Curriculum Vitae
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Exhibitions.Cwk
SELECTED SOLO EXHIBITIONS: ELLEN LANYON 2011 “Index Extended” Printworks Gallery, Chicago IL 2010 “Curiosities” Pavel Zoubok Gallery, New York, NY 2009 “The Persistence of Invention” The Century Association, New York, NY 2008 “At The Sign of The Hat” Valerie Carberry Gallery, Chicago 2007 “Ellen Lanyon A Wonder Production” Curator & Catalog essay, Esther Sparks. Brauer Museum, Valparaiso Un & The Washington County Museum, Hagerstown MD “More Strange Games" Printworks Gallery, Chicago 2005-2006 "Paintings 1960-1990",Metropolitan Capital Bank, Chicago "Paintings of the 1960s" Valerie Carberry Gallery, Chicago IL "Wonders of the World" Jan Abrams Fine Arts, New York NY 2003 "INDEX" Prints and Books, Printworks Gallery, Chicago 2001 "Recent Paintings" Jean Albano Gallery, Chicago IL 2000 "Riverwalk Gateway Project", Chicago Cultural Center, Chicago, IL 1999-00 Retrospective: National Museum for Women in the Arts, Washington, DC (Catalog: essay by Debra Bricker Balken) 1999 "Paintings: 1969 &1999" Jean Albano Gallery, Chicago IL "New Works On Paper" Printworks Gallery, Chicago IL 1998 Adrian College, Adrian MI 1997 "Peregrine Proposals", Ute Stebich Gallery, Lenox, MA “Archaic Gardens / Recent Paintings", Andre Zarre Gallery, New York NY "Recent Paintings", Jean Albano Gallery, Chicago IL "Anatomy of an Exhibition" Centro Cultural Costarricense Norteamericano, San Jose, Costa Rica 1996 "Archaic Garden" collaboration with architect Laurence Booth, TBA Space, Chicago 1994 Andre Zarre Gallery, New York NY University of Iowa Museum of Art, Iowa City IA 1993 Printworks Gallery, Chicago IL Struve Gallery, Chicago IL 1992 Berland-Hall Gallery, New York,NY (Catalog essay by Eleanor Heartney) Sioux City Art Center, Sioux City IA 1990 "Works on Paper 1960-1990, Struve Gallery, Chicago IL 1989 Printworks Ltd, Chicago,IL Julian Pretto / Berland- Hall, New York NY Union League Club, Chicago IL 1987-88 "The Art of Ellen Lanyon: Strange Games" Retrospective. -
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. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
DORIS SALCEDO Education Solo Exhibitions
DORIS SALCEDO 1958 Born in Bogotá, Colombia Lives and works in Bogotá Education 1984 MA, New York University 1980 BFA, Universidad de Bogotá Jorge Tadeo Lozano Solo exhibitions 2019 Doris Salcedo: Tabula Rasa, Kunsthalle St. Annen, Lubbeck, Germany Doris Salcedo: Acts of Mourning, IMMA, Dublin 2018 Fragmentos, Bogota Palimpsest, White Cube, London Prints 2003 – 2009, Alexander Bonin, New York 2017 Palimpsest, Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid 2016 The Materiality of Mourning, Harvard Art Museum, Boston, Massachusetts Nasher Sculpture Center, Dallas, Texas 2015 Doris Salcedo, Museum of Contemporary Art Chicago; Solomon R. Guggenheim Museum, New York; Perez Art Museum, Miami, 2016 2014 Hiroshima Art Prize: Doris Salcedo, Hiroshima City Museum of Contemporary Art, Japan FLORA arts+natura, Bogotá 2013 Robert Kinmont/Doris Salcedo, Alexander and Bonin, New York 2011 Plegaria Muda, Museo Universitario Arte Contemporáneo, Mexico; Moderna Museet Malmö, Sweden; Gulbenkian, Centro de Art Moderna, Lisbon; Museo nazionale delle arti del XXI secolo, Rome, 2012; White Cube, London, 2012; Pinacoteca, São Paulo, 2012 2008 Alexander and Bonin, New York 2007 Shibboleth, Turbine Hall, Tate Modern, London White Cube, London 2004 Neither, White Cube, London 2001 Camden Arts Centre, London 2000 Tenebrae: Noviembre 7, 1985, Alexander and Bonin, New York 1998 Doris Salcedo: Unland, New Museum of Contemporary Art, New York; SITE Santa Fe, New Mexico; San Francisco Museum of Modern Art, 1999; Tate Gallery, London, 1999 1997 -
