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Minimalist Artists - Free Printable Wordsearch ROBERTRYMAN ANTHONYCARO DNL TONYSMITH RONIHORNLEL MARYEARLY RJ OKEWALTRAUTCO OPER UOG CBRGIDEONG ECHTMAN THNAY ORICHARDSERRA HNARR BFRANKSTELLAY VMCR E L OTCAO JSR LA LRMLT OIDT ENN LENAN EBLA SKEN MBHUE VAEN MHDTE EOOG WANEF OTRTT RJRHJF ARHRL RSAIR ALARALE AOMKW U OICVE TSVWHE EOI NNKS DESISCC LWT IY DSFRENLSI LNJIT MRJNZOO AADLTROA AT PUAEAUBN KNYEUBSM MZ EPCIKNI AEEDEMF ER TEKLG LLRIDBHAF SO ESGWEL DDDTAERU VB RHOIR BNRJHCAI EE HPLLM OAAUSKKVA RR AADLA LHDGO YBT LTSINRL CIDN SIM LRTAA IA NHCO EIEMCRN RI IKR YCIS GC EEYR NE RLI R DS ROBERT S MOSKOWITZ ROBERT MANGOLD KEITH SONNIER ANNE TRUITT FAYE HEAVYSHIELD JACK GOLDSTEIN FRED SANDBACK LARRY BELL WALTER DE MARIA KAZYS VARNELIS MINO ARGENTO CARL ANDRE JOHN MCLAUGHLIN CRAIG KAUFFMAN PETER HALLEY MARY EARLY JACK YOUNGERMAN BILL BOLLINGER FRANK STELLA TONY SMITH GIDEON GECHTMAN JOHN MCCRACKEN BRICE MARDEN DAN FLAVIN WALTRAUT COOPER NEIL WILLIAMS ROBERT RYMAN SOL LEWITT ELLSWORTH KELLY ROBERT MORRIS ANTHONY CARO RONI HORN RICHARD DEUTSCH RUPESH PATRIC RUTH VOLLMER EVA HESSE JAMES VERBICKY RICHARD SERRA DONALD JUDD JO BAER Free Printable Wordsearch from LogicLovely.com. Use freely for any use, please give a link or credit if you do. Minimalist Artists - Free Printable Wordsearch ROBERTRYMAN ROBERTMORRIS FRANKSTELLAN MINOARGENTOI R CCARLANDRE ES RONIHORNT II ANS RSNLM IED RMUNEA GDL AOOTNR KROI SBRHYY AGL HAEKV E MUKLT VCRCOA EFCI ISIITL R RCFAWE YBRML L AIIMJL KZRTPRA MY RNCAI AEAEJ NE BTTHNE KVPGTO GR ODHAN SHNEH O NOOR ESIRNF L YNNRDM ELHMR D SAEYSAAP LEACE N MALCJEUNO SLCD I ISBDARRBNS LLRSV TOOJRLR EEEEAA A HJLULOH ATBYCNL LIDAYR KDF EBVDRU EBN WER INA IA TDC TL TK T JAMES VERBICKY NEIL WILLIAMS FRANK STELLA CARL ANDRE ROBERT MANGOLD ROBERT MORRIS BRICE MARDEN MARY EARLY JACK GOLDSTEIN RUPESH PATRIC ROBERT RYMAN TONY SMITH KAZYS VARNELIS RICHARD SERRA ANTHONY CARO DAN FLAVIN CRAIG KAUFFMAN KEITH SONNIER RUTH VOLLMER SOL LEWITT BILL BOLLINGER FRED SANDBACK DONALD JUDD RONI HORN JOHN MCCRACKEN MINO ARGENTO ANNE TRUITT EVA HESSE PETER HALLEY LARRY BELL JO BAER Free Printable Wordsearch from LogicLovely.com. Use freely for any use, please give a link or credit if you do..

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Collected Writings
THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) .
