Esteban Vicente (Turégano, 1903 – Long Island, 2001)
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Faculty Bios 2012
VACI Visual Arts at Chautauqua Institution Strohl Art Center, Chautauqua School of Art, Logan Galleries, Visual Arts Lecture Series ARTISTIC DIRECTOR Don Kimes/MANAGING DIRECTOR Lois Jubeck/GALLERY DIRECTOR Judy Barie ADVISORY COUNCIL TO THE ARTISTIC DIRECTOR: Michael Gitlitz, Director Marlborough Gallery, NYC - Judy Glantzman, Artist – Louis Grachos, Director Albright-Knox Gallery of Art - Donald Kuspit, Distinguished University Professor, SUNY Barbara Rose, Art Critic & Historian - Robert Storr, Dean, Yale School of Art Stephen Westfall, Artist & Critic Art In America - Julian Zugazoitia, Director Nelson Adkins Museum FACULTY AND VISITING ARTISTS (*partial listing – 3 additional faculty to be announced) Resident faculty (rf) teach from 2 to 7 weeks during the summer at Chautauqua. Visiting lecturers and faculty (vl, vf) are at Chautauqua for periods ranging from 1 to 3 days. PAINTING/SCULPTURE and PRINTMAKING TERRY ADKINS: Faculty, University of Pennsylvania Sculptor Terry Adkins teaches undergraduate and graduate sculpture. His work can be found I the collections of the Museum of Modern Art in NYC, the Hirshhorn Museum and Sculpture Garden in Washington, DC, the Metropolitan Museum of Art in NYC, the Hood Museum at Dartmouth College, the Studio Museum in Harlem and many others. He has also taught at SUNY, New Paltz; Adkins has been the recipient of grants from the National Endowment for the Arts, the Joseph H. Hazen Rome Prize and was a USA James Baldwin Fellow, as well as the recipient of an Artist Exchange Fellowship, BINZ 39 Zurich and a residency at PS 1. Among many solo exhibitions of his work have been shows at Dartmouth College, Hanover, NH; Eastern State Penitentiary, Philadelphia, PA; Arthur Ross Gallery of the University of Pennsylvania, the Harn Museum of Art, the Cheekwood Museum of Art in Nashville, TN, John Brown House in Akron, Ohio, ICA in Philadelphia, PPOW Gallery, NY, the Whitney Museum at Philip Morris, NY, the Chrysler Museum in Norfolk, Anderson Gallery at VCU, Galerie Emmerich-Baumann in Zurich. -
Miquel Barceló
MIQUEL BARCELÓ Born in Felanitx, Majorca, 1957 Lives and works in Majorca, Paris and Mali EDUCATION School of Arts and Crafts, Palma de Mallorca Fine Arts Academy, Barcelona SELECTED SOLO EXHIBITIONS 2019 Museo Internazionale delle Ceramiche, Faenza Vida de Pulpo, Galeria Elvira Gonzalez, Madrid 2018 On the Sea, Galerie Thaddaeus Ropac, Salzburg 2017 El Arca de Noé, Universidad de Salamanca, Salamanca El Planeta De Los Toros, Tobias Mueller Modern Art, Zurich 2016 Sol y Sombra, Bibliothèque Nationale de France and Musée National Picasso, Paris Acquavella Galleries, New York, NY 2015 Early Works, Ben Brown Fine Arts at Frieze Masters, London Ardenti Germinat. New paintings and works on paper, Galerie Bruno Bischofberger, Männedorf L’Inassèchement, Galerie Thaddaeus Ropac, Paris Gráfico, Calcografía Nacional, Madrid 2014 Courant Central, Ben Brown Fine Arts, Hong Kong Pinturas, Escultura y Cerámica, Pinakotheke, Sâo Paulo; traveling to Pinakotheke, Rio de Janeiro; Galeria Multiarte, Fortaleza 2013 Galería Elvira González, Madrid Terra Ignis. Céramiques, Majorque 2009-2013, Musée d Art Moderne, Céret Terra Ignis, Museu Nacional do Azulejo, Lisbon Acquavella Galleries, New York, NY 2012 Ceramic, Galerie Bruno Bischofberger, Zurich Bank Austria Kunstforum, Vienna Cerámiques I dibuixos. Miquel Barceló y Barry Flanagan, Museo de Arte Contemporáneo de Eivissa, Ibiza 2011 Recent Paintings, Ceramics and Sculpture, Ben Brown Fine Arts, Hong Kong Le Taj Peinture en scène, Théâtre des Bouffes du Nord, Paris Work in progress, Lisbon and Estoril Film Festival, Torre de Belém, Lisbon Elefandret Sculpture, Union Square Marlborough Gallery, the Union Square Partnership and the City of New York’s Department of Parks & Recreation Public Art Program, New York, NY 2010 La solitude organisative 1983-2009, Fundación la Caixa, Madrid; Fundación la Caixa, Barcelona Terramare, Palais des Papes, Grande Chapelle, Musée du Petit Palais, Collection Lambert, Avignon St. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
Esteban Vicente
