Christopher / Cristóbal Martínez
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Paintings by John W. Alexander ; Sculpture by Chester Beach
SPECIAL EXHIBITIONS THE ART INSTITUTE OF CHICAGO, DECEMBER 12 1916 TO JANUARY 2, 1917 PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE 0 SPECIAL EXHIBITIONS OF WORK BY THE FOLLOWING ARTISTS PAINTINGS BY JOHN W. ALEXANDER SCULPTURE BY CHESTER BEACH PAINTINGS BY CALIFORNIA ARTISTS PAINTINGS BY WILSON IRVINE PAINTINGS BY EDWARD W. REDFIELD PAINTINGS, DRAWINGS AND SKETCHES BY MAURICE STERNE THE ART INSTITUTE OF CHICAGO DEC. 12, 1916 TO JAN. 2, 1917 PAINTINGS BY JOHN WHITE ALEXANDER OHN vV. ALEXANDER. Born, Pittsburgh, J Pennsylvania, 1856. Died, New York, May 31, 1915. Studied at the Royal Academy, Munich, and with Frank Duveneck. Societaire of Societe Nationale des Beaux Arts, Paris; Member of the International Society of Sculptors, Painters and Gravers, London; Societe Nouvelle, Paris ; Societaire of the Royal Society of Fine Arts, Brussels; President of the National Academy of Design, New York; President of the Natiomrl Academy Association; President of the National Society of Mural Painters, New York; Ex- President of the National Institute of Arts and Letters, New York; American Academy of Arts and Letters; Vice-President of the National Fine Arts Federation, Washington, D. C.; Member of the Architectural League, Fine Arts Federation and Fine Arts Society, New York; Honorary Member of the Secession Society, Munich, and of the Secession Society, Vienna; Hon- orary Member of the Royal Society of British Artists, of the American Institute of Architects and of the New York Society of Illustrators; President of the School Art League, New York; Trustee of the New York Public Library; Ex-President of the MacDowell Club, New York; Trustee of the Metropolitan Museum of Art; Trustee of the American Academy in Rome; Chevalier of the Legion of Honor, France; Honorary Degree of Master of Arts, Princeton University, 1892, and of Doctor of Literature, Princeton, 1909. -
Milch Galleries
THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub lished last year, deals with another group of painters and sculp tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. -
Carnegie Institute: History, Architecture, Collections
FRICK FINE ARTS LIBRARY The Carnegie Institute: History, Architecture, Collections Library Guide Series, No. 40 “Qui scit ubi scientia sit, ille est proximus habenti.” -- Brunetiere* An Introduction Andrew Carnegie, the founder of The Carnegie Institute, was an American industrialist who worked in the fields of the railroad, oil and became a baron of the iron and steel industries. During his lifetime he donated more than $350 million to a variety of social, educational and cultural causes, the best known of which was his support of the free public library movement. He gave grants for 3,000 library buildings in the English- speaking world between the late 1890s and 1917. The first Carnegie Library opened in 1889 and was built in Braddock, PA near the location of his largest steel mill. The second library opened in Allegheny City during 1890. Carnegie’s most ambitious cultural creation, however, was the Carnegie Institute in Pittsburgh which included a library, natural history museum, art gallery, and concert hall that were designed by Alden and Harlow between 1891-1907. Few people outside of Pittsburgh know that Andrew Carnegie was also involved in the art world of his day, creating the Art Gallery portion of the Carnegie Institute that is now known as the Carnegie Museum of Art and also beginning what has become one of the oldest international art exhibitions in the world – the Carnegie International in 1896. A little more than a century later the Carnegie Museum of Art had grown to include The Andy Warhol Museum of Art and the Heinz Architectural Center. -
Gagosian Gallery
Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery. -
TRANS-INTERPRETATION”: Notes on Transforming the Book Methodology of the Oppressed Into Metodología De La Emancipación
“I live in this liminal state between worlds, between realities, between systems of knowledge, between symbology systems.” “Vivo en este estado liminal entre mundos, entre realidades, entre sistemas de conocimiento, entre sistemas de simbología.” —Gloria Anzaldúa, Interviews (2000, 268) TRANSLATION AS “TRANS-INTERPRETATION”: Notes on Transforming the Book Methodology of the Oppressed into Metodología de la emancipación Chela Sandoval Methodology of the Oppressed is idea, method and book made, remade, translated and trans-interpreted; consequences of movement across histories, geographies, and peoples.1 One of these makings shifted the title of the book Methodology of the Oppressed (2000) into Metodología de la emancipación (2016)—referred to in what follows as MoTo and MoLe. This particular shift points readers directly to the profound transformations in meaning that occur whenever language undergoes translation. One happy consequence of the transformation of MoTo into MoLe shift is that one of MoTo’s primary reasons for being rises to the surface. In this now visible re-configuration, the new Metodología de la emancipación/(Methodology of the Oppressed) emerges as an 26 CHICANA/LATINA STUDIES 17:2 SPRING 2018 TRANSLATION AS “TRANS-INTERPRETATION” undeniable b/order crosser, as “coyolteada,” or a being carrying revolutionary tricks—who enacts “de-colonizing perform-antics”(Aldama, Sandoval, Garcia, 2012). Ideas and books emerge as ruse-making “naguala.” These terms, and others like them, are utilized and advanced by the militant intellectual -