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Ruth Vollmer
RUTH VOLLMER Born 1903 in Munich, Germany Died 1982 in New York, NY Solo Exhibitions 2014 Ruth Vollmer: Five Platonic Polyhedra and Corresponding Spheres, 1974, Neuberger Museum of Art, Purchase College, Purchase, NY 2011-2013 Ruth Vollmer, Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2002 Drawings and Sculpture, curated by Graham Domke, Inverleith House, Royal Botanical Garden, Edinburgh, Scotland (catalogue) 1985 An Exhibition of Spheres, Jack Tilton Gallery, New York, NY 1983 Jack Tilton Gallery, New York, NY (catalogue) 1979 Pencil Drawings, Betty Parsons Gallery, New York, NY 1978 Drawings, Adler Gallery, Los Angeles, CA 1976 Neuberger Museum of Art, State University of New York, Purchase, NY (catalogue) 1974 Sculpture and Painting, 1962-1974, curated by Peg Weiss, Everson Museum of Art, Syracuse, NY (catalogue) 1973 Sculpture and Drawings, Betty Parsons Gallery, New York, NY 1971 Drew University, Madison, NJ 1970 Betty Parsons Gallery, New York, NY 1968 Exploration of the Sphere: Ruth Vollmer, Sculpture, Betty Parsons Gallery, New York, NY (catalogue) 1966 Sculpture, Spheres, Betty Parsons Gallery, New York, NY 1960 Sculpture, Betty Parsons Gallery, New York, NY SELECTED GROUP EXHIBITIONS 2019 The Negative Space, ZKM | Center for Art and Media, Karlsruhe, Germany 2018 In Tribute to Jack Tilton: A Selection from 35 Years, Tilton Galley, New York, NY 2017 Vanishing Points, curated by Adrianna Campbell, James Cohan Gallery, New York, NY 2015 BERMAN – TUTTLE – VOLLMER, Tilton Gallery, New York, NY 2014-2015
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Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day
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Sol Lewitt Prints 1970-1995
The Museum of Modern Art, New York Sol LeWittPrints 1970-1995 January 25 to May 7, 1996 There are several ways of constructing a work of art. One is by LeWitt's "hands-on" approach to etching differs greatly from his allows the artist to simply sketch and diagram his ideas as he does making decisions at each step, another by making a system to approach to the screenprint technique, which he began in 1970 with for his wall drawings. So central has Watanabe become to LeWitt's 1 make decisions. -Sol LeWitt the printer John Campione. LeWitt provided Campione with a tem printmaking that when the printer's Brooklyn facilities expanded to plate of parallel lines in black ink, which he would use for over twenty include etching and woodcut, LeWitt in turn devoted increasing Sol LeWitt's art is about ideas, not form. The ideas that inform a sys editions by 1972. For each screenprint, LeWitt made a sketch of the efforts to these mediums. tem become the content of his work. Beginning in the mid-1960s, composition and numbered each component to indicate color and LeWitt's prints of the last ten years, composed of sumptuous sur with a simple artistic vocabulary of lines and cubes, LeWitt (born line direction. He restricted his palette to red, yellow, blue, and black, faces and layered colors, have taken on a new exuberance accom 1928) used systems to devise an art free from previous stylistic asso and the lines' orientations to vertical, horizontal, and the two diago panied by a softening of the geometry.
