CSFA, Ernest Briggs, Lawrence Calcagno, John Hultberg, and Jon Schueler used their assistance from the GI Bill to enroll in the program shortly after their return from service in World War II. Their shared experiences in the war, along with their closeness in age, allowed the professors and students to form a strong, supportive, and often collaborative atmosphere. While the CSFA cultivated its own unique school of abstract art, it also exposed its students to New York abstract artists like Mark Rothko and Ad Reinhardt through summer sessions from 1947 to 1949.
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