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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. -
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. -
Download Artist's CV
Vija Celmins 1938 Born in Riga, Latvia 1962 Graduated from John Herron School of Art, Indianapolis, B.F.A. 1962 Graduated from University of California, Los Angeles, M.F.A. Selected One-Person Exhibitions 2020 Vija Celmins: To Fix the Image in Memory, The Met Breuer, New York, NY 2019 Ocean Prints, Matthew Marks Gallery, New York 2018 Matthew Marks Gallery, Los Angeles ARTIST ROOMS: Vija Celmins, The New Art Gallery Walsall, United Kingdom To Fix the Image in Memory, San Francisco Museum of Modern Art. Traveling to Art Gallery of Ontario, Toronto; and The Met Breuer, New York (catalogue) 2017 Matthew Marks Gallery, New York (catalogue) Selected Prints, The Drawing Room, East Hampton, NY 2015 Secession, Vienna (catalogue) Selected Prints, Gemini G.E.L. at Joni Moisant Weyl Project Space, New York National Centre for Craft and Design, Sleaford, United Kingdom 2014 Intense Realism, Saint Louis Art Museum Double Reality, Latvian National Art Museum, Riga (catalogue) 2012 Artist Rooms: Vija Celmins, Tate Britain, London. Traveled to National Centre for Craft & Design, Sleaford, United Kingdom 2011 Prints and Works on Paper, Senior and Shopmaker Gallery, New York Desert, Sea, and Stars, Ludwig Museum, Cologne. Traveled to Louisiana Museum, Humlebaek, Denmark (catalogue) 2010 New Paintings, Objects, and Prints, McKee Gallery, New York Television and Disaster, 1964–1966, Menil Collection, Houston. Traveled to Los Angeles County Museum of Art (catalogue) 2006 Drawings, Centre Pompidou, Paris. Traveled to Hammer Museum, Los Angeles (catalogue) 2003 Prints, Herron School of Art, Indianapolis The Paradise [15] , Douglas Hyde Gallery, Trinity College, Dublin 2002 Works from The Edward R. -
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) . -
Neil Jenney Biography
G A G O S I A N Neil Jenney Biography Born in Torrington, Connecticut, 1945. Lives in New York. Selected Solo Exhibitions: 2018 Neil Jenney: American Realist. New Britain Museum of American Art, New Britain, CT. 2017 Neil Jenney: Drawings & Paintings. Gagosian, Park & 75, New York, NY. 2013 Works of the Jenney Archive. Gagosian Gallery, Madison Avenue, New York, NY. 2011 Neil Jenney. Barbara Mathes Gallery, New York, NY. 2010 Neil Jenney: New Work/Old Work. Barbara Mathes Gallery, New York, NY. 2008 Jenney: New Paintings. Barbara Mathes Gallery, New York, NY. 2007 Neil Jenney: North America. Aldrich Contemporary Art Museum, Ridgefield, CT. 2002 Neil Jenney: Sculpture 1967–1968. Alexander and Bonin, New York, NY. 2001 Neil Jenney: The Bad Years, 1969–70. Gagosian Gallery, Madison Avenue, New York, NY. 1994 Collection in Context—Neil Jenney: Natural Rationalism. Whitney Museum of American Art, New York, NY. 1990 Neil Jenney. Barbara Mathes Gallery, New York, NY. 1988 Neil Jenney: A Museum Show. Vivian Horan Fine Art, New York, NY. 1987 Neil Jenney. Barbara Mathes Gallery, New York, NY. 1985 Neil Jenney: Early Work, Paintings and Sculpture. Carpenter and Hochman Gallery, New York, NY. 1984 Oil & Steel Gallery, New York, NY. 1981 Neil Jenney: Paintings and Sculpture 1967–1980. University of California Art Museum, Berkeley, CA. Traveled to: Contemporary Arts Museum, Houston, TX; Corcoran Gallery of Art, Washington, D.C.; Stedelijk Museum, Amsterdam, the Netherlands; Louisiana Museum, Humlebaek, Denmark; Kunsthalle Basel, Basel, Switzerland. 1975 Neil Jenney: Matrix 14. Wadsworth Atheneum, Hartford, CT. 1974 Neil Jenney. Blum/Helman, New York, NY. 1973 Seven Paintings from 1969. -
Robert Berlind