FOR IMMEDIATE RELEASE ESTEBAN VICENTE 16 December 2014 — 31 January 2015 NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is pleased to announce an exhibition of paintings by Esteban Vicente. The exhibition will open on 16 December 2014 and remain on view through 31 January 2015. A fully illustrated catalogue with an essay by Christina Kee accompanies the exhibition. Kee is a Brooklyn-based painter and writer as well as a Professor at the New York Studio School of Drawing, Painting and Sculpture where Vicente was one of the founding members. Esteban Vicente was a Spanish born artist who moved to the United States in 1936. By 1950, he was already a fixture of New York’s downtown art scene. Working alongside Jackson Pollock, Willem de Kooning, and Mark Rothko, Vicente assured his crucial role in the evolution of Abstract- Expressionist discourse. Painting nearly everyday by natural light, he attentively layered abstract and geometric shapes in delicate and sumptuous hues, with acute detail to the time of day and essence of space. Exhibited here, these late paintings are resplendent with the spatial sensibilities of Vicente’s detailed studies of abstraction, natural space, light, color, and reflection. With a sense of unparalleled immediacy, the artist’s expression of time, painted in richly rendered, ethereal palettes, is felt. Similarly to Claude Monet, Vicente’s delicate tonal shifts illustrate a glimpse of universe that exists in an hour of time, and the subliminal world of color abstractions he subsequently discovered. ESTEBAN VICENTE was born in Turégano, Spain in 1903. His father was an army officer and an amateur painter who took the young Vicente with him on visits to the Prado Museum. -
ELLEN ROSEN Painter
ELLEN ROSEN Painter - Collagist – Writer - Teacher "What I teach is the language of painting. The language is color, form, rhythm and structure. You have to learn the language before you can talk.” Esteban Vicente Ellen Rosen was born in New York City and has lived there her entire life. As a child she continually visited museums with her parents and later spent her teen years wondering the rooms of, the then much smaller, Museum of Modern Art, learning the work by heart. Rosen attended New York University where she studied with Helen Frankenthaler, Esteban Vicente, Milton Resnick, George Ortman and the critic and art historian Irving Sandler, among other which not only influenced her own work but enriched her extensive secondary carrier as a lecturer and teacher. In addition to attending NYU, from which she received a Bachelor of Science and a Masters, Rosen studied painting and art history at the University of California, writing and literature at Queens College and welding, sculpture and silver-smithing at Cornell University. She considers Frankenthaler and Vicente her major influences, along with Mark Rothko and Hans Hofmann. Coming from an Abstract Expressionist base, Rosen’s work has remained basically non-objective. Large, soft rectangles move in and out on the surface of the canvases, floating on color that often recedes and advances around the major forms. Color is an important component in her work. Each rectangle contains many small brushstrokes that live independently or combine to create amorphic forms within the larger mass. The edge of each rectangle vibrates and changes. There is a mixture of tension and atmosphere with no hard edges. -
Mira Schor and Jason Andrew with PHONG BUI
ii BROOKLYNRAIL CRI ICA L PE:RSP CTIVES O N A RTS, PO LITICS, AN D CU LTU RE Art October 5th, 2009 INCONVERSATION Mira Schor and Jason Andrew WITH PHONG BUI On the occasion of the painter Jack Tworkov’s retrospective Against Extremes: Five Decades of Painting, which will be on view at The UBS Art Gallery until October 27, 2009, and the publication of The Extreme of the Middle: Writings of Jack Tworkov, published by Yale University Press, both curator, Jason Andrew, and editor, Mira Schor, paid a visit toOff the Rail Hour at Art International Radio to talk with Publisher Phong Bui about Tworkov’s life and work. Phong Bui (Rail): Having read the whole volume of writing and seen the show, I was struck by his incredibly astute observations which seemed to me must have derived from the capacity for self- criticism and self-analysis, and which gave him a sense of deliberate eloquence in his continuity as a painter and thinker. There are two things I remember reading from the book which really stayed with me: one is the first sentence from the journal entry, which he started right after the war, 1947, the same year as his first one-man show at Charles Egan Gallery, “Style is the effect of pressure. […] In the artist, the origin of pressure is in his total life—heredity, experience, and will […]—but the direction flows according to the freedom he allows his creative impulse.” Two is the long article “Notes on My Painting,” which was published in Art in America in 1973 under the invitation of Brian O’Doherty, where in the end he says, “Above all -
Esteban Vicente. the Red Form November 6Th 2013 – January 31St 2014
