DOCSLIB.ORG

Walker Art Center Exhibition Chronology Living Minnesota

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Walker Art Center Exhibition Chronology Living Minnesota Walker Art Center Exhibition Chronology Title Opening date Closing date Living Minnesota Artists 7/15/1938 8/31/1938 Stanford Fenelle 1/1/1940 ?/?/1940 Grandma’s Dolls 1/1/1940 ?/?/1940 Parallels in Art 1/4/1940 ?/?/1940 Trends in Contemporary Painting 1/4/1940 ?/?/1940 Time-Off 1/4/1940 1/1/1940 Ways to Art: toward an intelligent understanding 1/4/1940 ?/?/1940 Letters, Words and Books 2/28/1940 4/25/1940 Elof Wedin 3/1/1940 ?/?/1940 Frontiers of American Art 3/16/1940 4/16/1940 Artistry in Glass from Dynastic Egypt to the Twentieth Century 3/27/1940 6/2/1940 Syd Fossum 4/9/1940 5/12/1940 Answers to Questions 5/8/1940 7/1/1940 Edwin Holm 5/14/1940 6/18/1940 Josephine Lutz 6/1/1940 ?/?/1940 Exhibition of Student Work 6/1/1940 ?/?/1940 Käthe Kollwitz 6/1/1940 ?/?/1940 Walker Art Center Exhibition Chronology Title Opening date Closing date Paintings by Greek Children 6/1/1940 ?/?/1940 Jewelry from 1940 B.C. to 1940 A.D. 6/27/1940 7/15/1940 Cameron Booth 7/1/1940 ?/?/1940 George Constant 7/1/1940 7/30/1940 Robert Brown 7/1/1940 ?/?/1940 Portraits of Indians and their Arts 7/15/1940 8/15/1940 Mac Le Sueur 9/1/1940 ?/?/1940 Paintings and their X-Rays 9/1/1940 10/15/1940 Paintings by Vincent Van Gogh 9/24/1940 10/14/1940 Walter Kuhlman 10/1/1940 ?/?/1940 Marsden Hartley 11/1/1940 11/30/1940 Clara Mairs 11/1/1940 ?/?/1940 Meet the Artist 11/1/1940 ?/?/1940 Unpopular Art 11/7/1940 12/29/1940 National Art Week 11/25/1940 12/5/1940 Art of the Nation 12/1/1940 12/31/1940 Anne Wright 1/1/1941 ?/?/1941 Walker Art Center Exhibition Chronology Title Opening date Closing date Children’s Portraits 1/1/1941 ?/?/1941 American Houses Today 1/6/1941 3/7/1941 Art of the Print 1/7/1941 2/20/1941 Minnesota and the Nation 2/1/1941 2/28/1941 What is Ceramics? 3/27/1941 5/1/1941 City Planning 3/27/1941 5/1/1941 Three Women Sculptors 4/1/1941 4/4/1941 Clement Haupers 5/1/1941 6/15/1941 Accessories for the House 5/15/1941 7/5/1941 Idea House I 6/1/1941 12/1/1941 Mary Gale Hobbs 6/1/1941 ?/?/1941 Exhibition of Student Work 6/1/1941 ?/?/1941 Gopher Camera Club 6/3/1941 6/29/1941 Christian Art 6/18/1941 7/18/1941 John Huseby 7/1/1941 ?/?/1941 Terry and the Pirates 8/1/1941 ?/?/1941 Jane Seybold 8/1/1941 ?/?/1941 Walker Art Center Exhibition Chronology Title Opening date Closing date William Saltzman 9/1/1941 ?/?/1941 America Builds for Defense 9/3/1941 10/8/1941 Egypt, Greece and Rome 9/3/1941 10/14/1941 Photographs of the Times 9/17/1941 10/7/1941 L. G. Le Sueur “Modern Illustrations for Mother Goose” 10/1/1941 ?/?/1941 Bertrand Old 10/1/1941 ?/?/1941 Little Giants 10/22/1941 12/10/1941 National Art Week 11/17/1941 11/24/1941 Medals for Dishonor 11/27/1941 12/18/1941 Children’s Hobbies 11/30/1941 1/8/1942 Henry Bannarn 12/1/1941 ?/?/1941 Christmas Table Settings 12/9/1941 12/26/1941 Children’s Theater 12/21/1941 1/1/1942 Miriam Ibling 1/1/1942 ?/?/1942 Art of the Print 1/7/1942 2/20/1942 June Corwine 3/1/1942 ?/?/1942 Chinese Paintings 3/17/1942 5/4/1942 Walker Art Center Exhibition Chronology Title Opening date Closing date Franz Marc’s Blue Horses 3/26/1942 12/31/1942 Faculty and Student Show 6/1/1942 ?/?