LENNON, WEINBERG, INC. 514 West 25th Street, New York, NY 10001 Tel. 212 941 0012 Fax. 212 929 3265 [email protected] www.lennonweinberg.com Robert Berlind (1938 – 2015) EDUCATION 1963 Yale School of Art and Architecture, MFA Painting 1962 Yale School of Art and Architecture, BFA Painting 1960 Columbia College, BA Art History 1959 Arts Student’s League (Summer) 1952-56 Philips Academy of Andover SOLO EXHIBITIONS 2016 Lennon, Weinberg, Inc., New York, NY 2010 David Findlay Jr. Fine Art, New York, NY 2008 Huntington Museum of Art, Huntington, WV 2005 Tibor de Nagy Gallery, New York, NY Alexandre Hogue Gallery, The University of Tulsa, Tulsa, OK 2001 Tibor de Nagy Gallery, New York, NY 1998 Tibor de Nagy Gallery, New York, NY Neuberger Museum of Art, Purchase, NY: Robert Berlind: Paintings 1982-1996 The Picker Art Gallery, Colgate University, Hamilton, NY: Robert Berlind: Paintings 1982-1996 1997 University Art Galleries, Wright State University, Dayton, OH: Robert Berlind: Paintings 1982-1996 1996 Reynolds Gallery, Richmond, VA Tibor de Nagy Gallery, New York, NY 1995 Hampshire College Gallery, Amherst, MA 1994 Tibor de Nagy Gallery, New York, NY 1992 Delaware Arts Center Gallery, Narrowsburg, NY 1990 Ruth Siegel Gallery, New York, NY 1988 Ruth Siegel Gallery, New York, NY St. Peter’s Church (at Citicorp), New York, NY (4 month installation) 1986 Ruth Siegel Gallery, New York, NY Warren Wilson College, Swananoa, NC 1985 Gallery One, Toronto, Ontario, Canada 1984 Ruth Siegel Gallery, New York, NY Virginia Polytechnic Institute, Blacksburg, VA Virginia Western Community College, Roanoke, VA 1983 Tomasulo Gallery, Union College, Cranford, NJ Anna Leonowens Gallery, Halifax, NS, Canada 1982 Alexander Milliken Gallery, New York, NY 1981 Alexander Milliken Gallery, New York, NY 1978 A.R.C. -
Women of Abstract Expressionism
WOMEN OF ABSTRACT EXPRESSIONISM EDITED BY JOAN MARTER INTRODUCTION BY GWEN F. CHANZIT, EXHIBITION CURATOR DENVER ART MUSEUM IN ASSOCIATION WITH YALE UNIVERSITY PRESS NEW HAVEN AND LONDON Published on the occasion of the exh1b1t1on Women of Abstract Denver Art Museum Expressionism. organized by the Denver Art Museum Director of Publications: Laura Caruso Curatorial Assistant: Renee B. Miller Denver Art Museum. June-September 2016 Yale University Press Mint Museum. Charlotte. North Carolina. October-January 2017 Palm Springs Art Museum. February-May 2017 Publisher. Art and Architecture: Patricia Fidler Editor Art and Architecture: Katherine Boller Wh itechapel Gallery. London.June-September 2017 . Production Manager: Mary Mayer Women of Abstract Expressionism is organized by the Denver Art Museum. It is generously funded by Merle Chambers: the Henry Luce Designed by Rita Jules. Miko McGinty Inc. Foundation: the National Endowment for the Arts: the Ponzio family: Set in Benton Sans type by Tina Henderson DAM U.S. Bank: Christie's: Barbara Bridges: Contemporaries. a Printed in China through Oceanic Graphic International. Inc. support group of the Denver Art Museum: the Joan Mitchell Foundation: the Dedalus Foundation: Bette MacDonald: the Deborah Library of Congress• Control Number: 2015948690 Remington Charitable Trust for the Visual Arts;the donors to the ISBN 978-0-300-20842-9 (hardcover): 978-0914738-62-6 Annual Fund Leadership Campaign: and the citizens who support the (paperback) Scientific and Cultural Facilities District (SCFD). We regret the A catalogue record for this book is available from the British Library. omission of sponsors confirmed after February 15. 2016. This paper meets the requirements of ANS1m1so 239.48-1992 (Permanence of Paper). -
American Painting During the Cold War
Artforum, May 1973 American Painting During the Cold War Max Kozloff This article is a somewhat revised version of the introduction to the catalogue of the exhibition, "Twenty-five Years of American Painting 1948–1973," organized by James T. Demetrion at the Des Moines Art Center (Josef Albers, Ron Davis, Richard Diebenkorn, Richard Estes, Sam Francis, Helen Frankenthaler, Robert Irwin, Jasper Johns, Ellsworth Kelly, Willem de Kooning, Roy Lichtenstein, Richard Lindner, Morris Louis, Barnett Newman, Kenneth Noland, Philip Pearlstein, Jackson Pollock, Robert Rauschenberg, Mark Rothko, Frank Stella, Clyfford Still, Wayne Thiebaud, Mark Tobey, Andy Warhol, and William T. Wiley, March 6– April 22, 1973). Catalogue: 