Structural Developments in Tall Buildings: Current Trends and Future Prospects
© 2007 University of Sydney. All rights reserved. Architectural Science Review www.arch.usyd.edu.au/asr Volume 50.3, pp 205-223 Invited Review Paper Structural Developments in Tall Buildings: Current Trends and Future Prospects Mir M. Ali† and Kyoung Sun Moon Structures Division, School of Architecture, University of Illinois at Urbana-Champaign, Champaign, IL 61820, USA †Corresponding Author: Tel: + 1 217 333 1330; Fax: +1 217 244 2900; E-mail: [email protected] Received 8 May; accepted 13 June 2007 Abstract: Tall building developments have been rapidly increasing worldwide. This paper reviews the evolution of tall building’s structural systems and the technological driving force behind tall building developments. For the primary structural systems, a new classification – interior structures and exterior structures – is presented. While most representative structural systems for tall buildings are discussed, the emphasis in this review paper is on current trends such as outrigger systems and diagrid structures. Auxiliary damping systems controlling building motion are also discussed. Further, contemporary “out-of-the-box” architectural design trends, such as aerodynamic and twisted forms, which directly or indirectly affect the structural performance of tall buildings, are reviewed. Finally, the future of structural developments in tall buildings is envisioned briefly. Keywords: Aerodynamics, Building forms, Damping systems, Diagrid structures, Exterior structures, Interior structures, Outrigger systems, Structural performance, Structural systems, Tall buildings Introduction Tall buildings emerged in the late nineteenth century in revolution – the steel skeletal structure – as well as consequent the United States of America. They constituted a so-called glass curtain wall systems, which occurred in Chicago, has led to “American Building Type,” meaning that most important tall the present state-of-the-art skyscraper. -
Philip Pearlstein
PHILIP PEARLSTEIN 1924 Born in Pittsburgh, PA on May 24 1942-49 B.F.A. from Carnegie Institute of Technology, Pittsburgh, PA 1955 M.A. from New York University, Institute of Fine Arts, New York, NY 1959-63 Instructor, Pratt Institute, Brooklyn, NY 1962-63 Visiting Critic, Yale University, New Haven, CT 1963-88 Professor of Fine Art, Brooklyn College, Brooklyn, NY 1988 Distinguished Professor Emeritus, Brooklyn College, Brooklyn, NY 2003-06 President, American Academy of Arts and Letters, New York, NY The artist lives and works in New York City. Solo Exhibitions 2018 Philip Pearlstein, Today, Betty Cuningham Gallery, New York, May 10 – June 17 Philip Pearlstein, Paintings 1990- 2017, Saatchi Gallery, London, United Kingdom, January 17 – April 29 2017 Facing You, Betty Cuningham Gallery, New York, May 5 – June 30 Philip Pearlstein: Seventy –Five Years of Painting, Susquehanna Museum of Art, Harrisburg, PA, February 11 – May 21 2016 G.I. Philip Pearlstein, World War II Captured on Paper, Betty Cuningham Gallery, New York, September 14 – October 15 2015-16 Pearlstein | Warhol | Cantor: From Carnegie Tech to New YorK, Betty Cuningham Gallery, New York, NY, Dec. 3 – March 5, 2016 2015 Pearlstein | Warhol | Cantor : From Pittsburgh to New YorK, Andy Warhol Museum, Pittsburgh, PA May 30- September 6 2014 Philip Pearlstein, Betty Cuningham Gallery, New York, NY, May 8 – July 27 Pearlstein at 90, Russell Bowman Art Advisory, Chicago, IL, April 4 – May 31 Philip Pearlstein: Six Paintings, Six Decades, National Academy of Art, New York, NY, Feb. 27 – May 11 Philip Pearlstein – Just The Facts, 50 Years of Looking and Drawing and Painting, Curated by Robert Storr, New York Studio School, New York, NY, January 16 – February 22 2013 Philip Pearlstein’s People, Places, Things, Museum of Fine Arts, St. -