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Sol Lewitt Biography
SOL LEWITT BIOGRAPHY BORN 1928-2007, Hartford, CT SELECTED SOLO EXHIBITIONS 2018 By Hand: Sol LeWitt; The Mattatuck Museum; Waterbury, CT Sol LeWitt Wall Drawings: Expanding a Legacy; Yale University Art Gallery; New Haven, CT Sol LeWitt: Between the Lines; Fondazione Carriero; Milan, Italy Sol LeWitt: Progression Towers ; Miami Design District & Institute of Contemporary Art; Miami, FL Sol LeWitt; Honor Fraser; Los Angeles, CA Sol LeWitt: 1 + 1 = 1 Million; Vito Schnabel Gallery; St. Moritz, Switzerland Sol LeWitt: Large Gouaches; Paula Cooper Gallery; New York, NY 2016 Sol LeWitt; Paula Cooper Gallery; New York, NY Sol LeWitt; Cardi Gallery; Milan, Italy Sol LeWitt: Seven Weeks, Seven Wall Drawings; Barbara Krakow Gallery; Boston, MA 2015 Soll LeWitt in Connecticut; James Barron; Kent, CT Sol LeWitt: 17 Wall Drawings 1970-2015; Fundacion Botin; Santander, Spain Sol LeWitt; Noire Gallery; Cappella del Brichetto, San Sebastiano, Italy Sol LeWitt: Wall Drawings, Grids on Color; Konrad Fischer Galerie; Dusseldorf, Germany Sol LeWitt: Wall Drawings, Grids on Black and White; Konrad Fischer Galerie; Berlin, Germany Sol LeWitt: Structures & Related Works on Paper 1968-2005; Barbara Krakow Gallery; Boston, MA Sol LeWitt: 40 Years at Annemarie Verna Gallery Part I; Annemarie Verna; Zurich, Switzerland Sol LeWitt; GalerÃa Elvira GonzÃ¡lez; Madrid, Spain 2014 Sol LeWitt: Creating Place; Asheville Art Museum; Asheville, NC Sol LeWitt: Wall Drawing #370; The Metropolitan Museum of Art; New York, NY Sol LeWitt: Your Mind is Exactly at that Line; Art Gallery of New South Wales; Sydney, Australia Sol LeWitt: Prints; Pace Prints; New York, NY Sol LeWitt: Horizontal Progressions; Pace Gallery; New York, NY 2013 Sol LeWitt: Cut Torn Folded Ripped; James Cohan Gallery; New York, NY Sol LeWitt: Shaping Ideas; Laurie M.
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Full Text of "Robert Mangold"
Full text of "Robert Mangold" See other formats ROBERT ,^Q ROBERTMANGOLD BY DIANE WALDMAN THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK TRUSTEES The Solomon R. Guggenheim Foundation LENDERS TO THE EXHIBITION President Peter 0. Lawson-Johnston H. H Arnason Eleanor, Countess Castle Stewart Joseph W. Donner Henry Allen Moe A. Chauncey Newhn Mrs Henry Obre Daniel Catton Rich Albert E. Thiele Michael F. Wettach Carl Zigrosser Stephen Antonakos and Naomi Spector, New York Donald Droll, New York Mr. and Mrs. Herbert Fischbach, New York Dan Graham, New York Philip Johnson, New Canaan, Connecticut Sol LeWitt, New York Brice Marden, New York Mr. and Mrs. John Lee Sherman, Roosevelt, New Jersey Mr. and Mrs. Robert A. M. Stern, New York Mr. and Mrs. Herbert Vogel, New York Ruth Vollmer, New York Mimi Wheeler, New York The Solomon R. Guggenheim Museum, New York The Museum of Modern Art, New York Whitney Museum of American Art, New York Published by The Solomon R. Guggenheim Foundation New York, 1971 All Rights Reserved © The Solomon R. Guggenheim Foundation, 1 971 Library of Congress Card Catalogue Number 74-183750 Printed in the United States of America A. ~ 1" " » ^Wi ... < ■•$ • t 1 . * hfc^. Bsown_Wa& 1 964 '-) " * •■— . ., Oilonft/ood;^5?96-' • ' ^ ...... < s** — pourtsfeyfiaphbaqh ffiajler^. ■*$ ~~« V- ._ 'Mew York » ~-<-vt> • u . * LI fi <- ^ ' r j *■:.■• -i . *. ct / ■- V " ■ i -> - -r" -^ '-4 ..• - .> • - - s fa > -«.> ■J t >- Gray Window Wall. 1964 OiLorf'wood, 96 x 90". Destroyed / / ACKNOWLEDGEMENTS INTRODUCTION I would like to thank the many individuals who have helped me with the preparation of this exhibi- tion, especially the staff of the Fischbach Gallery.