/1942 2nd Annual Gopher Camera Club Salon 6/3/1942 6/29/1942 Refugee Masterpieces 6/5/1942 8/20/1942 (aka Refugee Paintings) aka Refugee Art) Camouflage 6/15/1942 8/31/1942 Indian Portraits 7/10/1942 8/31/1942 Pottery Comparisons 7/15/1942 8/31/1942 From the Halls of Montezuma 9/9/1942 10/20/1942 Blitz Over London 9/20/1942 10/20/1942 Russian War Posters 9/27/1942 10/27/1942 Art in Miniatures 1/1/1943 ?/?/1943 Wings for American Fighters 1/10/1943 2/10/1943 Local Artists 2/1/1943 ?/?/1943 Britain, #1 in series Know Your Allies 2/10/1943 3/25/1943 Ancient Weapons 2/10/1943 5/20/1943 92 Artists 6/3/1943 7/1/1943 (aka 92 American Artists) 3rd Annual Gopher Camera Club Salon 6/3/1943 6/29/1943 Walker Art Center Exhibition Chronology Title Opening date Closing date Definitions 9/1/1943 10/1/1943 Medical Fantasies 1/11/1944 2/1/1944 Advertising Art 2/6/1944 2/27/1944 Watercolor Drawings of American Ship Figureheads 3/7/1944 3/31/1944 Works of Nils Dardel 4/5/1944 4/30/1944 First Annual Minnesota Sculpture Exhibition 6/15/1944 7/15/1944 Le Sueur So Far 7/20/1944 9/11/1944 110 American Painters of Today 8/18/1944 9/11/1944 Exhibition of Student Work 8/20/1944 9/10/1944 LIFE’s War Art 9/15/1944 10/4/1944 American Architecture 11/1/1944 11/15/1944 The New Spirit: Le Corbusier -- Architect, Painter, Writer 12/14/1944 2/20/1945 Modern Drawings 1/3/1945 1/21/1945 American Watercolor and Winslow Homer 2/28/1945 3/23/1945 Silk Screen Portraits of 13 Artists by Harry Sternberg 4/1/1945 5/13/1945 Reproductions: Own Your Favorite Painting 4/29/1945 6/10/1945 Original Illustrations for Saturday Evening Post 5/17/1945 6/3/1945 Walker Art Center Exhibition Chronology Title Opening date Closing date Watercolors by Children of Uzbekistan 6/6/1945 7/1/1945 Second Annual Regional Sculpture Exhibition 7/17/1945 8/15/1945 Advertising Art 7/24/1945 9/2/1945 Eleanor Harris 9/7/1945 10/21/1945 Paintings by Marsden Hartley 9/16/1945 10/14/1945 The Story of Jade 10/1/1945 ?/?/1945 Reproductions of Modern Paintings 10/1/1945 12/31/1945 Introduction to Modern Painting 11/1/1945 11/30/1945 Races of Mankind 11/24/1945 12/9/1945 The Bronze Doors of Benevento 12/1/1945 ?/?/1945 Paintings by Philip Evergood 12/4/1945 12/30/1945 Moscow: Capitol of the U.S.S.R 12/16/1945 12/22/1945 Man and Clay 1/1/1946 10/13/1946 Recent Purchases and Gifts 1/1/1946 10/13/1946 Ideas For Better Living 1/9/1946 3/10/1946 Paintings by Milwaukee Artists Group 1/13/1946 1/31/1946 Alonzo Hauser 2/24/1946 4/7/1946 Walker Art Center Exhibition Chronology Title Opening date Closing date Painting, Sculpture and Craftwork by Members of Delta Phi Delta 3/6/1946 3/31/1946 Furniture and Fabrics 3/26/1946 5/19/1946 Nine Minnesota Painters 4/7/1946 5/5/1946 Watercolor - U.S.A. 4/24/1946 5/8/1946 (aka: Acuarela - EE.UU., Watercolor - U.S.A., Aquarela - EE.UU.) Paintings by June Corwine 5/7/1946 6/2/1946 New Materials 5/10/1946 5/31/1946 Elements of Design 5/28/1946 6/23/1946 Annual Walker Art School Student Show 5/31/1946 6/23/1946 5 Minnesota Painters 6/11/1946 7/7/1946 Minnesota Artists Association Paintings 6/30/1946 7/28/1946 Contemporary Ceramics 7/2/1946 8/4/1946 Third Annual Regional Sculpture Exhibition 7/2/1946 8/4/1946 40 Photos and Work by the Minneapolis Photographic Society 7/9/1946 8/4/1946 Paintings by Fridtjof Schroder 8/20/1946 9/22/1946 If You Want to Build a House 8/22/1946 10/15/1946 136 American Painters 8/25/1946 9/22/1946 Sculpture by Dustin Rice 9/12/1946 10/20/1946 Walker Art Center Exhibition Chronology Title Opening date Closing date Hibbing Art Center Paintings 9/24/1946 10/20/1946 Painting by Lenore Erik-Alt 10/22/1946 11/24/1946 Useful Gifts 10/22/1946 1/7/1947 Painting