72 pages, perfect bound, 9 3/4" square, 23 black-and-white illustrations, 23 colorplates, brief bibliography, $7.00. All colorplates used here are somewhat reduced in size and courtesy of the Des Moines art Center. More celebrated than its counterparts in letters, architecture, and music, American postwar art has become a success story that begs, not to be retold, but told freshly for this decade. The most recent as well as most exhaustive book on Abstract Expressionism is Irving Sandler's The Triumph of American Painting, a title that sums up the self-congratulatory mood of many who participated in its career. Three years ago, the Metropolitan Museum enshrined 43 artists of the New York School, 1940–1970, as one pageant in the chapter of its own centennial. Though elevated as a cultural monument of an unassailable but also a fatiguing grandeur, the virtues of this painting and sculpture will survive the present period in which they are taken too much for granted. -
Split Decisions- When Critics Change Their Minds
AUTHENTICATION IN ART Art News Service Split Decisions: When Critics Change Their Minds BY Ann Landi POSTED 02/19/13 What makes art critics revise their opinions? Some mind-changing critics explain When a politician flip-flops on a position, the public and the press alike are quick to cry foul, hurling accusations of bad faith or pandering. But when an art critic changes his or her mind, the ripple effect is likely much smaller, piquing the attention of only staunch loyalists, other critics, or the artist in question. Nonetheless, when venerable critic Peter Schjeldahl’s blog post titled “Changing My Mind About Gustav Klimt’s ‘Adele’” appeared on the New Yorker’s website last June, we took note. Schjeldahl did not so much do a complete about-face on the glittering 1907 portrait of Adele Bloch-Bauer, the 25-year-old wife of an Austrian industrialist. He downgraded it from a work of art that he’d called “transcendent in its cunning way” six years earlier to a “largish, flattish The New Yorker’s Peter Schjeldahl used to think that Gustav Klimt’s 1907 painting Adele Bloch-Bauer I was “gorgeous.” Now, he calls it a bauble . classic less of its time than of ours, by “mess.” sole dint of the money sunk in it.” NEUE GALERIE, NEW YORK, ACQUISITION MADE AVAILABLE IN PART THROUGH THE GENEROSITY OF THE HEIRS OF THE ESTATES OF FERDINAND AND ADELE BLOCH-BAUER “I’d kind of given it a pass the first time around,” Schjeldahl says. “After seeing it repeatedly for many years, I decided, ‘This is a mess.’ The first impression is that it’s absolutely gorgeous. -
Marylyn Dintenfass
M A R Y L Y N D I N T E N F A S S www.marylyndintenfass.com SELECTED SOLO EXHIBITIONS 2017 Garrison Art Center, Garrison, New York, Ocular.Echo 2015 Driscoll Babcock Galleries, New York, Oculus 2015 The University of Minnesota, Morris, Morrison Gallery, Marylyn Dintenfass: Painted Anthology 2012/13Driscoll Babcock Galleries, New York, Drop Dead Gorgeous 2012 Flint Institute of Art, Flint, Michigan, Auto Biography and Other Anecdotes 2011 Babcock Galleries, New York, Souped Up/Tricked Out 2011 Bob Rauschenberg Gallery, Edison State College, Fort Myers, Florida, Marylyn Dintenfass 2010 Babcock Galleries, New York, Marylyn Dintenfass: Parallel Park 2009 Babcock Galleries, New York, Marylyn Dintenfass: Good & Plenty Juicy 2006 Greenville County Museum of Art, Greenville, South Carolina, Marylyn Dintenfass Paintings 2006 Mississippi Museum of Art, Jackson, Work in Progress: Marylyn Dintenfass 2006 Franklin Riehlman Fine Art, New York, Marylyn Dintenfass: Recent Paintings 2006 Pelter Gallery, Greenville, South Carolina, Marylyn Dintenfass: Works on Paper 1994 Hamline University, Saint Paul, Minnesota, Marylyn Dintenfass: Clay in Print 1991 Terry Dintenfass Gallery, New York, Paradigm Series 1985 The Port Authority of New York and New Jersey, Bus Terminal, 42nd Street, New York, A.R.E.A. Project, Site Installation, Imprint Fresco 1980 Katonah Museum of Art, Katonah, New York, Tracks & Traces 1979 Robert L. Kidd Galleries, Birmingham, Michigan, Porcelain Progressions 1978 Bell Gallery, Greenwich, Connecticut, Porcelain Progressions 1977 Schenectady -