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery Is Pleased to Pr
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery is pleased to present Abstract and Figurative: Highlights of Bay Area Painting, a survey of historical works celebrating the iconic art of the Bay Area Figurative movement. The exhibition will occupy two floors of gallery space and will include work by artists Elmer Bischoff, Theophilus Brown, Richard Diebenkorn, Manuel Neri, Nathan Oliveira, David Park, Wayne Thiebaud, James Weeks, and Paul Wonner. Abstract and Figurative is accompanied by an illustrated catalogue with an introduction by art historian and Director of the Palm Springs Art Museum and former Associate Director and Chief Curator of the Fine Arts Museums of San Francisco, Steven A. Nash. Many of the works included in Abstract and Figurative are on loan from museums and private collections and have rarely been exhibited to the public. John Berggruen Gallery is proud to have this opportunity to bring these paintings together in commemoration of the creative accomplishments of such distinguished artists. Please join us for our opening reception on Thursday, January 8, 2009 between 5:30 and 7:30 pm. Nash writes, “There is no more fabled chapter in the history of California Art than the audacious stand made by Bay Area Figurative painters against Abstract Expressionism in the 1950s.” This regionalized movement away from the canon of the New York School (as championed by artists Jackson Pollock and Willem de Kooning, and critic Clement Greenberg, among others) finds its roots in 1949, when a young painter by the name of David Park “gathered up all his abstract- expressionist canvases and, in an act that has gone down in local legend, drove to the Berkeley city dump and destroyed them.”1 Disillusioned with the strict non-representational tenets of a movement that promoted the Greenbergian notion of “purity” in art towards a perpetually evolving abstraction, Park submitted Kids on Bikes (1950), a small figurative painting, to a 1951 competitive exhibition and won. -
California Modernism After World War Ii
1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years. -
David Furman Short Form Resume/Career Summary ONE
David Furman Short Form Resume/Career Summary ONE PERSON EXHIBITIONS Since l970, 47 one person shows including American Museum of Ceramic Art, Pomona, CA; Gallery 221, New York, NY; Frumkin Duval Gallery, Santa Monica, CA; O.K. Harris Works of Art, New York, NY; Margulies Taplin Gallery, Miami, FL; Elaine Horwitch Galleries, Santa Fe, NM; O.K. Harris/Kline Gallery, Birmingham, MI; Solomon Dubnick Gallery, Sacramento, CA; Dorry Gates Gallery, Kansas City, MO; Judy Youens Gallery, Houston, TX; Chicago Center for Ceramic Art, Chicago, IL; San Francisco Int'l Airport, San Francisco, CA; Southern Oregon State College, Ashland, OR; David Stuart Galleries, Los Angeles, CA; Quay Gallery, San Francisco, CA; Salt Lake Art Center, Salt Lake City, UT; North Carolina State University, Raleigh, NC; Galleria "9", Lima, Peru; University of Oregon Museum of Art, Eugene, OR; Jacqueline Anhalt Gallery, Los Angeles, CA; Gayle Weyher Gallery, Salt Lake City, UT; Tortue Gallery, Santa Monica, CA; J. Cotter Gallery, Vail/Beaver Creek, CO; UMKC Belger Art Center, Kansas City, MO, San Angelo Museum of Art, San Angelo, TX; Bakersfield Museum of Art, Bakersfield, CA. HONORS/AWARDS/FELLOWSHIPS 2011 Elected to the International Academy of Ceramics 2008 Sole Juror, California Small Images, Bakersfield Museum of Art, Bakersfield, CA 2007 Juror, XI Sculpture and Ceramics Biennale, Honduras, Central America Fellowship, Office of Citizen Exchanges, United States Dept. of State/Cultural Affairs, Honduras, Central America 2005 Silver Medal, 3rd International Ceramic Biennale, -