by Agnes Sims 11/3/1946 12/8/1946 Craftwork by Joseph Danyish 11/26/1946 12/29/1946 Photographs by Clarence Laughlin 12/15/1946 1/12/1947 Lithographs by William Norman 1/5/1947 2/2/1947 Modern Textile Design 1/9/1947 2/25/1947 Pepsi-Cola Paintings of the Year: Third Annual Art Competition 1/15/1947 2/16/1947 Ethel Schochet 2/9/1947 3/9/1947 Vanguard Group 2/20/1947 3/16/1947 Delta Phi Delta 2/25/1947 3/23/1947 Sectional Furniture 3/4/1947 4/22/1947 Arthur Kerrick 3/11/1947 4/6/1947 Warsaw Lives Again 4/2/1947 4/20/1947 Four Abstract Painters 4/8/1947 5/4/1947 The Incas 4/12/1947 5/11/1947 Walker Art Center Exhibition Chronology Title Opening date Closing date Made in Scandinavia 4/29/1947 6/1/1947 John Marin: A Retrospective Exhibition 5/1/1947 6/15/1947 Paintings by Everet McNear 5/6/1947 6/1/1947 Paintings by William Saltzman 6/3/1947 7/6/1947 18 Paintings by Pedro Figari 6/5/1947 6/22/1947 Plastics in the Home 6/24/1947 8/1/1947 Fourth Annual Six-State Sculpture Exhibition 7/8/1947 8/3/1947 Drawings by Sculptors 7/8/1947 8/3/1947 First Biennial Exhibition of Paintings and Prints 8/21/1947 9/28/1947 Photographs by Erling Larsen 8/26/1947 9/21/1947 Idea House II 9/8/1947 ?/?/48 82 Drawings by William Bushman 9/23/1947 11/2/1947 13 Marins from the Keith Warner Collection 9/30/1947 10/19/1947 Designs for Idea Houses III Through VIII 9/30/1947 11/16/1947 La Tausca Art Exhibition - 1947 10/26/1947 11/16/1947 Christmas Exhibition 11/11/1947 12/21/1947 Useful Gifts 11/23/1947 1/25/1948 Walker Art Center Exhibition Chronology Title Opening date Closing date Painting Toward Architecture: 45 Abstract Paintings and Sculptures from 1/20/1948 2/22/1948 the Miller Company Collection Modern Jewelry Under Fifty Dollars 2/15/1948 4/4/1948 Sculpture by Evelyn Raymond 2/20/1948 3/14/1948 Delta Phi Delta Exhibition 3/2/1948 3/23/1948 Recent Paintings by Josephine Lutz Rollins 3/25/1948 5/1/1948 Taliesen West 4/8/1948 4/25/1948 Children’s Fair 5/2/1948 5/30/1948 Paintings to Know and Buy 5/25/1948 7/11/1948 aka: New Paintings to Know and Buy aka: Paintings to Know -- An Exhibition Twelfthaka: 4th Ceramic Purchase National Exhibition Exhibition 6/11/1948 7/4/1948 Man and Clay 6/11/1948 7/4/1948 New Sculpture 6/17/1948 8/22/1948 Everyday Art Outdoors 7/15/1948 10/17/1948 New Paintings by Younger Minnesota Artists 9/9/1948 10/31/1948 Paintings by Martin Bloch 9/15/1948 10/10/1948 The Artist in Social Communication 10/21/1948 11/14/1948 Second Christmas Exhibition Sale 11/7/1948 1/2/1949 Useful Gifts 11/16/1948 1/15/1949 Walker Art Center Exhibition Chronology Title Opening date Closing date Modern Art in Advertising: Designs for Container Corporation of America 11/18/1948 1/16/1949 Guests From Wisconsin 1/6/1949 2/27/1949 Modern Textiles 1/23/1949 3/13/1949 A New Direction in Intaglio 1/30/1949 3/13/1949 Delta Phi Delta Exhibition 3/1/1949 4/3/1949 Recent Paintings by Cameron Booth 3/3/1949 5/1/1949 Modern Painting in Minnesota 4/3/1949 7/30/1949 Lamps and Lighting 4/5/1949 5/29/1949 Max Weber Retrospective Exhibition 4/17/1949 5/29/1949 Photographs by John Szarkowski 5/5/1949 7/3/1949 John T.
Load more

Recommended publications
  • The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937