Esteban Vicente. The Red Form November 6th 2013 – January 31st 2014 The technique is in the language. The language is the technique Esteban Vicente. Untitled, 1996 | 81,2 x 114,3 cm | Oil on canvas Galería Elvira González is pleased to announce a new exhibition of work by Esteban Vicente entitled La Forma Roja (The Red Form), which will open on November 6th, 2013. With more than 20 works spanning the period from 1955 to 1995, The Red Form focuses on a particular compositional device frequently employed by Vicente: the placement of a red point or form that provides balance and order to the painting as a whole. Esteban Vicente (Turégano, Segovia, 1903 - New York, 20012) began as an academic realist whose work was influenced by Cubism before finally evolving into Abstract Expressionism. Throughout his career, from Abstract Female (1955 - 58) to the final works from 1997, Vicente always sought formal balance and perfection in his compositions, in contrast to the free, gestural brushwork of the style known as action painting that ran parallel with Vicente’s own work from the 50’s, 60’s and 70’s. From the 80’s onward, Vicente’s work became more nostalgic, although he never lost interest in compositions based on large forms and blocks of color. As Vicente himself often remarked, important influences on his early painting included 17th century Spanish still-lifes and “bodegones”, the Cubist paintings of Juan Gris, and the collages of Kurt Schwitters: these were the sources Vicente drew on when composing his own work. In La Forma Roja, we see how Vicente utilizes the presence of powerful masses of color in order to balance and calibrate the painting as a whole. -
Mira Schor and Jason Andrew with PHONG BUI
Art October 5th, 2009 Mira Schor and Jason Andrew WITH PHONG BUI On the occasion of the painter Jack Tworkov’s retrospective Against Extremes: Five Decades of Painting, which will be on view at The UBS Art Gallery until October 27, 2009, and the publication of The Extreme of the Middle: Writings of Jack Tworkov, published by Yale University Press, both curator, Jason Andrew, and editor, Mira Schor, paid a visit toOff the Rail Hour at Art International Radio to talk with Publisher Phong Bui about Tworkov’s life and work. Phong Bui (Rail): Having read the whole volume of writing and seen the show, I was struck by his incredibly astute observations which seemed to me must have derived from the capacity for self- criticism and self-analysis, and which gave him a sense of deliberate eloquence in his continuity as a painter and thinker. There are two things I remember reading from the book which really stayed with me: one is the first sentence from the journal entry, which he started right after the war, 1947, the same year as his first one-man show at Charles Egan Gallery, “Style is the effect of pressure. […] In the artist, the origin of pressure is in his total life—heredity, experience, and will […]—but the direction flows according to the freedom he allows his creative impulse.” Two is the long article “Notes on My Painting,” which was published in Art in America in 1973 under the invitation of Brian O’Doherty, where in the end he says, “Above all else, I distinguish between painting and picture.” Of course he’s making reference to Cézanne and Picasso, “where I have to choose between them, I choose painting.” While the former reminded me of something de Kooning had said similarly: “The desire to force a style beforehand is a mere apology of one’s own anxiety,” the latter, which was elaborated in the letter he wrote to Andrew Forge (whom he knew and admired) on June 30, 1981 where he emphatically stated, “Cézanne’s grandeur parallels the severity and seriousness of his search. -
Hollis Taggart to Examine the Work of Acclaimed Artist Knox Martin in Two Solo Presentations This May
Hollis Taggart to Examine the Work of Acclaimed Artist Knox Martin in Two Solo Presentations This May Opening at Frieze New York, May 1 – 5, 2019, And in a Concurrent Exhibition at the Gallery’s Primary Space in Chelsea, May 2 – 27, 2019 Knox Martin: Radical Structures to Include New Work by the Prolific 96-Year-Old Artist This May, Hollis Taggart will present an in-depth exploration of the work of acclaimed artist Knox Martin, with a solo presentation at Frieze New York and a concurrent solo exhibition at its primary location in Chelsea. Martin’s practice, which spans nearly seven decades, has engaged with the conceptual and aesthetic underpinnings of a wide range of artistic movements, from Cubism to Abstract Expressionism to Pop Art. His use of bright swaths of color, precise, architectural lines, and organic forms that reference the female body have resulted in energetic and vibrant compositions that speak to a visual vocabulary that is entirely his own. For the upcoming edition of Frieze New York, Hollis Taggart will present a focused selection of paintings, from the 1950s through the 1970s, providing an introduction to the artist’s early works. To foster a broader understanding of Martin’s practice, the gallery will also open Knox Martin: Radical Structures at its 521 W. 26th Street space on May 2, 2019. The exhibition at the gallery will emphasize in particular Martin’s paintings from the 1960s and 1970s, and also include several later works, among which are two new paintings created by the 96-year-old artist in 2019. -