Pablo Picasso (Spanish, 1881 - 1973)
Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics. -
Rebecca Horn Introduction of Works
REBECCA HORN INTRODUCTION OF WORKS • Parrot Circle, 2011, brass, parrot feathers, motor t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany) has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural en- vironments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While she mainly explored the relationship between body and space in her early performances, that she explored the relationship between body and space, the human body was replaced by kinetic sculptures in her later work. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu- tion to documenta 7 in 1982—has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon-like arrowheads. Having studied in Hamburg and London, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades beginning in 1989. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards, including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017). -
Eduardo Chillida
Press Release Eduardo Chillida Hauser & Wirth New York, 69th Street 30 April – 27 July 2018 Private view: Monday 30 April, 6 – 8 pm The bird is one of the signs of space, each one of Chillida’s sculptures represents, much like the bird, a sign of space; each one of them says a different thing: the iron says wind, the wood says song, the alabaster says light yet they all say the same thing: space. A rumor of limits, a coarse song; the wind, an ancient name of the spirit, blows and spins tirelessly in the house of space. – Octavio Paz New York… Hauser & Wirth is pleased to present its inaugural exhibition of works by Eduardo Chillida (1924 – 2002), Spain’s foremost sculptor of the twentieth century. Widely recognized for monumental iron and steel public sculptures displayed across the globe, Chillida is also celebrated for a wholly distinctive use of materials such as stone, chamotte clay, and paper to engage concerns both earthly and metaphysical. On view from 30 April through 27 July 2018, this exhibition showcases the artist’s varied and innovative practice through a focused presentation of rarely displayed works, including small-scale sculptures, collages, drawings, and artist books that shed new light on Chillida’s enduring fascination with space and organic form. Originally a student of architecture in Madrid, Chillida created art guided by its principles; his early interest in the field had a lasting impact on his development as an artist, shaping his understanding of spatial relationships and sparking what would become a deep-rooted interest in making space visible through a consideration of the forms surrounding it. -
1947 Drops out of Architecture School to Study Drawing at the Círculo De Bellas Artes in Madrid. Works in José Martínez Repul
1947 Drops out of architecture school to study drawing at the Círculo de Bellas Artes in Madrid. Works in José Martínez Repullés's sculpture studio, where he creates his first sculpture. 1948 Moves to Paris, where he forges a friendship with artist Pablo Palazuelo. 1949 Participates in the Salon de Mai in Paris. 1950 Takes part in the exhibition Les mains éblouiesat Galerie Maeght in Paris. Marries Pilar Belzunce. 1951 Returns to the Spanish province of Guipúzcoa, settling in Hernani. Creates his first work in bronze. 1954 Has his first solo exhibition in Spain, at Galería Clan in Madrid. Creates four doors for the Basílica Nuestra Señora de Aránzazu in Oñate, Spain. 1955 The Kunsthalle Bern presents an exhibition of his work. 1956 Exhibits at Galerie Maeght in Paris. 1958 Receives the International Grand Prize for Sculpture at the XXIX Biennale di Venezia. Chillida's work is featured in Sculpture and Drawings from Seven Sculptors at the Solomon R. Guggenheim Museum in New York. Receives the Graham Foundation Award and exhibits at the Graham Foundation in Chicago. 1959 Participates in Documenta 2 in Kassel, Germany. Creates his first etchings, first works in wood, and first works in steel. 1960 Receives the Kandinsky Prize, awarded by the “ArtChronika” Cultural Fund. Forges a friendship with sculptor Alberto Giacometti. 1961 Exhibits at Galerie Maeght in Paris. 1964 Receives the Carnegie Prize, awarded by the Carnegie Museum of Art in Pittsburgh. 1965 Exhibits at Tunnard Gallery in London and the Kestnergesellschaft Hannover. 1966 The Museum of Fine Arts in Houston organizes a retrospective exhibition of Chillida's work. -
Letters to Andrew Carnegie ∂