    “First Surrealists Were Cavemen”: The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937 Elke Seibert How electrifying it must be to discover a world of new, hitherto unseen pictures! Schol- ars and artists have described their awe at encountering the extraordinary paintings of Altamira and Lascaux in rich prose, instilling in us the desire to hunt for other such discoveries.1 But how does art affect art and how does one work of art influence another? In the following, I will argue for a causal relationship between the 1937 exhibition Prehis- toric Rock Pictures in Europe and Africa shown at the Museum of Modern Art (MoMA) and the new artistic directions evident in the work of certain New York artists immediately thereafter.2 The title for one review of this exhibition, “First Surrealists Were Cavemen,” expressed the unsettling, alien, mysterious, and provocative quality of these prehistoric paintings waiting to be discovered by American audiences (fig. ).1 3 The title moreover illustrates the extent to which American art criticism continued to misunderstand sur- realist artists and used the term surrealism in a pejorative manner. This essay traces how the group known as the American Abstract Artists (AAA) appropriated prehistoric paintings in the late 1930s. The term employed in the discourse on archaic artists and artistic concepts prior to 1937 was primitivism, a term due not least to John Graham’s System and Dialectics of Art as well as his influential essay “Primitive Art and Picasso,” both published in 1937.4 Within this discourse the art of the Ice Age was conspicuous not only on account of the previously unimagined timespan it traversed but also because of the magical discovery of incipient human creativity.
    [Show full text]
  • Iowa State Capitol Complex Master Plan I
    Iowa State Capitol Complex I Master Plan January 7, 2010 (Amended December 2020) State of Iowa Department of Administrative Services & Capitol Planning Commission Confluence Zimmer Gunsul Frasca Architects LLP Jeffrey Morgan Architecture Studio Tilghman Group Snyder and Associates [ This page intentionally left blank ] Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Contents ii Preface 78 Architectural Design 82 Utilities 1 Chapter 1 - The Vision 84 Parking 9 Chapter 2 - Principal Influences on the Plan 88 Transit 10 Historical Development 92 Pedestrian and Bicycle Circulation 16 Capitol Neighborhood 99 Sustainable Development Principles 23 Chapter 3 - Capitol Complex 107 Chapter 4 - Making the Vision a Reality 24 Concept 111 Acknowledgements 28 Approaches and Gateways 30 View Corridors and Streets 117 Appendix A - Transportation Plan 38 Access and Circulation 131 Appendix B - Facility Needs Assessment 45 Landscape Framework Summary 58 Monuments and Public Art 155 Appendix C - Capitol Complex Planning History 62 Site Amenities 64 Signs and Visitor Information 164 Appendix D - Annual Review & Update of Iowa State Capitol Complex 2010 72 Buildings Master Plan i ii Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Preface iii Introduction Amended December 2016, 2020 The Iowa State Legislature appropriated funds to the Department of Administrative than fiscal years. Services for updating the 2000 Master Plan for physical facilities on the Iowa State Capitol Complex. The resulting 2010-2060 plan was prepared in close collaboration Beginning in 2015, the Capitol Planning Commission committed to keeping the with the Capitol Planning Commission for its consideration and acceptance. The Master Plan viable and current by annually reviewing the Plan to note accomplished consultant team was led by Confluence and Zimmer Gunsul Frasca Architects goals as well as recognizing evolving changes in conditions and assumptions.