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Athena Tacha: an Artist's Library on Environmental Sculpture and Conceptual
ATHENA TACHA: An Artist’s Library on Environmental Sculpture and Conceptual Art 916 titles in over 975 volumes ATHENA TACHA: An Artist’s Library on Environmental Sculpture and Conceptual Art The Library of Athena Tacha very much reflects the work and life of the artist best known for her work in the fields of environmental public sculpture and conceptual art, as well as photography, film, and artists’ books. Her library contains important publications, artists’ books, multiples, posters and documentation on environmental and land art, sculpture, as well as the important and emerging art movements of the sixties and seventies: conceptual art, minimalism, performance art, installation art, and mail art. From 1973 to 2000, she was a professor and curator at Oberlin College and its Art Museum, and many of the original publications and posters and exhibition announcements were mailed to her there, addressed to her in care of the museum (and sometimes to her colleague, the seminal curator Ellen Johnson, or her husband Richard Spear, the historian of Italian Renaissance art). One of the first artists to develop environmental site-specific sculpture in the early 1970s. her library includes the Berlin Land Art exhibition of 1969, a unique early “Seed Distribution Project” by the land and environmental artist Alan Sonfist, and a manuscript by Patricia Johanson. The library includes important and seminal exhibition catalogues from important galleries such as Martha Jackson’s “New Forms-New Media 1” from 1960. Canadian conceptual art is represented by N.E Thing, including the exhibition at the National Gallery of Canada, and the Nova Scotia College of Art and Design Projects Class cards, both in 1969.
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To Cubeland and Back Again
To Cubeland and Back Again Mathematical Aspects in the Minimal and Concept Art of the 1960s and 1970s Mel Bochner – Donald Judd – Sol LeWitt – Ruth Vollmer Michael Rottmann In the 1960s, in a dense art scene in New York City, Minimal Art and Concept Art were born. The artists Carl Andre, Mel Bochner, Dan Flavin, Dan Graham, Donald Judd, Sol LeWitt and Robert Morris are subsumed into these two schools of art by contemporary critique and historical retrospection or simply credited as the protagonists of these movements. Additionally, the German immigrants, Hanne Darboven, Eva Hesse and Ruth Vollmer – the important links between the European and American avant- garde – could be found in this setting. 1 Many artists of this “New York Circle” were and are intellectuals with a distinct educational background, mostly with academic training, and worked as critics or docents, thereby shaping the discourse of the very art that they were creating. The exemplary representation of the reception of mathematical methods and images by Mel Bochner, Donald Judd, Sol LeWitt and Ruth Vollmer show the relevance of mathematics within the “New York Circle” and the parallels with the intellectual history of “exact science.” 2 The consideration of the relationship between the fine arts and mathematics in the 1960s, a decade of upheaval and new beginnings, is embedded in the prevailing situation of the relationship between art and science of that decade. This relationship had already begun to change for a certain period of time in America following the spirit of the age, in an atmosphere of increasing mathematization of science and society and emerging interconnections between art and science.
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A Finding Aid to the Colette Roberts Papers and Interviews with Artists, 1918-1971, in the Archives of American Art
A Finding Aid to the Colette Roberts Papers and Interviews with Artists, 1918-1971, in the Archives of American Art Megan McShea Funding for the processing of this collection was provided by The Brown Foundation, Inc. March 22, 2010 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1918-1971.................................................................... 5 Series 2: Notes and Writings, 1936-1970................................................................ 7 Series 3: Personal Records, 1944-1971.................................................................