César Paternosto B
César Paternosto b. 1931 La Plata, Argentina - lives in Segovia, Spain Portrait of his father, 1949, Pencil on paper Portrait of his mother, 1948, Pencil on paper César Paternosto. Buenos Aires, 1965 1931. César Paternosto is born in La Plata, Argentina on November 29th. Shaded by maple, linden, sycamore and jacarandá trees, La Plata is a quiet town located 45 miles southeast of Buenos Aires. It is the seat of the provincial government and it was founded in 1882, after the city of Buenos Aires was federalized. It was the first modern city designed on a drawing board; its plan is a square and the streets are laid out in a grid of square blocks though intermittently crisscrossed by diagonal streets at a 45 degree angle; the plan, too, has a mandala-like center: the Plaza Moreno flanked by City Hall and the imposing neo-gothic, brick- built cathedral. La Plata is also the seat of one of the National Universities (Albert Einstein lectured at the Institute of Physics in the thirties) and, most notably, of its Museo de Ciencias Naturales, which, well known in international scientific circles thanks to its paleontological holdings, also houses a choice collection of pre-Columbian art from the Andean region. His father, Pedro, was a Chemistry professor at the National University; his mother, María Esther Nethol, was a piano teacher and homemaker. The paternal grandparents had come from southern Italy’s Calabria region. The maternal grandmother was Argentinian of Italian parentage, while the grandfather was a native of Navarre in Spain’s Basque country. -
Esteban Vicente
FOR IMMEDIATE RELEASE ESTEBAN VICENTE 21 APRIL – 21 MAY 2016 NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is pleased to announce an exhibition of paintings by Esteban Vicente. The works will be on view from 21 April through 21 May 2016. The exhibition is accompanied by a fully illustrated publication with an essay by Eren Johnson. “I think that no matter what, the painter has to have a sense of the physicality of the world.” – Esteban Vicente ESTEBAN VICENTE was born in Turégano, Spain in 1903. His father served in the Civil Guard, a police force in the Castile region, and was an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1918, Vicente entered military school, but left after three months. At fifteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona, and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid. Vicente left Europe for New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (their 10th Street studios were on a shared floor), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman, and Ad Reinhardt. The late paintings of Esteban Vicente, exhibited at the gallery, represent the continued influence of his native Spain through his time spent in Bridgehampton, New York at his home, purchased in 1964, where he studied the light and colors in his flower garden. -
Selections from the Archives of American Art Oral History Collection
1958 –2008 Archives of American Art, Smithsonian Institution | Winterhouse Editions, 2008 Published with the support of the Dedalus Foundation, Inc. 6 Introduction 8 Abraham Walkowitz 14 Charles Burchfield 20 Isamu Noguchi 24 Stuart Davis 32 Burgoyne Diller 38 Dorothea Lange 44 A. Hyatt Mayor 50 Edith Gregor Halpert 56 Jacob Lawrence 62 Emmy Lou Packard 70 Lee Krasner 76 Robert Motherwell 82 Leo Castelli 88 Robert Rauschenberg 92 Al Held 96 Katharine Kuh 102 Tom Wesselmann 106 Agnes Martin 112 Sheila Hicks 120 Jay DeFeo 126 Robert C. Scull 134 Chuck Close 142 Ken Shores 146 Maya Lin 152 Guerrilla Girls Perhaps no experience is as profoundly visceral for the historian than the Mark Rothko Foundation, and the Pasadena Art Alliance. Today to read and listen to individuals recount the stories of their lives and this project remains remarkably vigorous, thanks to support from the careers in an interview. Although the written document can provide Terra Foundation for American Art, the Brown Foundation of Houston, extraordinary insight, the intimacy of the one-on-one interview offers the Widgeon Point Charitable Foundation, the Art Dealers Association of a candor and immediacy rarely encountered on the page. America, and in particular Nanette L. Laitman, who has recently funded nearly 150 interviews with American craft artists. Intro- I am deeply grateful to the many people who have worked so hard to make this publication a success. At the Archives, I wish to thank ductionIn 1958, with great prescience, the Archives of American Art our oral history program assistant Emily Hauck, interns Jessica Davis initiated an oral history program that quickly became a cornerstone of and Lindsey Kempton, and in particular our Curator of Manuscripts, our mission.