    [Show full text]
  • Swing Landscape
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Stuart Davis American, 1892 - 1964 Study for "Swing Landscape" 1937-1938 oil on canvas overall: 55.9 × 73 cm (22 × 28 3/4 in.) framed: 77.8 × 94.6 × 7 cm (30 5/8 × 37 1/4 × 2 3/4 in.) Corcoran Collection (Museum Purchase and exchange through a gift given in memory of Edith Gregor Halpert by the Halpert Foundation and the William A. Clark Fund) 2014.79.15 ENTRY Swing Landscape [fig. 1] was the first of two commissions that Stuart Davis received from the Mural Division of the Federal Art Project (FAP), an agency of the Works Progress Administration (WPA), to make large-scale paintings for specific sites in New York. The other was Mural for Studio B, WNYC, Municipal Broadcasting Company [fig. 2]. [1] The 1930s were a great era of mural painting in the United States, and Davis, along with such artists as Thomas Hart Benton (American, 1889 - 1975), Arshile Gorky (American, born Armenia, c. 1902 - 1948), and Philip Guston (American, born Canada, 1913 - 1980), was an important participant. In the fall of 1936, Burgoyne Diller (American, 1906 - 1965), the head of the Mural Division and a painter in his own right, convinced the New York Housing Authority to commission artists to decorate some basement social rooms in the Williamsburg Houses, a massive, new public housing project in Brooklyn. A dozen artists were chosen to submit work, and, while Davis’s painting was never installed, it turned out to be a watershed in his development.
    [Show full text]
  • Stripes—The Whole Idea Curated by Edith Newhall
    Stripes—the whole idea Curated by Edith Newhall Featuring works by: Gabriele Evertz, James Juszczyk, Joanne Mattera, Don Porcaro, Mary Schiliro, Melissa Staiger, & Kim Uchiyama y introduction to stripes as a certifiable subject for art came in 1971 when I was a student at Moore College of Art and visited England for the first time. It was there that I saw Bridget Riley’s hypnotic stripe paintings in her first museum survey at the Hayward Gallery. A year later, I witnessed firsthand Gene Davis’s spectacular Franklin’s ​ Footsteps as it was being painted on the Benjamin Franklin Parkway. At the time, the ​ 414-foot-long painting of candy-colored stripes in front of the Philadelphia Museum of Art was the largest artwork in the world. Gene Davis, Franklin’s Footpath, 1972 ​ ​ Philadelphia, Pennsylvania Photograph by Henry Groskinsky/The LIFE Images Collection via Getty Images Stripes are first and foremost templates for artists’ personal attractions and philosophies, even when that stance might be “what you see is what you see,” as Frank Stella famously quipped of his early paintings. What’s often forgotten about Frank Stella’s terse remark—made during a Q&A published in ARTnews in 1966—is that he prefaced it by saying, “All I want anyone to get out of my paintings is the fact that you can see the whole idea without any conclusion…” It’s not even clear that Stella wanted his paintings to be considered purely for their formal properties. How can his evocative titles, among them Valparaiso Flesh and Green, Palisades, Honduras ​ Lottery Co., and Palmito Ranch not stir romantic thoughts? Stella later admitted to ​ ​ ​ “emotional ambiguities” in his works.