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Abstraction, Pure and Impure : October 20, 1995-May 21, 1996 [Text: Amelia Arenas]
Abstraction, pure and impure : October 20, 1995-May 21, 1996 [text: Amelia Arenas] Author Museum of Modern Art (New York, N.Y.) Date 1995 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/474 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art October 20, 1995-May 21, 1996 TheMuseum of ModernArt Library HcMA 1 Agnes Martin. American, born Canada, 1912. Untitled Number 6. 1989. 7/s" Synthetic polymer paint and pencil on canvas, 71 x 6' (182.7 x 182.9 cm). Gift of the American Art Foundation, 1990. In the early seventies, after a mysterious withdrawal from painting in the mid-sixties, Agnes Martin resumed making the kind of works associated with her name: quiet fields inflected by tenuous pencil lines and tender colors. A Zen silence pervades her work. Her gentle rhythms are the visual equivalent of a chant, monotonous and constant, lulling the eye into introspection. As Martin says, "the work is all about perfection as we are aware of it in our minds," but "the paintings are very far from being perfect." Looking at them closely, one can follow the delicate variations of the lines that edge the grey bands; one can imagine the pencil sliding tentatively over the field, wavering slightly as it responds to the weave of the canvas. Some critics have proposed a link between these nuanced paintings and the vast wheat fields of the farm in Vancouverwhere Martin lived as a child, but she insists that her work is not about nature.
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Oral History Interview with Thomas Nozkowski, 2009 June 11
Oral history interview with Thomas Nozkowski, 2009 June 11 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Thomas Nozkowski on 2009 June 11. The interview took place in High Falls, NY, at Nozkowski's home and studio, and was conducted by Kathy Goncharov for the Archives of American Art, Smithsonian Institution. Joyce Robins Nozkowski reviewed the transcript in 2019. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview KATHY GONCHAROV: So— TOM NOZKOWSKI: Yes, I was born on March 23, 1944, in Teaneck, New Jersey, to my mother, Edna Ruth Angevine, and my father, Edward Stanley Nozkowski. My father was in the Pacific in the navy at that point. And my mother was doing various kinds of war work in northern New Jersey. I was raised in Dumont, New Jersey, a town in Bergen County, about 15 miles from New York City, and spent my weekends and my summers at my grandfather's farm in the Hudson Valley. My father was the only one of 11 children who didn't continue working on the farm or buying farms, living on farms nearby.
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The Women of American Abstract Artists, 1936–Present Clara M
BLURRING BOUNDARIES THE WOMEN OF AMERICAN ABSTRACT ARTISTS, 1936–PRESENT CLARA M. EAGLE GALLERY, MURRAY STATE UNIVERSITY T. Michael Martin, Director and Curator EWING GALLERY OF ART & ARCHITECTURE, UNIVERSITY OF TENNESSEE, KNOXVILLE Sam Yates, Director and Curator Sarah McFalls, Registrar Eric Cagley, Exhibitions Coordinator Blurring Boundaries: The Women of American Abstract Artists, 1936 - Present Catalogue published on the occasion of the 2018 exhibition, Blurring Boundaries: The Women of American Abstract Artists, 1936 - Present organized by the Clara M. Eagle Gallery, Murray State University, Murray, Kentucky and the Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville. Catalogue revised, 2020. © 2018 Ewing Gallery of Art & Architecture Exhibition Concept: Creighton Michael Exhibition Curator: Rebecca DiGiovanna Catalogue Design: Sarah McFalls Catalogue Editors: Sam Yates and Emily Berger Printer: The University of Tennessee, Graphic Arts Service This exhibition is toured by AAA gratefully acknowledges the Lily Auchincloss Foundation, Inc. for International Arts & Artists, Washington, D.C. support of the exhibition. Lily Auchincloss Foundation, Inc. Alice Adams EXHIBITING ARTISTS Liz Ainslie Rosalind Bengesldorf Siri Berg Emily Berger Susan Bonfils Sharon Brant Gabriele Evertz Laurie Fendrich Perle Fine Joanne Freeman Gertrude Greene Gail Gregg Lynne Harlow Mara Held Rhia Hurt Phillis Ideal Cecily Kahn Marthe Keller Iona Kleinhaut Lee Krasner Jane Logemann Katinka Mann Nancy Manter Alice Trumbull Mason Joanne
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