Letters to Andrew Carnegie ∂ A CENTURY OF PURPOSE, PROGRESS, AND HOPE Letters to Andrew Carnegie ∂ A CENTURY OF PURPOSE, PROGRESS, AND HOPE Copyright © 2019 Carnegie Corporation of New York 437 Madison Avenue New York, NY 10022 Letters to Andrew Carnegie ∂ A CENTURY OF PURPOSE, PROGRESS, AND HOPE CARNEGIE CORPORATION OF NEW YORK 2019 CONTENTS vii Preface 1 Introduction 7 Carnegie Hall 1891 13 Carnegie Library of Pittsburgh 1895 19 Carnegie Museums of Pittsburgh 1895 27 Carnegie Mellon University 1900 35 Carnegie Trust for the Universities of Scotland 1901 41 Carnegie Institution for Science 1902 49 Carnegie Foundation 1903 | Peace Palace 1913 57 Carnegie Hero Fund Commission 1904 61 Carnegie Dunfermline Trust 1903 | Carnegie Hero Fund Trust 1908 67 Carnegie Rescuers Foundation (Switzerland) 1911 73 Carnegiestiftelsen 1911 77 Fondazione Carnegie per gli Atti di Eroismo 1911 81 Stichting Carnegie Heldenfonds 1911 85 Carnegie Foundation for the Advancement of Teaching 1905 93 Carnegie Endowment for International Peace 1910 99 Carnegie Corporation of New York 1911 109 Carnegie UK Trust 1913 117 Carnegie Council for Ethics in International Affairs 1914 125 TIAA 1918 131 Carnegie Family 135 Acknowledgments PREFACE In 1935, Carnegie Corporation of New York published the Andrew Carnegie Centenary, a compilation of speeches given by the leaders of Carnegie institutions, family, and close associates on the occasion of the 100th anniversary of Andrew Carnegie’s birth. Among the many notable contributors in that first volume were Mrs. Louise Carnegie; Nicholas Murray Butler, president of both the Carnegie Endowment for International Peace and Columbia University; and Walter Damrosch, the conductor of the New York Symphony Orchestra whose vision inspired the building of Carnegie Hall. -
Autumn 2020 FILM and TELEVISION DEALS Spellslinger Series – Sebastien De Castell Marge in Charge Series – Isla Fisher We Were Liars – E
Rights Guide Autumn 2020 FILM AND TELEVISION DEALS Spellslinger series – Sebastien de Castell Marge in Charge series – Isla Fisher We Were Liars – E. Lockhart Love Letters to the Dead – Ava Dellaira Cell 7 – Kerry Drewery CONTENTS Our Chemical Hearts – Krystal Sutherland Frogkisser! – Garth Nix YOUNG ADULT 4 S.T.A.G.S. – M. A. Bennett TEEN 14 The Cruel Prince (Folk of the Air) series – Holly Black NINE TO TWELVE 21 Charlie and Me – Mark Lowery ILLUSTRATED FICTION 30 The Boy Who Grew Dragons – Andy Shepherd PICTURE BOOKS 38 The Girl Who Drank the Moon – Kelly Barnhill ANTHOLOGY 40 Iremonger series - Heap House, Foulsham, Lungdon – Edward Carey NON-FICTION 41 Birdy – Jess Vallance BACKLIST 46 Stepsister – Jennifer Donnelly Genuine Fraud – E. Lockhart The Wild Robot – Peter Brown Enola Holmes – Nancy Springer 36 Questions That Changed My Mind About You – Vicki Grant The Ghost Bride – Yangsze Choo The Last Human – Lee Bacon The Distance Between Me and the Cherry Tree – Paola Peretti With the Fire on High – Elizabeth Acevedo The Witch’s Boy – Kelly Barnhill The Tattooist of Auschwitz – Heather Morris The Red Ribbon – Lucy Adlington The Old Kingdom series – Garth Nix Perfectly Preventable Deaths – Deirdre Sullivan A Semi-Definitive List of Worst Nightmares – Krystal Sutherland The Keys to the Kingdom series – Garth Nix Night Shift - Debi Gliori 3 YOUNG ADULT YOUNG ADULT Chris Whitaker Yasmin Rahman THE FOREVERS THIS IS MY TRUTH What would you do if you could get There are some secrets that even best away with anything? friends don’t tell each other . They called it Selena. -
2 0 0 3 D O N O
CELEBRATING 2003 DONORS AND VOLUNTEER LEADERSHIP PHOTO: TERRY CLARK Dolly Ellenberg, (left) Vice President, Development; Trustee Lee Foster; and Suzy Broadhurst, Chair, Board of Trustees and Interim President 44 CARNEGIE • MAY/JUNE • 2004 AT CARNEGIE MUSEUMS OF PITTSBURGH, WE HAVE AN IN 2003, CARNEGIE MUSEUMS OF PITTSBURGH ENJOYED A AMAZING LEGACY OF GIVING. From our staff, to our volunteer DYNAMIC AND FRUITFUL YEAR: the Museum of Art reopened the leaders, to our constantly growing base of donors, we need not Scaife Galleries after 18 months of extensive renovations; The Andy look any farther than our own family of supporters to see what Warhol Museum celebrated Andy Warhol’s 75th birthday with true community stewardship is all about. exhibitions and events that drew celebrities and visitors from around the world; Carnegie Science Center received one of the nation’s Of course, we’re all descendants of the ultimate Carnegie highest awards for the innovative educational and outreach programs Museums’ donor and volunteer leader—Andrew Carnegie. He set the it provides; the Museum of Natural History effectively executed bar incredibly high. But I believe he knew that the institution he DinoMite Days, the largest and most popular public art exhibit the created would continue to inspire others the way it had inspired region has ever enjoyed; and, Carnegie Museums once again exceeded him. And, like him, other individuals would do extraordinary the previous year’s level of charitable giving by almost $2 million. things to support and grow it. All of these accomplishments—and many more—were made possible One of those people is Lee Foster.