    [Show full text]
  • ACE LEHNER 49 Greenkill Ave, #6 Kingston, NY [email protected] 415.335.1697 EDUCATION 2019 Ph.D
    ACE LEHNER 49 Greenkill Ave, #6 Kingston, NY www.Ace-Lehner.com [email protected] 415.335.1697 EDUCATION 2019 Ph.D. (anticipated), History of Art and Visual Culture, U.C. Santa Cruz, Santa Cruz, CA 2010 MFA Fine Art / MA Visual and Critical Studies, California College of the Arts, San Francisco, CA 2003 BFA Studio Art, Minor Social Anthropology (with Distinction), Concordia University, Montreal, Canada 2000 International Artist Exchange program, Middlesex University, London, UK PROFESSIONAL EXPERIENCE 2018-Current Joan Tisch Teaching Fellow Whitney Museum of American Art 2016-Current Gallery Guide Dia Foundation, NY 2015-2016 Adjunct Professor Photography Department, City College of San Francisco, San Francisco, CA 2014-2016 Associate In History of Art and Visual Culture, UC Santa Cruz, Santa Cruz, CA 2014-2016 Teaching Assistant, Politics of Aesthetics, Photography Now, History of Photography of Asia History of Art and Visual Culture, UC Santa Cruz, Santa Cruz, CA 2013-2016 Photography Instructor, Young Artist Studio Program California College of the Arts, Oakland, CA 2011-2012 Alumni Mentor California College of the Arts, Oakland, CA 2010-2016 Photography Instructor Berkeley Art Studio, University of California Berkeley, Berkeley, CA 2010-2012 Lecturer Photography Program, California College of the Arts, Oakland, CA 2010-2012 Advanced Placement Art Instructor, Digital Media Instructor and Drawing Instructor Oakland School for the Arts, Oakland, CA 2010 Lead Teaching Artist, Mission Voices Summer Program Southern Exposure, San Francisco,
    [Show full text]
  • Summer 2021 —Vol
    ACADEMYAC ART MUSEUMA DMAGAZINEE - SUMMERM 2021Y CHAIR’S AND DIRECTOR’S LETTERS, TRUSTEES & STAFF Dear Museum Friends, As we all emerge from one of the strangest winters ever, the Academy Art Museum is pleased to report on its robust plans for the coming spring and summer, in no small TRUSTEES Chuck Mangold, Jr. Donna Alpi, Vice Chair Christine Martin part due to the loyal support of our MaryLou Armstrong Peters Antonio McAfee members and donors. Maxine Farrell Catherine Collins McCoy, Chair Craig Fuller, Vice Chair Jill Meyerhoff On March 16, Twisted, The Peculiar Peter Gallagher Jeffrey Parker Portrayal of People the first-ever Jim Harris Courtney Clark Pastrick student-curated exhibition, Elizabeth Hormel John Pinney, Treasurer opened and will run until April 8. Lisa Hunter Mary Ann Schindler This exhibition resulted from the pandemic-caused cancellation of the Jeffrey Huvelle, Secretary Karen Shook Museum’s ever-popular annual student art exhibitions and is the product Kentavius Jones Nancy Trippe Margaret Keller Elizabeth Underhill of a collaboration with Kent Island High School art teacher Andrea Julie Madden Marilyn Weiner Schulte. Schulte’s students curated the exhibition by looking at the Trish Malin Hanna Woicke Museum’s Permanent Collection online, selecting works that resonated with them, developing a theme, and creating their own original related art. See the article on page 7 for the students’ thoughtful reactions to having EMERITUS TRUSTEES HONORARY TRUSTEES been involved in this collaborative curatorial and creative project. Richard Bodorff Arnold L. Lehman Joan W. Cox Earl A. Powell, III Richard C. Granville Donald Saff Other children’s and community programming highlighted in this Susan Hamilton James Turrell magazine includes Friday spring Home School Mini Sessions, Earth Bette Kenzie Day Family Art Opportunities, Flowers, Flowers, Everywhere—a special Frank Kittredge Community Day planned in conjunction with other area non-profits, and Kay W.