Paper 5 Centner
Papers in Urbanisation, Planning and Development Clashing Power-Geometries: geographic thought and the transformation of centrality in Caracas Ryan Centner Paper No. 5 Geography and Environment Discussion Paper Series June 2020 Editorial Board ProfessorɸRiccardo Crescenzi Professor Hyun Bang Shin Dr Charles Palmer All views expressed in this paper are those of the author(s) and do not necessarily represent the views of the editors or LSE. The results presented in the paper are not peer-reviewed. Published by Department of Geography and Environment London School of Economics and Political Science Houghton Street London WC2A 2AE [email protected] www.lse.ac.uk/Geography-and-Environment All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of the author(s) nor be issued to the public or circulated in any form other than that in which it is published. Requests for permission to reproduce any article or part of the Discussion Paper should be sent to the author(s) directly. Clashing Power-Geometries: Geographic Thought and the Transformation of Centrality in Caracas Ryan Centner Abstract: Contributing to inquiries into the geographies of theory, this article examines the vicissitudes of creating a “new power-geometry” in the urban environment through physical and social interventions in the center of Caracas, Venezuela, where the state elevated Doreen Massey’s axiomatic geographical concept into its revolutionary (“Bolivarian”) program in the late 2000s. Although not formulated for direct practical application, Massey’s notion was embraced by Hugo Chávez to enact measures and promote popular initiatives that would replace inherited structures of deep inequality in Venezuelan society. -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
George Adams Gallery, New York, 2019
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com ROBERT ARNESON BORN: Benicia, CA, 1930. DIED: Benicia, CA, 1992. EDUCATION: College of Marin, Kentfield, CA California College of Arts & Crafts, Oakland, CA: B.A., 1954. Mills College, Oakland, CA: M.F.A.,1958. AWARDS: Fellow, American Craft Council, 1992. Academy-Institute Award in Art, American Academy and Institute of Arts and Letters, 1991. Honorary Doctor of Fine Arts, San Francisco Art Institute, 1987. Honorary Doctor of Fine Arts, Rhode Island School of Design, 1985. SOLO EXHIBITIONS: “Robert Arneson: The Anti-War Works 1982-1986,” George Adams Gallery, New York, 2019. Robert Arneson and William T Wiley, George Adams Gallery, New York, NY, 2017. “Guardians of the Secret II” Brian Gross Fine Art, San Francisco, CA, 2016. “Fatal Laughs: The Art of Robert Arneson” Cantor Arts Center, Stanford University, Stanford, CA, 2014-15. “Robert Arneson: Troublesome Subjects: Three Decades of Paintings, Sculpture, and Works on Paper,” George Adams Gallery, New York, NY, 2013. “Robert Arneson: Playing Dirty,” Allan Stone Gallery, New York, NY, 2012. “Robert Arneson: Installation of Works from the Collection,” San Francisco Museum of Modern Art, San Francisco, CA, 2012. “Robert Arneson: Self Portraits in Bronze” Brian Gross Fine Art, San Francisco, CA, 2012. “Robert Arneson: Founding Funk: Sculptures and Drawings 1956-66,” George Adams Gallery, New York, NY, 2010. “Robert Arneson from the 60's," Brian Gross Fine Art, San Francisco, CA, 2008. “Robert Arneson: The Black Series, Selected Works 1988-1990," George Adams Gallery, New York, NY, 2007. “Robert Arneson: Sculpture, Paintings and Drawings 1958-1992," George Adams Gallery at the ADAA Art Show, Seventh Regiment Armory, New York, NY, 2006.