A Visual Artist's Guide to Estate Planning
A VisuAl Artist’s Guide to estAte PlAnninG the 2008 supplement update Sponsored by The Marie Walsh Sharpe Art Foundation and The Judith Rothschild Foundation Edited by Barbara T. Hoffman A Visual Artist’s Guide to Estate Planning The 2008 Supplement Update Sponsored by The Marie Walsh Sharpe Art Foundation and The Judith Rothschild Foundation Edited by Barbara T. Hoffman, Esq. Special Note: Appendices may be downloaded from the Supplement and A Visual Artist’s Guide to Estate Planning by clicking on the “download pdf now” option listed in Appendices in the table of contents. A Visual Artist’s Guide, the Supplement, and Appendices may also be down- loaded from the website. Go to: http://www.sharpeartfdn.org © 2008 by The Marie Walsh Sharpe Art Foundation Version: 072008 A Visual Artist’s Guide to Estate Planning Part I Copyright 1998 by The Marie Walsh Sharpe Art Foundation Part II Copyright 1998 by the Association of the Bar of the City of New York The 2008 Supplement Update Copyright 2008 by The Marie Walsh Sharpe Art Foundation No part of this publication may be reproduced by any means for commercial use without the written permission of the publisher. For more information contact: The Marie Walsh Sharpe Art Foundation 830 North Tejon St., Suite 120 Colorado Springs, CO 80903 (719) 635-3220 http://sharpeartfdn.qwestoffice.net The 2008 Supplement Update is distributed with the understanding that The Marie Walsh Sharpe Art Foundation, The Judith Rothschild Foundation, the Association of the Bar of the City of New York, and the authors are not engaged in rendering legal, accounting, or other professional service in The Supplement Update of A Visual Artist’s Guide to Estate Planning. -
Prof. Kent Minturn Jackson Pollock and the New York School New York University, Fall 2017 CORE-UA 720 | Class#: 17338 | Session: 1 | Section: 001 T-TH 12:30-1:45
Prof. Kent Minturn Jackson Pollock and the New York School New York University, Fall 2017 CORE-UA 720 | Class#: 17338 | Session: 1 | Section: 001 T-TH 12:30-1:45 Course Description: Jackson Pollock and the New York School will examine the life, artistic career and legacy of Jackson Pollock (one the most important though least understood American painters) against the broader background of 20th-century American art, Abstract Expressionism, Pop, Postmodernism, and the rise of new media. Concomitantly, this course will introduce students to the existing critical literature on Abstract Expressionism, Jackson Pollock, and his legacy. We will begin by revisiting the Armory Show of 1913, an important exhibition that introduced modern art to American audiences. After this we will look at Pollock’s humble American Scene paintings of the 1930s and discuss his relationship with his mentor, the popular but controversial Regionalist painter, Thomas Hart Benton. Then we will move on to consider the relationship between Pollock and the émigré French Surrealists (notably André Breton, Max Ernst, André Masson) who arrived in New York in 1940. Pollock’s fascination with the Surrealists’ “automatist” experiments eventually led to the his famous “drip” technique. From here we will examine how Pollock’s move “beyond the easel” inspired second-generation postwar American artists, including Jasper Johns, Robert Rauschenberg, Allan Kaprow, Eve Hesse and Andy Warhol. And finally, we will consider Pollock’s “afterlife” in photography, film and new media. Teaching Assistants: Adam Dunlavy ([email protected]) Jennifer Buonocore ([email protected]) Course Requirements: Class and weekly discussion sections attendance (see schedule below) Assigned readings 5 page midterm paper, 5-7 page final paper, In-class final exam Texts: There is no required textbook; readings will be scanned and distributed electronically, or will be available through JSTOR Syllabus: Tuesday, Sept.