    [Show full text]
  • At Haegue Yang's Exhibition at the Leeum
    Haegue Yang, Courtesy the artist. At Haegue Yang's exhibition at the Leeum, Samsung Museum of Art in Seoul, "Shooting the Elephant 象 Thinking the Elephant," the visitor will encounter installations and sculptures composed of bright brass bells, electric fans, light bulbs, and Venetian blinds, all involved in a dance of movement, light, texture, and sound. At the start of the exhibition, visitors are invited to don garlands of bells, wearable sculptures the artist calls Sonicwears (2013/2015). In one installation, different scents are emitted periodically into the air. Based on these works alone, one could be forgiven for thinking that Yang's work is primarily concerned with the senses: sight, sound, smell, and touch. But this is just one layer of Yang's work, a surface reading, and while no less true, of course, and no less satisfying, a deeper plunge into the work and its references and dialogues reveals a vast ocean of meaning underneath. Haegue Yang, Shooting the Elephant 象 Thinking the Elephant, installation view. Courtesy Leeum, Samsung Museum of Art. "Shooting the Elephant 象 Thinking the Elephant," on view until May 10, is Haegue Yang's first solo exhibition in her native country of South Korea in five years. Based in Berlin, Yang is perhaps best known for her installations comprised of arrangements of Venetian blinds--a sculptural motif she introduced in a work entitled Series of Vulnerable Arrangements - Blind Room at the São Paulo Bienal in 2006, and continued to use in installations at the Venice Biennale (where she represented South Korea in 2009), dOCUMENTA (13), and numerous other commissions for major art institutions like Haus der Kunst and the Walker Art Center.
    [Show full text]
  • ATELIER 17 and Modern Printmaking in the Americas
    ATELIER 17 and Modern Printmaking in the Americas DOI 10.11606/9788594195319 Organization Carolina Rossetti de Toledo Ana Gonçalves Magalhães Peter John Brownlee ebook UNIVERSIDADE DE SÃO PAULO Museu de Arte Contemporânea — MAC USP Terra Foundation for American Art São Paulo 2019 São Paulo (Partial or total part of this work is permitted, provided that the source and authorship is cited, prohibiting any use for commercial purposes) © 2019 – Museu de Arte Contemporânea da Universidade de São Paulo Avenida Pedro Álvares Cabral, 1301 • 04094-050 • Ibirapuera • São Paulo/SP email: [email protected] - www.mac.usp.br Catalog drawing elaborated by the Library Lourival Gomes Machado do Museu de Arte Contemporânea da USP Atelier 17 and modern printmaking in the Americas / organization Carolina Rossetti de Toledo, Ana Gonçalves Magalhães, Peter John Brownlee. São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo, 2019. (MAC Essencial, 16), 225 p. ; il. ISBN 978-85-94195-31-9 DOI 10.11606/9788594195319 1. Printmaking – America. 2. Modern Art – America – 20th Century. 3. Atelier 17. 4. Universidade de São Paulo. Museu de Arte Contemporânea. I. Toledo, Carolina Rossetti de. II. Magalhães, Ana Gonçalves. III. Brownlee, Peter John. CDD – 769.9 This exhibition is organized by the Museu de Arte Contemporânea da Universidade de São Paulo and the Terra Foundation for American Art. The exhibition and its publication are made possible with the generous support of the Terra Foundation for American Art. Book Credits Organization: Carolina Rossetti de Toledo, Ana Gonçalves Magalhães and Peter John Brownlee Authors: Ana Gonçalves Magalhães, Ann Shafer, Carolina Rossetti de Toledo, Christina Weyl, Claudio Mubarac, Heloísa Espada, Peter John Brownlee, Priscila Sacchettin, Ruth Fine and Silvia Dolinko.
    [Show full text]
  • To See Anew: Experiencing American Art in the 21St Century
    Initiatives in Art and Culture To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE FRIDAY – SATURDAY, MAY 20 – 21, 2016 1851, after an original of 1851, The Greek Slave, The Greek Stuart Davis, Swing Landscape, 1938, oil on canvas, 86¾ x 172⅞ in. Indiana University Art Museum, Bloomington, Indiana. © Estate of Stuart Davis/Licensed Hiram Powers, Powers, Hiram Art University x 18¼ in. Yale 1844, marble, 65¼ x 21 Dann Fund. 1962.43, Olive Louise Gallery, by VAGA, New York, NY. Jonathan Boos. Jonathan Boos. 36 x 29 in. Private collection; photo: courtesy, canvas, Guy Pène du Bois, Country Wedding, Henry Peters Gray, The Wages of War, 1848, oil on 1929, oil on canvas, 48¼ x 76¼ in. The Metropolitan Museum of Art, gift of Several Ladies and Gentlemen, 1873. 73.5. THE GRADUATE CENTER, THE CITY UNIVERSITY OF NEW YORK To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE Heilbrun, 1922). Chanler. Robert Winthrop Ivan Narodny, (from: 1921 Chanler, Robert Winthrop New York: William New York: Avian Arabesque, Avian Arabesque, The Art of In this conference, Initiatives in Art and Culture considers iconic works by recognized masters, seeking to understand both why they were celebrated in their own time and why they retain their power today. At the same time, we explore the works of artists who did not retain the renown they enjoyed during their lifetimes and who fell into obscurity. But obscurity is not necessarily forever, and as cycles of taste have changed, these once-forgotten artists and their largely unknown works have re-surfaced to startle us today.
    [Show full text]
  • Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond
    Paula Mohr is an architectural historian and directs the certified local government program in Iowa. She is a graduate of the Cooperstown Museum Studies program and the architectural history program at the University of Virginia. Paula is the local co-chair for FORUM 2018. Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond By Paula Mohr In its 170-some years, the evolution of Des Moines’ commercial core has paral- leled that of many American cities. Fort Des Moines, an early foothold in terms of Euro-American settlement, today survives only as an archaeological site. Early commercial buildings of wood frame on both the east and west sides of the Des Moines River were replaced with brick later in the nineteenth century. At the turn of the twentieth century another wave of development introduced tall buildings or skyscrapers. In the midst of all this change, we can see the impact of external forces, including architectural ideas from Chicago, the City Beautiful Movement and the contributions of nationally and internationally renowned architects. The “book” on Des Moines’ architecture is still being written. As a result of this constant renewal and rebuild- Youngerman Block (1876), also by Foster, features ing, only a handful of nineteenth century buildings a façade of “Abestine Stone,” a nineteenth-century survive in Des Moines’ downtown. In the Court artificial stone manufactured by the building’s Avenue entertainment area across the river from owner, Conrad Youngerman. The five-story Des the FORUM conference hotel are several notable Moines Saddlery Building (c. 1878), just around examples.
    [Show full text]
  • Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
    This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
    [Show full text]
  • The Invisible Man-Exhibition-Advisory-6.20.19.Pdf
    Image captions on page 3 The Los Angeles County Museum of Art (LACMA) presents The Invisible Man and the Masque of Blackness, marking the artist Zak Ové’s first solo exhibition in Los Angeles. Ové (b. 1966) is a British visual artist of Trinidadian descent who works in sculpture, film, and photography. His 40-piece sculptural installation The Invisible Man and the Masque of Blackness features a group of identical, 6 1/2-foot-tall reproductions of an African figure that the artist received as a gift from his father in his early childhood. Ové’s figures, fabricated from resin and graphite, hold their hands up at shoulder level in an act of quiet strength and resilience, and are spaced evenly in rows to ironically recall the formation of either a group soldiers or political dissidents. The exhibition title references two milestones in black history: Ben Jonson’s 1605 play The Masque of Blackness, the first stage production to utilize blackface makeup, and Ralph Ellison’s 1952 novel Invisible Man, the first novel by an African American to win the National Book Award. In addition to literary references, the artist draws inspiration from Caribbean Carnival, a festival that originated in the Mardi Gras celebrations of the region’s French colonists, and Canboulay, a parallel celebration in which enslaved people expressed themselves through music and costume and paid homage to their African traditions. Overall, the sculpture encapsulates the complex history of racial objectification and the evolution of black subjectivity. LACMA’s presentation will be the first time The Invisible Man and the Masque of Blackness is installed at an encyclopedic institution.
    [Show full text]